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Illustration Annual 44 •

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July 200 3 Sixteen Dollars www.commarts.com

Lommuni~ation Art~ 2G03

III ustration ---Annual

Volume 45,. Number 3 www.commarts .com COMMUNICATION ARTS, (ISSN 0010-3519) is published eight times a year (January/February, March/April, May/June, July Illustration Annual, August Photography Annual, September/October Interactive Annual, November Design Annual and December Advertising Annual) by Coyne & Blanchard , Inc., 110 Constitution Drive, Menlo Park, CA 94025-1107. Periodicals postage paid at Menlo Park, CA and at additional mailing offices .

Cover Illustration © 2003 Dick Krepel. Image for a brochure/ booklet profiling Grant Collaborative Design's client, Steel case Corp. Vivian Mize, art d irector. 13 X 16'12. collage and digital on watercolor paper.

Copyright 2003 by Coyne & Blanchard, Inc. All pieces reproduced in this issue are under prior copyright by the creators or by the contractual arrangements with their clients . Nothing shown may be reproduced in any form without obtaining the permission of the creators and any other person or company who may have copyright ownership.

SUBSCRIBER SERVICES : Subscription: 1 year, $53; in Canada , $70; All other countries, $110. All payments in U.S. dollars, Canadian GST: 127848620. Direct all inquiries, address changes, subscription orders, etc ., to: Web : www.commarts .com E-mail: subscription@commarts.com Phone: 800-688-1971; 303-678-8475 Fax: 303-661-1181 Mail : COMMUNICATION ARTS P.O. Box 51785 Boulder, CO 80322-1785 Please allow six weeks for changes. For back issues, please contact the editorial and business office . EDITORIAL AND BUSINESS OFFICE: 110 Constitution Drive, Menlo Park, CA 94025-1107 . Phone: 650-326-6040; fax : 650-326-1648; e-mail: ca@commarts.com. POSTMASTER : Send changes of address to: COMMUNICATION ARTS P.O. Box 51785 Boulder, CO 80328-1785

.eAse

~ommuni~~tion Art~ 200 3

Illustration

,,-----Ann ual- July 200 3 Volume 45, Number 3 20

Books

Editorial

For Sale

100

Institutional

118

Self-Promotion

136

Unpublished

Chad Holder For Minneapolis photographer Chad Holder, collaboration is necessary and ideas sacred.

166

Base Art Co. This design firm in Columbus, Ohio, is fueled by music, human genius and coffee.

168

Mehdi Saeedi Iranian illustrator Mehdi Saeedi explores his country's folklore traditions.

Editor and Designer Patrick Coyne Executive Editor Jean A. Coyne Managing Editor Anne Telford Associate Editor Rebecca Bedrossian Production Manager Scott Perry Production Ron Niewald Technology Director Jeff Stafford Interactive Media Art Director Bonnie Smetts

Design Issues Don 't just make brochures, make grenades advises Rich Binell and John Bielenberg .

174

Design Culture Reevaluating : Looking Outward . Part two of a two-part series by Wendy Richmond .

178

Freelance Barbara Gordon gives advice on structuring your selling portfolio .

183

Legal Affairs Leonard D. DuBoff demystifies trademark law for illustrators.

188

Advertising A really, really important thing you're not learning in ad school by Dylan Lee

192

Opinion ICommentary AI Jackson celebrates the dawn of a new era for advertising .

Interactive Media Designer Tricia Seibold Interactive Media Editor Sue Garibaldi Interactive Media Developer Gary Wium Interactive Media Producer Becky Fong Interactive Media Production Assistant! Subscriptions Khader Yanni Information Systems Manager Michael Hoyt Web Administrator Nancy Hagemann General Manager Advertising/Circulation Michael Krigel

Circulation Director Perry Fotos

149f

Editor's cOlumn n

154

Contributors

Student Subscriptions/ Advertising Michelle Estrin

156

Letters to the Editor

Administration Darcie Niewald

196

Book Reviews

Controller Ron Auger, CPA

200

REsources

206

Index and Addresses of Featured Illustrators

210

Index of Art Directors, Design Firms, Agencies and Clients

212

Directory

Assistant Controller Gayle Gregorius Contributing Editors Tad Crawford, Legal Affairs; Barbara Gordon/Maria Piscopo, Freelance; DK Holland, Design Issues; Wendy Richmond, Design Culture; Ernie Schenck, Advertising Founder Richard Coyne (1926- 1990)

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Advertising Pascal Milelli, illustrator Gus Tsetsekas, art director Geoff Kehrig, designer Signals Design Group, design firm Vancouver Opera, client Painting for the opera Elektra, about a young woman obsessed with avenging her father 's murder. 23'/2 X 36'/2, oil on canvas. 2 Rene Milot, illustrator Randall Jones, art director RT & E Integrated Communications, ad agency Philadelphia Opera, client Poster for the opera The Pearl Fishers, a story of two pretenders in love with the same priestess. Her veil connects her to her duties and keeps her two lovers at a distance. 21'/2 X 28, oil on canvas . 3 Mark Ulriksen, illustrator Christy Brand, designer Pentagram, design firm KOED, client Poster for "KOED & the Arts" publicizing the arts coverage of the public broadcasting station. 15 X 13'/2, acrylic on board.

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Advertising Rafael Lopez, illustrator Candice Lopez, designer Rafael Lopez Studio, design firm Michael Kinsman, client Poster announcing 6th Blues Festival in downtown San Diego, California. 11 X 14, acrylic on wood . 2 Brian Rea, illustrator Geoff Cornish, music video producer Kuntz and Maguire, music video directors Electric Six/XL Records, clients One from a series of paintings produced for the music video "Danger! High Voltage " for the band Electric Six. 14 X 17, acrylic and collage . 3 (series) Jody Hewgill, illustrator Maggie Boland, Arena Stage/Scott Mires, art directors Mires Design, design firm Arena Stage, client Series of posters for Arena Stage. An American Daughter, South Pacific, The Misanthrope, Ma Rainey's Black Bottom. 9 X 16, acrylic on gessoed board.

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Advertising Gary Baseman, illustrator Cam Blackley/Ben Kay, art directors Abbott Mead Vickers.BBDO, ad agency/client Ad headline for Whiskas cat food: Variety Pack. 16 X 20, acrylic on canvas. 2 Jim Burke, illustrator Michael Arenella/Jim Burke, art directors Andrew Kner, designer Cantonement, client Michael, poster for swing band Cantonement. 16 X 24, oil on linen. 3 Matt Zumbo, illustrator Chris Seramur, art director Steve Yoder, writer Mark Gale, creative director Nelson Schmidt, ad agency Hoards Dairyman, client Poster promoting Hoards Dairyman magazine annual cow judging contest. 26 X 18'/2, graphite and digital. 4 Joel Nakamura, illustrator Ruth Ann Greeley, art director Festival Santa Fe, client Ad image to promote a series of performing arts events in Santa Fe, New Mexico. 10 X 15, acrylic on hand-tooled tin. 5 Eric White, illustrator Gary Himelfarb, art director RAS Records, client Album cover for reggae tribute to Bob Dylan, "Is it rolling Bob?" 12 X 12, acrylic on board.

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Advertising (series) Joe Morse, illustrator Chris McClure, art director Nike Team Sports, client An apparel campaign depicting ' larger than life' superstars of baseball. Pictured: Ken Griffey Jr., Alex Rodriguez and Mark McGwire, 12 X 15, oil and acrylic on paper. 2 Clayton Brothers, illustrators Jeff Williams, art director Wieden + Kennedy, ad agency/client Image used in an ad for an entertainment gaming company. 24 X 12, mixed media on wood. 3 Madeline von Foerster, illustrator Mark Riddick, art director Michael Riddick, designer Fossil Records, client Cover artwork for " Mirabilis" music release. 9 X 12, oil on panel. 4 Marco Ventura, illustrator Robert Sugar, art director Auras Design, design firm Infocom, client The Great Woofer, from a series of paintings commissioned to combine twentieth-century art references with Infocom tradeshow elements that would result in attracting attention while communicating Infocom 's message. 11 X 14, oil on paper.

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Advertising (series) Theseus Chan/Evonne Ng, illustrators Evonne Ng, art director Jim Aitchison/Jean Angus, writers Theseus Chan, executive creative director WORK, ad agency National Council Against Drug Abuse, client Series of posters using animal characters and poetry to alert children and their parents to the perils of drug abuse. Chameleon: Fiona Chameleon could change her colours anywhere she went. But once she started on ecstasy her colorful life was spent. Hen: JoAnn the hen wanted to sing like Madonna, but then she took heroin and now she's a goner. Rat: Rick the rat, took some drugs one day. The police were quick and arrested Rick. And took that rat away. Rabbit: "I wish you peace," said Make the rabbit. His friends gave him drugs. Now he can't kick the habit. Cat: Nash the cat had a brilliant brain. Until heroin sent his brain down the drain . 16 X 28, ink and digital.

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2 Marc Rosenthal, illustrator Michael Bense, art director Shamlian Advertising, ad agency Philips Electronics, client Promotional poster shipped with Philips electronics catalog. 11 X 18 1/2, ink and watercolor.

2 3 Daniel Craig, illustrator Heather Records, art director Breeder's Choice, client Breeder's Choice packaging. 12 X 18, acrylic on canvas.

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Advertising Vivienne Flesher, illustrator Kit Hinrichs/Leslie Stitzlein, designers Pentagram, design firm KOED, client Poster for KOED. Headline: There's more for me on KOED . 12 X 16, pastel on paper. 2 (series) Marius Valdes, illustrator Valdes Creative, design firm Music Farm, client Series of images for Music Farm calendar. These paintings were actually used as part of a huge wall-sized calendar that was displayed on one wall of the music venue next to the audience. It had a painting for each day of the month, to advertise upcoming shows at the Music Farm. Approximately 2 X 3 feet, acrylic on cardboard .

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Advertising (series) John Rush, illustrator Andrea Spooner, editor Sea Star Books, client Series of images used to promote the forthcoming publication of Sir Walter Scott's Ivanhoe. Rebecca at the Stake, 20 X 28; Ivanhoe Prepares for the Tournament, 20 X 30; Saxons Advance on the Castle, 20 X 28. Oil on canvas. 2 Michael Doret, typographer Eric Bowman, illustrator Monte Mead, art director Tom Van Ness, writer Steve Dolbinski, creative director Barnhart/CMI Advertising, ad agency Wyoming Travel & Tourism, client Poster headline: Crest the ridge as the chow bell clangs, calling you home from the range. Just one day in the saddle and another cowboy is born in Wyoming . 17'/2 X 20, oil on gesso.

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Books (series) Pierre Pratt, illustrator Paulo Monteiro, art director Ambar, client Series of images from The Man Who Swallowed the Moon by Mario de Carvalho. That night when the moon has been swallowed somewhere in Portugal, in a popular neighborhood . Various sizes, acrylic on paper.

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Books Glenn Harrington, illustrator Irene Gallo, art director Tor Books, client Book cover for Femme Fata/ by Carole Nelson Douglas. The book introduces a young Sherlock Holmes into a series of Victorian mysteries. 16 X 22, oil on linen. 2 (series) Van Nascimbene, illustrator Jacques Binstok, art director Editions du Seuil, publisher/client Images for Palomar, a collection of short stories by Italo Calvina.

6 112 X 8 3 /4, watercolor and ink on Arches paper.

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Books (series) Michael J. Deas, illustrator Daniel Rembert, art director Random HouseNiliard Books, clients Two portraits of magician David Blaine for his autobiography, Mysterious Stranger: A Book of Magic. 16 X 22 and 16 X 12, oil on panel. 2 Rudy Gutierrez, illustrator Sarah Delson/Henry Seneyee, art directors Picador USA, client Cover for Ways of Dying by Zakes Mda, a magical, funny and painful picture of South Africa today. 17 X 27, acrylic, oil and crayons. 3 Jim Burke, illustrator Sara Reynolds, art director Dutton, client Book cover for Saving Grace by Priscilla Cummings. Grace must choose between a welloff family wishing to adopt her or her own destitute family. 20 X 32, oil on board. 4 loren long, illustrator Martha Rago, art director David Caplan, designer Henry Holt and Company, client Interior image from The Wonders of Donal O'Donnell, an Irish Folk Tale by Gary D. Schmidt. 26 X 12, acrylic on linen.

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Books Pascal Milelli, illustrator Michael Solomon, art director Groundwood Books, client Interior spread for The Art Room by Susan Vande Griek, a picture book about a Saturday art class the painter Emily Carr taught in Vancouver in 1918. 36 1/2 X 22, oil on canvas . 2 (series) Martin Jarrie, illustrator Cecile Emeraud, art director Editions du Rouergue, client Series of interior images for Au Bout du Compte by Regis Lejonc. The book is a kind of poetic daydreaming about how what we imagine can help us to deal with reality, to live better and about the connection between imagination and reality. 18 7/8 X 15 3 /8, acrylic on paper.

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Books (series) Charles Santore, illustrator AI Chetta, art director Harper Collins Children's Publishing, client Series of images for Paul Revere's Ride . 221/2 X 9, watercolor.

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Books Bruce Roberts, illustrator France Leduc, art director Tatou communication visuelle, design firm Les Pelleteurs De Nuages, client Book cover for Coeurs a Lauer, a humorous and erotic look at personal ads in the classifieds, by Francis Pelletier. 8'/2 X 11, acrylic on treated paper.

2 (series) David Plunkert, illustrator Chris Pitzer, editor Ad House Books, client Series of images for a book on robots, Telstar. 4 3 /4 X 8, mixed media.

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Books (series) Sara Fanelli, illustrator/designer Candlewick Press, client Series of images used in Sara Fanelli's Mythological Monsters, which introduces the wonder and magic of ancient Greek myths to young readers : "Cerberus," " Echidna," " Centaurs/Satyrs," "Minotaur," "Hydra." 21 X 10, collage .

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Books (series) Wendell Minor, Wendell Minor Design, illustrator Cecilia Yung, art director Nancy Paulsen, editor Gunta Alexander, designer G.P. Putnam 's Sons, client Series of images for the picture book America the Beautiful. 17'/2 X 11'/2, watercolor and gouache on Strathmore 500 Bristol.

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Books (series) Lino, illustrator Tatou communication visuelle, design firm Les 400 coups, editor Series of images from Ko/etaille by Sylvie Pinsonneault to teach children about the realities of war. Aime Jouer ala Cachette, Aime Rotir sur les Plages, N 'a Peur ni de L'Eau , Aime les Parades, Bien Qu 'il Aime. 11 X 8, acrylic. kraft paper and masking tape.

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Books (series) Kong Woo Park, illustrator Young Ok Cho, art director Mi Jung Lim, designer MBC, client Series of four book titles by Kiae Sung: The Woman of Fall, The New Beginning, Before June, Hide and Seek. 7 X 11, acrylic on canvas. 2 Gregory Manchess, illustrator Irene Gallo, art director Tor Books, client Cover for White Apples by Jonathan Carroll. A novel of a man dealing with life, death and the realm between. 20 X 26, oil on linen. 3 Gerard DuBois, illustrator Gianni Caccia, art director Fides Publisher, client Book cover for Le Piano Muet by Gilles Vigneault, a tale for children. Story about a child who discovers his grandfather is not dead and will meet him for the first time. 12 X 12, acrylic on canvas.

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Books (series) Calef Brown, illustrator John Harris, writer Jim Drobka, designer The J . Paul Getty Museum, client Series of images from Greece! Rome! Monsters! by John Harris, a children 's guide to monsters from antiquity: Cyclops, Minotaur, Chimaera, Medusa, Basilisk. Various sizes, acrylic on board.

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Books (series) C.F. Payne, illustrator David Gale, art director Simon and Schuster, client Series of images from Casey at the Bat by Ernest L. Thayer. Various sizes, mixed media .

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Books (series) Laurel Long, illustrator Nancy Leo-Kelly, art director Dial Books for Young Readers, client

The Lady and the Lion, a Brothers Grimm fairy tale . Various sizes, oil.

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Books Peter de Seve, illustrator Roseanne Serra, art director Penguin Putnam, client Cover of A Treasury of Great American Scandals by Michael Farquhar. Tantalizing true tales of historic misbehavior by the founding fathers and others who let freedom swing. 9 X 13, watercolor and ink on watercolor paper. 2 Dennis Clouse, Cyclone Design, illustrator Christine Celic, art director Rizzoli, client Book cover for the first in a series of books to be published by Rizzoli, featuring the writing of Iris Murdoch. /I Mare, /I Mare translates (from Italian to English) to The Sea, The Sea. 5 1/2 X 8 3 /4, gouache on paper. 3 Cathleen Toelke, illustrator Dale Fiorillo, art director Kensington Books, client Cover for True Lies by Margaret Johnson-Hodge. A relationship is complicated by a man's first loyalty. 7 1/2 X 11 1/4, gouache. 4 (series) Rick Berry, Braid.com, illustrator/art director Robert K. Wiener, Donald M . Grant, Publisher, Inc., client Series of images for B/ack House by Stephen King and Peter Straub, concerning a demon house and its master. Mr. Munshen, 32 x 48, oil on panel; Black House, 27 X 39, oil on canvas on panel; Houseman , 32 X 48, oil on panel.

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Books (series) Rafal Olbinski, illustrator Robert Driver/Rafal Olbinski, art directors Marek Antoniak, designer Nahan Editions, client Series of images from Olbinski Paints Mozart featuring the stage designs of Olbinski for The Philadelphia Opera presentation of Don Giovanni. 28 X 21, acrylic on canvas.

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Books Daniel Craig, illustrator Jennifer Rinaldi, art director Scholastic, client Cover for The Rumplestiltskin Problem by Vivian Vande Velde. 10 X 15, acrylic on canvas . 2 (series) Greg Harlin, illustrator Jack Keaschuk, art director Christian History Project, client Series of images from a book series on Christian history. This one depicts the life and chaotic times of the influential theologian Origen; begun in persecution, surviving political upheaval and finally achieving respect. Title: The Christians, Volume 2. A Pinch of Incense: AD 70 to 250. Various writers . Various sizes, watercolor.

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Books (series) Tim O'Brien, illustrator Elizabeth B. Parisi, art director Scholastic, client From The Royal Diaries series: Jahanara: Princess of Princesses, India, 1627, by Kathryn Lasky. Elisabeth: The Princess Bride, Austria-Hungary, 1853, by Barry Denenberg. Sond6k: Princess of the Moon and Stars, Korea, A.D. 595, by Sheri Holman . 14 X 19, oil.

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Editorial Jason Holley, illustrator Robert Parsons, art director Boston Magazine, client Illustration for an article about Boston's racial divide. 2 Rob Clayton, illustrator Jana Meier, art director Outside, client The column "The Hard Way." This is a story about the last of the Maroon tribe. 9 X 13, mixed media on wood panel. 3 Barry Blitt, illustrator Caroline Mailhot, art director Owen Phillips, designer The New Yorker, client Portrait of Maya Angelou . 7 3 /s X 10, pen and ink, and watercolor. 4 Jordin Isip, illustrator Keith Shore, art director Heckler Magazine, client Illustration for music review. 22'/2 X 30, mixed media on paper. 5 Steve Brodner, illustrator Owen Phillips, art director The New Yorker, client Portrait of Condoleezza Rice. 15 X 20, watercolor.

6 Zachary Pullen, illustrator Gary Sluzewski, art director Cleveland, client Magazine article about an editor who was paid to try and get kicked out of the Ritz Carlton, but failed because the staff bent over backwards for him, "Puttin' on the Ritz." 14 X 17, oil.

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Editorial (series) Anthony Freda, illustrator Beatrice McDonald-Burke/Laura Zavetz, art directors Bloomberg Wealth Manager, client Series of four images for " If We Really Have the Oil," forecasting the future of crude oil supplies. Various sizes, mixed media .

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Editorial Rick Sealock, illustrator Andy Cowles, art director Rolling Stone, client Portrait of Weezer's Rivers Cuomo, the introspective Buddy Holly singing nerd. 9 X 15 1/2, ink, watercolor, acrylic and collage .

2 Daniel Adel, illustrator John Korpics, art director Esquire, client Portrait of Hugh Grant for "About a Haircut."

20 X 24, oil. 3 Mark Ulriksen, illustrator Victoria Nightingale, art director Reader's Digest, client "American History," a story about the sad state of history as a subject in contemporary education. 171/2 X 12 3 /8, acrylic on board. 4 Paul Dallas, illustrator Tim Davin, art director Canadian Business, client Illustration for "CEO Hot-Seat." 10 X 13, watercolor. 5 Martin French, illustrator Travis Daub, art director Foreign Policy, client "Cracked China," an analysis and forecasting of social conditions in China by Minxin PeL 12 X 13 1/4, mixed media.

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Editorial Melinda Beck, illustrator Nathalie Kirsheh , art director Details, client " Booting Your Broker," when to fire your stockbroker. 18 X 18, drawing and collage . 2 Anita Kunz, illustrator Randall Leers, art director New York, client Portrait of the master chef, Mario Batali. lO X 10, mixed media. 3 Jack Unruh, illustrator Fred Woodward , art director Matthew Lenning, designer Gentlemen's Quarterly/Conde Nast, client "Men Without Women," male bonding in Patagonia . 23 X 15, watercolor and ink. 4 Jason Holley, illustrator Tamaye Perry, designer Geraldine Hessler, design director Entertainment Weekly, client

Illustration for Spring Movie Preview. Collage. 5 David Tillinghast, illustrator Paul Gonzales, art director Los Angeles Times, client A New York radio listener in exile in Los Angeles compares New York hip-hop radio to the hip-hop radio of Los Angeles. 8'/4 X 8, casein , acrylic, colored gesso and digital media.

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Editorial Joe Ciardiello, illustrator Jim Nelson, art director MSP Communications, client Portrait of playwright August Wilson. 7 3 /4 X 10'/4, pen, ink and watercolor. 2 Mark Fredrickson, illustrator John Walker, art director Geraldine Hessler, creative director Entertainment Weekly, client "When Reality Attacks," article concerning reality TV. Digital. 3 Thomas Fluharty, illustrator Minh Uong, art director The Village Voice, client Article on the persecution of Pee Wee Herman, "Oh, Pee Wee." 12 X 18, acrylic on bristol board. 4 Roberto Parada, illustrator John Korpics, art director Esquire, client "The Slave," article on writer Russel Banks who went to Goree Island, just off the coast of Africa. This island used to be a weigh station for the slaves on the way to America. 18 X 24, oil on linen .

5 Jeff Soto, illustrator Minh Uong, art director The Village Voice, client Illustration for the 4th annual Vii/age Voice film critic's poll. 14 X 18'/2, acrylic on wood. 6 Tim Jessell, illustrator Bill Lesniewski/Clay Turner, art directors Ackerman McQueen, ad agency Freedom First, client Illustration for "Toadying up to Trotsky," about filmmaker Michael Moore who, the article claims, doesn't have all his facts straight. 7'/2 X 10, digital painting .

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Editorial Lara Tomlin, illustrator Owen Phillips, art director The New Yorker, client A presentation of F.W. Murnau's longunavailable movie masterpiece, Faust. 8 X 8, painted etching. 2 Jeffrey Decoster, illustrator Susan Levin, art director The Boston Globe, client Illustration for a review of the book

Samaritan by Richard Price, about a man who returns to the ghetto of his youth to do good deeds, but runs into unforseen, violent consequences. 14 X 14, etching, digital, watercolor. 3 Marco Ventura, illustrator Tom Staebler, art director Playboy, client "Sex & Sanctity," one man's story about religious life and what seminaries really teach about sex. 16 X 11, oil on paper. 4 Shino Arihara, illustrator Dana Collins/Bill Smith, art directors L.A. Weekly, client Illustration for biweekly column "Cakewalk." An article by Erin Aubry Kaplan, titled "Our Town," about a jazz coffee bar in Inglewood, California . 7 X 7, gouache. 5 Jody Hewgill, illustrator Tim Davin, art director Canadian Business, client Article on the growing custom-made perfume market catering to those looking for individuality. A perfume of one's own, "Heaven Scent." 8 3 /4 X 9, acrylic on gessoed board.

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Editorial Gary Taxali, illustrator Robert Festino, art director Geraldine Hessler, design director Entertainment Weekly, client "Scout 100," illustration for the gift guide section . 5 5/8 X 61/8, mixed media. 2 Mark Hess, illustrator John White, art director Hess Design Works, design firm Time, client Portrait of Megawati Sukarnoputri, president of Indonesia. 8 X 9, oil, acrylic, pencil and digital. 3 Jody Hewgill, illustrator Thomas O'Quinn, art director Craig Edwards, creative director Out, client Fiction piece about a young Cuban boxer, "The Knockout." 8 /2 X 11 /2, acrylic on gessoed board . ' ' 4 Lou Fancher/Steve Johnson, illustrators Nick Vlcek, art director City Pages, client Cover article "A Woman's Work is Never Done, Why Won't the Guthrie Stage Plays by Women?" 12 X 15 /2, oil and duct tape on gessoed paper.

5 Mark Ulriksen, illustrator Frangoise Mouly, art editor The New Yorker, client June 10, 2002 cover. 11'/2 X 15 5 /8, gouache and acrylic on board. 6 Anita Kunz, illustrator Vera Naughton, art director Worth, client "The Knives are Out for Martha Stewart, but Investors and the Constitution are Getting Stuck." 11 X 14, mixed media .

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Editorial (series) Teresa Fasolino, illustrator Nicki Kalish , art director The New York Times, client Illustrations for the Dining Section. 12 X 9, oil on gesso board. 2 Isabelle Arsenault, illustrator Jocelyne Fournel, art director Magazine L' Actualite, client "Locked up in their heads," article about kids with autism and how to help them improve in life. 10 X 8 3 /4, gouache.

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Editorial (series) Jonathan Twingley, illustrator Steven Brower, art director Scenario, client Series of five images for screenplay, The Wild Bunch . Paintings: 25 X 30, acrylic on canvas. Drawing: 10 X 14'/2, ink on paper. 2 David W. Merrell, illustrator Terry Groner, art director Tabletalk, ligonier Ministries, client Cover of Tabletalk, " The Myth of Influence." 6 X 9, digital. 3 Wesley Bedrosian, illustrator Steven Heller, The New York Times Book Review, art director The New York Times, client Illustration for a review by J.D. McClatchy of the book Savage Beauty, an erotic biography of Edna St. Vincent Millay by Nancy Milford . 12 X 14, acrylic.

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Editorial C.F. Payne, illustrator Arthur Hochstein, art director Time, client Opening illustration for an article about people's inability to retire, "Everyone Back in the Labor Pool." 15 X 13, mixed media . 2 Anthony Freda, illustrator Frank Tagariello, art director Bloomberg Personal Finance, client Illustration for "Saving, Fatten Your Assets ." 10'/4 X 10'/4, acrylic on wood. 3 (series) Joe Sorren, illustrator Laura Zavetz, art director/designer Bloomberg Wealth Manager, client Series of images for "Family Feuding," about how financial advisers handle family conflicts. Various sizes, oil.

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Editorial Thomas Fluharty, illustrator Lev Nisnevitch, art director The Weekly Standard, client February 17, 2003 cover. "Make Sonnets Not War." Article about a tea party-poets from all parties were invited. These three poets were going to protest the war at the party so it was cancelled. 12 X 18, acrylic on bristol board. 2 Michael Fink, illustrator Virginia Sloss, art director Central PA, client Illustration for "You'uns Talk Funny," about central Pennsylvania dialects. 8'/4 X 11, ink and watercolor. 3 Roberto Parada, illustrator Minh Uong, art director The Village Voice, client Cover article on why New Yorkers love skyscrapers. 16 X 20, oil on linen. 4 Michael Sowa, illustrator Franr,roise Mouly, art editor The New Yorker, client December 2, 2002 cover.

5 Douglas Fraser, illustrator Julia Moburg, art director Fast Company, client Illustration for "Vote of Confidence" about confidence during a down market. 9 X 11, alkyds on paper. 6 Jody Hewgill, illustrator Florian Bachleda, art director Michael Friel, designer Vibe, client Illustration for "The Eminem Show." 9'/2 X 11, acrylic on gessoed board .

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Editorial Gary Baseman, illustrator Fran90ise Mouly, art editor The New Yorker, client May 13, 2002 cover. 12 X 16, acrylic on canvas. 2 Brian Cronin, illustrator Matthew Lenning, art director Kara Vander Weg, writer Fred Woodward , creative director Gentlemen's Quarterly/Conde Nast, client Self-portrait while wearing a Yohji Yamamoto outfit for a GO spring collection article. 15 X 20'/4, gouache and acrylic on watercolor paper. 3 Michael Gibbs, illustrator Laura Cleveland/Carl Gnam, art directors Realms of Fantasy, client Illustration for a story about a man who is accused of being the antichrist by neighbors, who misinterpret his actions .

8'/2 X 11 , digital. 4 Bill Thomson, illustrator John Dana Gibson, art director Querencia, client Illustration of artist's response to 9/11 attacks . 11 X 14'/2, mixed media on watercolor board.

5 Jon C. Krause, illustrator Janet Lenzer, art director Bussolati Associates, design firm School Counselor, client Magazine illustration for "Depression .. . Or Just the Blues?" Although everyday events can often lead to short-lived depression, kids usually break out of these slumps on their own. Clinical depression, however, is a different story.

12'/2 X 15, acrylic on board. 6 Roberto Parada, illustrator Hannah McCaughey, art director Outside, client Portrait of Secretary of the Interior Gale A . Norton. What does Norton really stand for? She is usually evasive in interviews. 16 X 20, oil on linen .

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Editorial (series) John Cuneo, illustrator Robert Parsons, art director Michelle Poisson/Cathy Robinson, designers Boston Magazine, client Series of four images spotlighting entertainment in the Metro Boston area: Dame Edna, Rolling Stones, Elvis Costello, Sheryl Crow. Various sizes, pen and ink, watercolor. 2 Christian Clayton, illustrator Lee Berresford, art director Entertainment Weekly, client Portrait of Jay-Z. 7 3 /4 X 10, mixed media on wood panel. 3 Jay Montgomery, illustrator Robert Widener, art director VFW, client "Overloaded," Veterans Administration Vows to End Claims Backlog. 17 X 22, oil and digital. 4 Harry Bliss, illustrator Francroise Mouly, art editor The New Yorker, client June 3, 2002 cover. 10 1/2 X 15 1/2, watercolor on Arches paper.

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Editorial (series) Olaf Hajek, illustrator Hans Borgman, art director MAN, client Series of five images for article " Artist Impression," interpreting the work of fashion designers Gucci, Armani , Miu-Miu and John Richmond. 9 X 12, acrylic on cardboard. 2 Mark Stutzman , illustrator John Walker, art director Geraldine Hessler, design director Entertainment Weekly, client Portrait of Tom Hanks as Captain America . 3 Christoph Niemann, illustrator Franc;oise Mouly, art editor The New Yorker, client March 18, 2002 cover. 12 X 18, brush and ink, digital.

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Editorial Scott Menchin, illustrator Jeanette Hodge Abbink, art director Shawn Hazen, designer Dwell, client Illustration for an article on baths. 8 3 /4 X 11'/2, pen and ink, digital. 2 Christian Northeast, illustrator Devin Pedzwater, art director Rolling Stone, client " Zwan" record review section . 8 X 10, ink and digital. 3 Scott Laumann, illustrator Steve Otis, art director Oxford American , client Portraits of Trent Lott, Strom Thurmond and Jesse Helms for "Old Dragons." 12 X 17, mixed media on board. 4 Shino Arihara, illustrator Amir Barclift, art director Heart & Soul, client Illustration for an excerpt from Theresa Cameron's book Foster Care Odyssey: A Black Girl's Story. 8 X 10, gouache. 5 Brad Holland, illustrator Michael Diloia, art director Penthouse, client

Illustration for " Friendly Fire," about military pollution. 19 X 13, acrylic on board .

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Editorial Jack Unruh, illustrator Carol Rheuban, designer Field & Stream, client "Death (Nearly) by Bass Fishing," delirious hallucinations on a South American trip . Illustration is about the writer who went to Brazil fishing for Peacock Bass-the trip of a lifetime, only to be struck ill by a mysterious, hallucinatory illness. He never left his hotel bedroom! 10 X 10, ink and watercolor. 2 Edel Rodriguez, illustrator Susan Levin, art director The Boston Globe, client Book review of Desirable Daughters by Bharati Mukherjee, a novel that is both the portrait of a traditional Brahmin family on the brink of its dissolution, and a contemporary American story of a woman who has outwardly broken with tradition. 6 X 8 , pastel on paper with woodblock printing ink. 3 Chris Gall, illustrator Scott Feaster, art director Boys' Life, client Illustration for a story about a boy who spends the summer on his grandmother's farm, "Texas Twister." 16 X 12, scratch board and digital. 4 Brad Yeo, illustrator Susan McCabe, art director The Harvard Business Review, client

Article about what effect the pressure of time has on creativity, "Creativity Under the Gun." 12 X 16, acrylic. 5 Roberto Parada, illustrator Emily Crawford, art director Fast Company, client An article on the call for the end of the monopolist era, "The Monopolist." 20 X 20, oil on canvas.

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Editorial Stefanie Augustine, illustrator Jim Martin, art director America Magazine, client "Wholesomeness, Holiness and Hairspray," an article about the Catholic Church's dated views on the "ideal" Christian. 5 1 /2 X 8 1 /4, mixed media on paper. 2 Chris Gall, illustrator Michael Diloia, art director Penthouse, client "Fading of the Blackpot Kings," a story of modern-day bootleggers. 16 X 12, scratchboard and digital. 3 Nicholas Wilton, illustrator Cameron Woo, art director Bark, client Illustration on the highly-evolved sense organs of dogs. 8 1/2 X 11, mixed media.

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Editorial Jason Holley, illustrator Geraldine Hessler, design director Entertainment Weekly, client Portrait of Senegalese musician, Youssou N'Dour, for the review of his album, Nothing's in Vain . 2 Tim Bower, illustrator Jane Palecek, art director Mother Jones, client "Unjust Rewards," article about private companies getting huge government contracts . 10 X 13, watercolor. 3 John Cuneo, illustrator Susan Scandrett, art director Business 2.0, client Illustration for "The 101 Dumbest Moments in Business" feature . 8 X 6, watercolor, pen and ink. 4 Sterling Hundley, The Box Studio, illustrator Lee Berresford, art director Geraldine Hessler, design director Entertainment Weekly, client Portrait of Carlos Santana. 24 X 30, ink, oil, wallpaper and acrylics.

5 Victor Juhasz, illustrator Fred Woodward, art director Matthew Lenning, designer Gentlemen's Quarterly/Conde Nast, client Illustration for "Mis-Fortune's Child," about editorial director John Huey's firing of several long-standing Time Inc. editors . 15 X 20, watercolor, gouache and ink.

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Editorial Curtis Parker, illustrator Jeff Amstutz, art director Journey Group, design firm Moody, client "The Heart of John McCullough," article about taking care of an old mentally-retarded man . 10 X 13, acrylic on canvas. 2 Istvan Banyai, illustrator Franc;oise Mouly, art editor The New Yorker, client May 6, 2002 cover. 3 Daniel Adel, illustrator Susan Scandrett, art director Business 2.0, client Three Stooges of Enron illustration for "The 101 Dumbest Moments in Business." 24 X 20, oil.

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Editorial Gerard DuBois, illustrator Etienne Gilfillan, art director Fortean Times, client Illustration for "Edgar Cayce, The Man from Atlantis." 6 3 /4 X 9'/2, acrylic and collage. 2 Curtis Parker, illustrator Sarah Hollander, art director Mortgage Banking, client "Big Apple's Rebuilding," article on rebuilding New York City after 9/11 . 10 X 13, acrylic and pen on canvas. 3 Gary Kelley, illustrator Jennifer Procopio, art director Geraldine Hessler, design director Entertainment Weekly, client Illustration of Chicago's Catherine Zeta Jones and Renee Zellweger for EW contents page. Pastel.

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For Sale Francis livingston, illustrator Arcadia Gallery, client

West of Fulton. 40 X 60, oil on panel. 2 (series) Kristian Olson, illustrator/designer Series of five images from the "Secret Satellite," a bimonthly series of limited-edition prints dealing with contemporary socioeconomic issues. 7 7 /8 X 12'/2, digital art, Gielee prints.

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For Sale Gregory Nemec, illustrator Jordin Isip/Rodger Stevens, art directors The Time Between 1:30 pm and 2:15 pm, painting for a collaborative group show. 10 X 8, acrylic on Masonite. 2 Richard Laurent, illustrator Laurent Design, Flying Coffin Press, design firm The Romantic (Via Verdi), limited-edition print from a series of paintings of Italian cities. 20 X 16, oil on canvas. 3 (series) David Bowers, illustrator Series of three images from "Ladies & Eggs": The Rainbow Catcher, 20 X 22, oil on panel; The Hummingbird Trainer, 17 X 21, oil on panel; Bird Keeper 1/, 18 X 23, oil on panel.

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For Sale Richard Borge, illustrator Richard Borge Studio, design firm Memory Desire, personal piece for exhibition.

13 X 14, mixed media of sculpture, paint and photography. Giclee print with archival inks on watercolor paper. 2 (series) Nicholas Wilton, illustrator Series of three botanical compositions celebrating the inherent wisdom in nature. Various sizes, acrylic on wood. 3 James Bennett, illustrator

When to Fold 'Em. 24 X 36, oil on wood. Giclee print. 4 Francis Livingston, illustrator Arcadia Gallery, client

Golden Fa9ade. 48 X 48, oil on panel.

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For Sale Glenn Harrington, illustrator Eleanor Ettinger Gallery, client Portrait of a Dancer, exhibition painting. 15 X 20, oil on linen . 2 Dan Santat, illustrator Every Picture Tells A Story, client My Uncle Makes the Coolest Toys . 12 X 16, acrylic and ink on illustration board . 3 Patrick Milbourn, illustrator The Piano Player, one from a series of entertainment images for sale. 34 X 46, oil on canvas .

Institutional 4 Michael Gibbs, illustrator James LangteauxlJohn Patrick Wright, art directors Regent University, client Promotional brochure for the University theater program that emphasizes how theater can bring fulfillment to actors and the audience. lO X 10, mixed media.

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Insti tutional (series) Rafal Olbinski, illustrator Rafal Olbinski/Jerzy Starak, art directors Lech Majewski, designer Herbapol, client Series of five images for Herbapol calendar. 20 X 30, acrylic on canvas . 2 Joe Ciardiello, illustrator Faith Matorin, art director Major League Baseball, client Conference Calls, for Major League Baseball championship program . 8 9 116 X 11 5 /8, pen, ink and watercolor.

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Insti tutional (series) Warren Chang, illustrator Maura Hurley, art director California Council for the Humanities, client This was a series of three paintings documenting farmworkers of Monterey County used for the California Council of Humanities (www.californiastories.org ). These images accompanied the California Stories projects such as ' Reading the Grapes of Wrath: Lettuce Machine, 28 X 20; Grancheras, 20 X 16; Strawberry Field, 24 X 30, oil on canvas. 2 Dick Krepel, illustrator Vivian Mize, art director Grant Collaborative Design, design firm This image was used for a brochure/booklet profiling Grant Collaborative Design's client, Steelcase Corp. The concept was to suggest the maze-like quality of many modern office buildings. 13 X 16'/2, collage and digital on watercolor paper.

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Insti tu tio nal (series) David Uhl, illustrator/art director Harley-Davidson, client Series of five images commissioned to celebrate the 100th anniversary of Harley-Davidson. A Model Champion, 48 X 24; Reflections, 64 X 48; The Enthusiast, 48 X 60; Milwaukee Morning, 48 X 24; Something Stinks, 40 X 30, oil on linen.

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Insti tutional (series) Barbara Hranilovich, illustrator Terri Haas.Wittmann, designer Haas.Wittmann Design, design firm Capital Area Humane Society, client Series of five images used on notecards and posters to raise money for a local humane society. Stuck, 5 X 7, gouache; Dalmations, 15 X 19, gouache; Stripes, 7 X 7'/4, gouache; Blue BaIJs, 10 X 7'/2, water-based oil; Spooky, 6'/2 X 5, gouache.

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Institutional Tim Zeltner, illustrator Thornton Medical Communications, client " Celebrations" seasonal greeting card. 12 X 16, acrylic on wood. 2 (series) Brad Holland, illustrator Gisela Heeb, art director IBM, client Five pictures painted for an IBM calendar: Cat & Mouse; Cat, Cat, Cat; Sing Song ; Alice in Computer/and; and Cyber Fisher. 17 X 17, acrylic on board .

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Institutional Jose Luis Merino, illustrator Daniel Ayuso, art director Carlos Serrat, writer Clase, design firm Pedro Garcia, client Image for the FalllWinter 2003 Pedro Garcia shoe catalog. 5 7/s X 4 3 /s, digital. 2 Gary Kelley, illustrator/art director Montage Restaurant, client Menu cover. 22 X 18, pastel on paper. 3 (series) Matthew Evans, illustrator Karen Handelman, art director Andrew Roth, creative director 501 creative, inc., design firm Humane Society of Missouri, client Series of three images for "Bark in the Park" mascot competition. 10 X 10, digital.

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Institutional (series) Michelle Chang, illustrator Matthew Ball, Rolling Stone, art director Rock and Roll Hall of Fame, client Series of five illustrations for the cover of the Rock and Roll Hall of Fame's 2003 induction concert program : AC/DC, The Police, Righteous Brothers, Elvis Costello & The Attractions, and The Clash . Various sizes, oil on board .

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Insti tutional Brad Holland, illustrator Anthon Beeke/Sacha Happee, art directors Le nouveau Salon des Cent, client Poster from an exhibition commemorating the anniversary of the death of Henri de Toulouse-Lautrec. 14 X 20, acrylic on board. 2 (series) Paul Davis, Paul Davis Studio, artist Mitsuo Katsui, art director Aya Terauchi, writer Eishi Kitazawa, editor Akiko Ishibashi/Mitsuo Katsui, designers Mitsuo Katsui/Aya Terauchi/Shoji Watanabe, creative directors Dai Nippon Printing Co., Ltd., executive creative director Dai Nippon Printing Co., Ltd.lDNP Media Create Kansai, ad agencies DNP Media Create Kansai/Mitsuo Katsui Design Office, design firms PanaHome Co., Ltd., client Five paintings of American landscapes used in a calendar distributed in Japan. Various sizes, acrylic on canvas.

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Institutional (series) Carlo Cosentino, illustrator Imagin' Art, ad agency Port of Montreal, client The mandate was to create a series of paintings on the Port of Montreal and the ships that navigate the St. Lawrence Seaway. Steel Symphony, 30 X 40; Winter Pause, 16 X 20; Final Journey (the St. Lawrence Seaway seen from Quebec City) 12 X 14, oil on canvas .

Self-Promotion Printed promotion for members of the graphic design industry such as illustrators, design firms, advertising agencies, printers, paper companies, art/design clubs and art schools. 2 Joe Ciardiello, illustrator Portrait for a postcard promotion. 10 1/2 X 13 5/8, pen, ink and watercolor. 3 Jack Unruh, illustratorlart directorlclient Garage sale poster. "Every two to three years, I have a garage sale of illustrations that I've decided not to keep. Some for very obvious reasons. Others that some might want to hang in their homes or offices. Prices are cheap and the event is a fun, goofy way to get all my friends together." 13 X 19, ink. 4 Mark Summers, illustrator Richard Solomon, client John Wycliff: Morning Star of the Reformation, used in a sourcebook ad. 7 X 9, engraving in scratchboard. 5 Douglas Smith, illustrator Richard Solomon, client In the Arcade for a sourcebook ad. 9 X 14, scratch board and watercolor.

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Self- Promotion (series) Jonathan Weiner, illustrator "The Transit Series is an evolving body of work that explores the vulnerability, anxiety and strange beauty of public transportation, with a particular focus on subways. This theme relates to a fundamental issue confronting humanity: the instability created by dramatic change. In essence, this series examines the dangerous nature of transition, of being caught exposed between two points." Used for ads and postcard mailers. Code-Name Canary, 30 X 17, oil on paper; Moral Dilemma, 18 X 20, oil on board; Measured Response, 19 X 20, oil on paper; Subterranean Benediction, 26 X 29, oil on paper. 2 Andrea Ventura, illustrator Richard Solomon, client

Joltin ' Joe used in a sourcebook ad . 13 X 18, mixed media.

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Self-Promotion Mike Benny, illustrator Bob Beyn, art director Seraphein Beyn, ad agency George Herman "Babe" Ruth poster. 17 X 25, acrylic on board. 2 Yvetta Fedorova, illustrator/art director 8 X 9, collage, gouache, cut outs and pencil. 3 Nathan Ota, illustrator Keri Rosebraugh, designer Jon Conrad/Nora Koerber/Amy Vangsgard, creative directors Society of Illustrators of Los Angeles, client Call for Entries for 2002. 28 X 22, acrylic and mixed media on wood. 4 (series) David Hollenbach, illustrator Series of images on love for promotional mailer. Various sizes, mixed media.

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Self-Promotion (series) P-Jay Fidler, illustrator Promotional series. Various sizes, mixed media. 2 Marc Burckhardt, Burckhardt Studio, Inc., illustrator Mark Murphy. Murphy Design Inc .• art director Fortran Publishing. client Illustration for OuterSpace calendar, distributed by Fortran, a printing company. 10 X 10, acrylic on wood. 3 Katherine Streeter, illustrator Postcard mailer. "Personal piece about courage. I used the fish in the water to represent the mystery of entering a new place. I wanted to convey the difference of two worlds; above and below the surface of the water. Whether peaceful or dangerous, it still takes courage to put your feet in ." 11 X 11, acrylic, pencil and collage.

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Self-Promotion Jim Burke, illustrator Art Bascomb/Cindy O'Neill, art directors Andrew Kner, designer RIS Paper Company, client Promotional poster The Paperboy commissioned by RIS Paper Company. 10 X 13, oil on board. 2 Chad Otis, illustrator/art director/designer Portrait of Olive in the style of vintage European food posters. 30 X 38, digital. 3 Daniel Adel, illustrator Jim Burke, art director Dellas Graphics, client 16 X 20, oil. 4 John Collier, illustrator Richard Solomon, client Sourcebook ad . 18 X 24, oil. 5 Steven Rydberg, illustrator Lily of the Valley promotional poster. 11 X 15, oil on Masonite. 6 Nick Dewar, illustrator 9 X 12 1/2, acrylic on illustration board .

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Self-Promotion (series) P-Jay Fidler, illustrator Mark Murphy, designer Murphy Design Inc., publisher/client Series of two used for sourcebook, Heaven and Hell. 12 X 12, mixed media . 2 Peter de Seve, illustrator Chris Curry, designer Society of Illustrators, client Poster/mailer call for entries. 14 X 14, watercolor and ink on watercolor paper. 3 Michael Fink, illustrator/client Vin "The Lark" Mazzo first violinist. Direct mail. 8 X 14, ink and watercolor. 4 Ryan Wallace, illustrator Mark Murphy, art director Murphy Design Inc., publisher/client Sourcebook piece on the theme: Heaven and Hell. 50 X 25, mixed media on paper.

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Self- Promotion (series) Korin Faught, illustrator Rob Clayton/Robert Rodriguez, art directors Postcard mailer narrative series based on a story titled "Castlerock." 12 X 15, mixed media on panel. 2 Douglas Fraser, illustrator Sunny Buick, art director Alethia Morrison/Sasha Wingate, designers Last Gasp Publishing, design firm 111 Minna Gallery, client The image was part of a group show and catalog with the theme SciFi Western. The show was in San Francisco at the 111 Minna Gallery and the catalog was published by Last Gasp. 14 X 18, alkyds on Masonite. 3 Jean-Marie Benoit, illustrator/art director/client

Across the At/antic, postcard mailer. 81f2 X 11, acrylic. 4 John Mattos, illustrator Kit Hinrichs, art director/designer Pentagram, design firm Potlatch Corporation, client Portrait of J .P. Morgan for promotion on money. 9 X 12, Adobe Illustrator.

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Self- Promotion Scott laumann, illustrator Sam Scali, designer Gerald & Cullen Rapp, client Portrait of Jimmy Carter for sourcebook ad. 10 X 12, mixed media on board. 2 Christian Northeast, illustrator

Swimming pool used as a postcard promotion. 10 X 8, acrylic on Masonite. 3 (series) Benoit Duquette, illustrator/ art director/designer/client Series of three images for promotion sheet. Various sizes, watercolor. 4 John Viljoen , illustrator

Gordon. This is a portrait to commemorate Mr. Gordon Cheesbrough's term as the Head of the Board of Governors at Upper Canada College in Toronto, Canada. 36 X 48, oil on canvas.

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Self-Promotion Olaf Hajek, illustrator/art director Self-promotion postcard. 7 1/4 X 10, acrylic on cardboard. 2 James Bentley, illustrator/art director/client Akiko Nakamachi, designer

Champions, illustration for the artist's Web site. 11 X 17, mixed media. 3 John D. Dawson, illustrator Richard Solomon, client Sourcebook ad. 9 3 /4 X 13 112, acrylic. 4 Gary Kelley, illustrator Jim Burke, art director Dellas Graphics, client "Frog" promotional calendar for a printer. 12 X 16, monotype. 5 Joe Ciardiello, illustrator Christy Brand, art director Maria Wenzel, designer Kit Hinrichs, creative director Pentagram, design firm @ Issue/Sappi Papers, clients

Portrait of Dean Dipak Jain for @ Issue: Journal of Business and Design. 7 3/4 X 11 1/8, pen, ink and watercolor. 6 Bob Dob, illustrator

2 Direct-mail postcard. 12 X 16, oil on panel.

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Unpublished (series) Gary Baseman, illustrator

I am your Pinata , series of five. Various sizes, acrylic on canvas or wood panel.

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Unpublished Jim Burke, illustrator "Portrait of a fellow, 'Gerard: who plays guitar at my subway stop-Bedford, in Williamsburg, Brooklyn, New York." 24 X 36, oil on linen.

© 2003 Jim Burke 2 Lynn Whipple, illustrator 12 X 15, mixed media, including found image, muslin, beeswax, hand stitching with black thread, pastel, collage, found objects, acrylic paint and pencil. © 2003 Lynn Whipple 3 Rob Day, illustrator Portfolio illustration. 10 X 7, oil on paper, digital. © 2003 Rob Day 4 Colin Johnson, Colin Johnson Illustration, illustrator

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2 Nanette Biers, illustrator Shelley Cinnamon, art director Harlequin Enterprises, client Unpublished book cover. 22 X 28, oil on canvas . © 2003 Nanette Biers 3 Michael Gibbs, illustrator "Commissioned for an exhibition by the Montgomery College School of Communication. Participating artists were to illustrate their first art teacher. Mine was my father, symbolized by the large, painted shoes." 22 X 12, mixed media.

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Unpublished (series) Jerry Kalback, illustrator Series of five: Thelonius Monk, 8 X 11; Henry Kissinger, 7 X 11; Ronald Reagan, 8 X 11; Count Basie, 7 1/4 X 11; Luciano Pavarotti, 7 1/4 X 11 , acrylic.

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Unpublished Dan Cosgrove, illustrator/art director Cosgrove Design, client Portfolio piece. 9 X 12 1/2, digital.

© 2003 Dan Cosgrove 2 Ryan Jacob Smith, illustrator Portrait of Chloe Sevigny. 8 X 11 112, mixed media. © 2003 Ryan Jacob Smith 3 Natalie Ascencios, illustrator The Algonquin Hotel, client The Algonquin Hotel lobby painting. 67 X 36, oil on canvas.

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Cougar. Cuts through. WHATEVER SPECIAL TECHNIQUE YOUR CONCEPT CALLS FOR, FROM DIE-CUTTING TO DEBOSSING, COUGAR OPAQUE CAN HANDLE IT. BEST OF ALL, COUGAR GIVES YOU SUPERIOR QUALITY AND PERFORMANCE WITHOUT HIGH COSTS. SO YOU NEVER HAVE TO COMPROM ISE YOUR DESIGN BECAUSE OF A TIGHT BUDGET. TO FIND OUT MORE, VISIT WWW.COUGAROPAQUE.COM .

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Editor's Column By PATRICK COYNE fter last year's surprising jump in entries, the continuing economic slump finally caught up to the Illustration Annual, and we saw entries drop to just below 6,000. That said, we still had an excellent show. "I was impressed with the overall quality of so much of the work," said juror and illustrator Teresa Fasolino. "I was not, however, surprised by the number of self-promotion and uncommissioned pieces as it is a trying time for illustrators. Artists will continue to produce work with or without commissions.

"I believe that young art directors and designers need to learn more about the proud history of illustration while they are still in school, so they can appreciate what an underused resource illustration has become today. Illustration has been a mirror of its time and even set the standard of beauty for certain periods in the past. But today things are so different. Artists must be much more entrepreneurial and proactive than ever before-just to survive." Juror Robert Parsons, art director of Boston magazine, also noted the difficult climate, but was optimistic about the future. "I know that overall prices paid for editorial illustration is down, often times lower than it was a decade ago, " he said. "This won't last forever. Illustration is much too powerful of a solution for editorial product for the low pricing to be sustained. Even though I enjoy the benefits of low prices for my own budget, if the cost goes up, I won't shy away from using illustration. " When asked about his overall impressions, juror Lynn Fredericksen, an art director at The Richards Group ad agency, commented, "I think illustration is moving in a lot of different directions simultaneously, which makes it particularly interesting right now. "

Parsons found that many of the younger illustrators were trying too hard to find their own unique "look," and in doing so seemed to sacrifice the overall beauty or attractiveness of the art and the message it was trying to convey. "It was disappointing to see someone rip off a Gary Baseman, push the themes even further, and then lose what was beautiful about the original in the process. " This year's jurying began on Sunday morning, April 6th. We worked in two large conference halls, each equipped with a projector for slide entries and six rows of tables for tear sheets and proofs. The jurors worked in two groups of three with Jean Coyne acting as the sixth judge during the screening. All but the smallest categories had been divided so each team screened half of the entries submitted. The judges alternated between viewing a carousel of slides and then a set-up of print entries. Any juror could place an illustration in the finals by handing a printed piece to a member of the CA crew. Slide entries were screened by checking the "in" or "out" column on prepared scoring sheets. The final voting took place on Monday with all five jurors working together. Print entries were again spread out on the tables. Two paper cups, one white for "in," the other red for "out," with slots cut in the bottom, were placed upside down to the right of the pieces. The jurors voted by putting a different colored tile into the bottom of the appropriate cup. The different colored tiles allowed us to make sure that every entry was voted on by every judge. Finalists submitted on slides were again voted on by each juror checking "in" or "out" on scoring sheets. A simple majority was required for acceptance.

COM M U N I CAT ION

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Editor's Column

I would like to thank each of the judges for their conscientious efforts in selecting our 44th Annual Exhibition. Vaughn Andrews is executive art director at Harcourt

Trade Publishers in San Diego, California, where he has worked for more than twenty years. Originally trained as a fine artist and art educator, he eventually began working as a freelance illustrator and designer. He has had a lengthy affiliation with the Illustration Department at the Art Center College of Design in Pasadena, California, and has served on numerous illustration and design juries.

Robert Parsons

Carol Porter-Esmailpour

Teresa Fasolino lives and works in her Gramercy Park

studio in New York City, adjacent to the School of Visual Arts, her alma mater, where she presently teaches a course on the principles of illustration. Her paintings have been exhibited at major New York art galleries and are included in the permanent collection of the Society of Illustrators, the Smithsonian and the collections of Nabisco and Grand Union, as well as private collectors. Lynn Fredericksen has been an art director at The

Richards Group in Dallas, Texas, since joining the agency in 1997. Fredericksen graduated from the University of Memphis

in 1988, eager to find a job as an advertising copywriter. But agencies who saw his student portfolio were more impressed with his layouts than his headlines, and offered him art

Teresa Fasolino

director positions instead. Lynn switched disciplines and joined Thompson and Company in Memphis. Prior to The Richards Group, he worked at Ogilvy & Mather, WB. Doner and Bates Southwest. Robert Parsons majored in English when he went to the

University of New Hampshire, intending to become a newspaper or magazine writer, but when those jobs turned out to be few and far between, he took a detour into magazine design. Parsons has served as associate art director at Natural Health magazine, assistant art director at Cook's Illustrated, and design director at the Boston-based national music publication Lollipop magazine. He has been art director at Boston magazine for three years. Carol Porter-Esmailpour is a staff art director! graphic

designer at the Washington Post. Ms. Porter-Esmailpour began her early art and design training at The Corcoran Gallery's Saturday classes, Howard University and completed her B.F.A. degree in Advertising Graphics at Moore College of Art in Philadelphia. Prior to the Post, she worked for WBBM-TV2, Needham, Harper & Steers and Ketchum Communications. She has been accepted to the Independent Study program at Syracuse University where she will pursue an M.A. in Illustration. _ 150

ILL U S T RAT ION

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Vaughn Andrews

Lynn Frederickson

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:RRY ALLEN ~ . 170

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RICHARD BORGE pg. 133

MARC BURCKHARDT pg. 844-845

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SUSAN/ALLEN CRAWFORD pg. 148

ANDREW DAVIDSON pg.165

:TER DE sEvE }. 848-849

DAN FELL pg. 242

LINDA FENNIMORE pg.227

DAVID HOLLENBACH pg. 86

KIM JOHNSON pg. 527

ANITA KUNZ pg. 645

TERENCE LAWLOR pg. 247

GREGORY MAN CHESS pg. 592-593

OCO MASUDA g. 847

RAFAL OLBINSKI pg. 176

ZACHARY PULLEN pg. 218-219

FRANCESCO SANTALUCIA pg. 756

BRIAN STAUFFER pg. 272-273

GARYTAXALI pg.648

JO TRONC pg. 285

NICHOLAS WILTON pg.141

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Contributors Columns John Bielenberg , since 1991, has produced an ongoing series of projects under the

lance marketing company in

earliest and most significant

San Jose, California , called Get

creative influence. So far, have

worked for 25 years as an

Rich Quick. He co-wrote Design

had 8 ads appear in CA

advertising art director before

Issues with John Bielenberg,

Advertising Annual and 29 in

making the transitions to graphic

edited by DK Holland .

The One Show (including a One

design, where he is a principal

Show Pencil). plus numerous

in The Black Point Group, and

Leonard D. Duboff is

wins at Cannes and The Clios ."

then to writing . He wrote a

the author of The Art Business

AI is VP group creative director

software review for the

Encyclopedia, The Law (in Plain

at BBDO Atlanta . He wrote an

REsources column.

English ®) for Photographers and

OpinionlCommentary piece .

pseudonym Virtual Telemetrix, Inc. that addresses issues related to the practice of graphic design and Corporate America . Projects have included the Quantitative Summary of

The Performing Arts Business

Integrated Global BrandStrategy

booklet and video produced for the 1998 AlGA Brandesign Conference, the 1997 Virtual

Press. He wrote the Legal Affairs column, edited by

Kennedy in Portland, Oregon .

Tad Crawford .

He graduated from one of the

Telemetrix Annual Report satire

ad schools in 1992. Since then,

of corporate branding and "ceci

Barbara Gordon, an artist

he's created ads for everything

n'est pas un catalog," which

and photographer representative

from Monster.com to Nike to

parodies designer products and

since 1969, is a past president

Mothers Against Drunk Driving.

the American consumer econ-

of the Society of Photographers

He wrote the Advertising

omy. The San Francisco Museum

and Artists Representatives

column, edited by Ernie Schenck.

the recipient of a Rockefeller Foundation residency in Bellagio, Italy, a LEF Foundation award , a National Endowment for the Arts grant, and numerous art and design awards . Her photographs have been exhibited in the United States and in Europe . Richmond is the author of Design & Technology: Erasing

of Modern Art acquired six of

and a member of the Society

the VT projects and staged an

of Illustrators and the Graphic

Kathleen Maher works

exhibition and mock IPO (Initial

Artists Guild, and also the

for Jon Peddie and Associates

column, Design Culture, has

the Boundaries and her regular

author of two books: Oppor-

of Tiburon, California . JPA is a

appeared in CA since 1983.

July to October 2000. In addi-

tunities in Commercial Art and

consulting and research firm

She has served on the AlGA

tion, John was recently nomi-

Graphic Design (Vgm Career

specializing in graphics and

national board of directors, and

nated to the AlGA National

Public Offering) that ran from

Horizons) and How to Sell Your

multimedia . As a freelance

is a lecturer on Education at

Board of Directors, teaches at

Art and Photography (Writers

writer, Maher has contributed

Harvard Graduate School of

California College of Arts and

Education .

Digest Books). She heads her

to many publications including

Crafts in San Francisco and has

own firm, Barbara Gordon

Communication Arts, Software

written articles on design for

Associates, in New York City,

Development Magazine and 3D

CA and Critique. John recently

and she has written on freelance

co-founded C2, a creative capi-

issues for CA since 1982.

Book Reviews

Design . She wrote a software

review for the REsources column in this issue .

tal company, in San Francisco

Angelynn Grant is a Boston-based graphic designer, writer and educator. She has

with Greg Galle and Erik Cox to

AI Jackson: "Age 38. Born

help companies tell better sto-

and raised in Carmel, California .

Sam McMillan is a San

taught at Rhode Island School

ries. He wrote the Design Issues

Graduated from Pepperdine

Francisco Bay Area-based

of Design, the Art Institute of

column with Rich Binell, edited

University in Malibu . Former

writer, teacher and producer of

Boston, Simmons College and

by DK Holland.

rapperldj in L.A. during the late

interactive multimedia projects

MIT. Her freelance work ranges

'80s, with Warner Brothersl

for a number of local produc-

from compact discs to Web site

Rhino national release of singles

tion houses. He wrote two book

design. In addition, Angelynn is

man, a marketing iconoclast

'I Like It' and 'Get Into My

reviews and contributed to the

the host of a jazz program on

and a dad, who plans to spend

Groove' under the name 'Kid

REsources column .

MIT radio, WMBR.

Gary W. Priester is a

Mara Zebest Nathanson

Rich Binell is a fly fisher-

the second half of his life fig-

Solo.' Songs bombed, so had

uring out how to make the first

to find a day job ... Flew over-

of these three passions support

seas and became a copywriter

graphic designer, author and

is a graphic designer and author

the other two . He was lucky

at Ogilvy & Mather Bangkok

journalist in Placitas, New

living in Sacramento, California.

(utilizing my ability to speak Thai

Mexico. He is the author of

She is a contributing author as

Looking Good in Color, Ventana

well as technical editor for the

enough to start his career at a

154

Wendy Richmond is Dylan Lee is currently writing copy for Wieden +

Encyclopedia -all from Allworth

OsbornelMcGraw Hill. Priester

legendary place called Altman

from my Thai mom). then on to

& Manley, spent 40 dog-years

Ogilvy & Mather Singapore,

Press, and co-author of

Inside Photoshop book series

at Apple, and now runs a free-

working under Neil French, my

CorelDRAW Studio Techniques,

(New Riders Publishing) .

ILL U S T RAT ION

ANN U A L

2 0 0

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Letters to the Editor March/April Cover

Punctuation Abuse!

writing. Sometimes the magic ad just

I loved the March/April cover!! As a

I stopped dead in my tracks when I

seems to materialize on screen. When

Brazilian designer working in the USA, I always believed in our talent!

came across the Cramer-Krasselt/ Phoenix feature for Scottsdale Flyfishing

it happens it's pure writer's high. The challenge is to find a way to flip that

Thank you so much for showing it!

in the Exhibit section of the March/

subconscious auto-pilot switch at will.

April issue. Not once, but twice in JUNIA PARODI SENIOR WEB DESIGNER TERRA NETWORKS MIAMI, FLORIDA

Letters to the Editor I wanted to respond to a letter [po 12] in your March/April issue. The letter was written by Larry Johnson. What was he thinking? My guess is that Larry is one of those young, trendy, ad

sized quotation marks, in place of

can too.

inch marks, attempting to denote measurements.

SENIOR COPYWRITER

My horror was not so much at CramerKrasselt/Phoenix for this shocking

abuse. Has proper typography gone out the window? It is more important than ever that we

is all about visual solutions. Advertising is NOT about shooting a pretty picture and writing a clever tag line-as

uphold the highest standards for design excellence in this time when so many mistakenly believe that being a graphic

seen in too many ads these days. Get

designer means simply owning certain

a grip young lad, you have much to learn. God help you (and us) if you are

hard- and software. Anyone reading this who doesn't know the difference between inch and quotation marks should immediately read

PERL MACDOUGALL

The Mac is not a Typewriter by Robin Williams.

DETROIT, MICHIGAN

Details Details

JENN DAVID

As a longtime reader and subscriber to

PRINCIPAL

CA, I was disappointed to see the

J ENN DAVID DESIGN

Scottsdale Flyfishing piece prominently displayed in your "Exhibit" section of the March/April issue [po 126]. I'm surprised to see a piece of work

GREG ARENS

N ELSON DESIGN & ADVERTISI

BRAINERD , MINNESOTA

faux pas, but more so at Communication Arts for promoting blatant punctuation

school types who believes advertising

a copywriter.

SAN FRANCISCO, CALIFORNIA

Editor's note: Those new prescription glasses haven't been delivered yet. Apologies to all our readers for our grievous error.

that uses quotation marks in place of inch marks in such a highly-regarded

Archaeologist Schenck

Again, Ernie has spoken straight-talk about how creative work "happens" in his article, "Mummies, Lost Arks and Long Copy Ads." Ernie talks about unearthing ideas like an archceologist. And again, I have to agree wholeheartedly that ideas are usually unearthed, whether consciously or not. Essentially, nothing is new; it's a recycling of ideas that subconsciously floats around in our heads. So, since most ideas aren't really new, just a remix on something you've seen/ heard/noticed, can you really claim that any idea is truly "yours?" Especially when you want to use a unique idea you've seen in a design book, and tweak it, can you feel like the inventive genius? I guess this is an ethical question more than anything else; I would like to know Ernie's thoughts on this. YAEL MILLER PACKAGE DESIGNER MONSEY, NEW YORK

design magazine. How does an ad with

Just read Ernie Schenck's Advertising

Ernie responds: In the end, creativity

such a glaring typographical goof qualify to be featured in a section that

article [March/April, p. 134] about "discovering" stories vs. creating them.

isn't about making something out of

purports to "feature a selection of innovative work"?

Right on. As a copywriter by day and screenwriter by night, I get what Ernie's

connections between seemingly disparate things, words, images, thoughts or what-

I expect better from CA.

saying. When it's after midnight, and

ever. So in that sense, if the connection I

JAN ET LITTLE

my screenplay takes itself on a journey to places and faces I didn't know

make is new and different, then yes, it's

existed-man, it's as if I'm hanging on

But the combination is. There's nothing

for the ride. Same thing with copy-

unethical in that. I don 't think this is the

JANET LITTLE DESIGN & PHOTOGRAPHY ANNAPOLIS, MARYLAND

156

the featured piece were grossly over-

Steven King and James Lee Burke found their switches, and the rest of us

ILL U S T RAT ION

ANN U A L

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nothing. It's about creating unique

mine. The things I've connected aren't.

same thought as seeing a great ad and, as the reader puts it, tweaking it. Tweaking is not the same as connecting. When you tweak something, all you're doing is consciously rejiggering an innovative connection that someone else, not you, has aLready made. Big difference.

you already have two issues for those. (Hey, there's an idea! When's your "Copywriting Annual" going to debut?!?)

In-House Design

COPYWRITER

If Juliette Borda would like, I can forward a photo of myself so she can finish her illustration. :-) ROGER REBETSKY

I enjoyed your piece on Fossil Design [March/April, p. 84], but more importantly I appreciate the fact that you are taking an interest in in-house design.

TANEYTOWN, MARYLAND

P.S. Love the magazine, always have, because you can read the copy in the reproductions.

Thank you for acknowledging a large segment of your audience. I hope this is a trend that you'll continue-maybe even a column or two on issues facing

Editor's note: Did we negLect to mention that the creative director depicted started as a copywriter?

corporate design departments? A

DY EpSTEIN

CREATIVE DIRECTOR GUND, INC. EDISON, NEW JERSEY

Cover Art Am I the only one who noticed that the cover art on the May/June issue by Juliette Borda shows the client as a pinhead only slightly larger than "cool desk accessories"?

Bad Judgment I would like to comment on the Corbis advertisement on page seven [May/June], with the woman and child feeding. I understand we are all human and it's natural, but I don't think I needed to see it at work in a print ad. There are millions of bold images to make a statement with . I just don't think this was the appropriate one. HEIDI VELDBOOM

The art director, by contrast, is represented on a monumental scale, like Mt. Rushmore! LI

DA COOPER BOWEN

NEW YORK , NEW YORK

The mail lady just tossed the May/June issue on my stoop. She must have known something was up, because she normally knocks on my door and hands it to me, since it won't fit in the mailbox. And then there it was: No copywriter on your clever cover. The messenger, yes. Cool desk accessories even. But no one to provide the words. I suppose you could argue that there were no Web designers or production types, either. But c'mon! Without words, you're left with photography or illustration. And

MINNEAPOLIS, MINNESOTA

Your Design and Advertising annuals are predictable. Those big-shot committees you hire to choose the featured annual stuff, they're too mainstream and commercial oriented to have anything interesting to say. Hmmm .. . MINI Cooper advertising ... duh ... so predictable. So self-congratulatory. On the flip side, I like your "design on a budget" (or shoestring) articles. Doing neat things with 2-color printing, etc. You gotta do more of that because I've always been on a budget. Nice to see that someone else finally is. Hopefully the economy will teach designers a lesson: over-the-top and wasteful packaging and hipster style aren't the only way to go. I mean, c'mon ... be relevant. I can't afford to subscribe to a design magazine that says nothing to me and doesn't give me ideas or info I can use. Let's see some real innovation that's not so superclever it has to alienate real people and achieve important goals in a more direct way. MARK VAN SLYKE ONE DESIGNER NOT WORKING AT A HIP DESIGN FIRM PEOPLED WITH LOTS OF BLONDES OR BABES AND GUYS WITH GOATEES AND COOL

Land Rover Ads Are Not Good Design I have to take issue with your staff of big-shot designer types choosing ads for yuppie products as examples of cutting-edge design. Your magazine, which I have been a subscriber to since I could finally afford it a couple years ago (elitist?) is running the risk of becoming severely irrelevant nowadays.

GLASSES SAN FRANCISCO, CALIFORNIA

Address correspondence to: Letters to the Editor, no Constitution Drive, MenLo Park, CaLifornia 94025 or e-maiL Letters@commarts.com. We reserve the right to publish Letters and to edit for clarity and Length. PLease include a signature, address and phone number. Anonymous Letters will not be published.

You should take a stand and make some political choices. Stop rewarding the products featured in ads, regardless of the designer and how supposedly clever the design is. That's just being lazy. COM M U N I CAT ION

ART S

157

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•

Chad Ho'der

Location: Minneapolis, Minnesota . Duration: Been shooting all my life; born in San Diego and still like to work there from time to time; lived in England, Israel and Hawaii . Perhaps this is why I fell in love with the medium - so many wonderful places .... Staff: I am my only official "employee," but there is a core group of support personnel, two to four people with whom I generally collaborate on production . .Education: B.FA in photography from Brigham Young University. Cultural Influences: The beauty and grace which is inherent quite naturally in all things . I adore that thrill of being in a new place and seeing something for the first time; I love revisiting the familiar and finding something brand new there . I love when someone dear to me laughs out loud.

Environment: Physically and idea lly, a fantastic location most anywhere in the world; mentally and spiritually, a calm and collaborative community united in the common goal of executing the visual. Philosophy: Collaboration is necessary. An idea is sacred. Each location has a spirit, a feeling, or maybe just a portion of itself, to give as a gift. When I tap into that and allow my eyes to see it and the camera to capture it, then I feel successful. Taking photographs is totally natural for me, so I see the next step as being able to visually translate ideas and concepts onto film .

164

ILL U S T RAT ION

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1. Black Audi, Minneapolis, Minnesota. Personal. 2. Lagos, Portugal. Personal. 3 . "Great Lake. Splendid House" for Dwell magazine. Shawn Hazen, designer; Maren Levinson, photo editor; Jeanette Hodge Abbink, creative director. 4 . "Great Lake. Splendid House" for Dwell magazine. Portrait of the architect Emanuela Frattini Magnusson. Shawn Hazen, designer; Maren Levinson, photo editor; Jeanette Hodge Abbink, creative director. 5 . Pontlevoy, France, outtake photograph . Richard Boynton, designer; Richard Boyntonl Scott Thares, creative directors; L'Abbaye (or The European-American Center for International Education), client. 6 . Carlsbad, California. Personal. 7. Highway 101, California . Personal.

COM M U N I CAT ION

AR T S

165

Base Art Co.

Discover Public Art in Ohio

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Location: Columbus. Ohio . Duration: Six years . Staff: One full-time (me. Terry Rohrbach). plus trusty freelancers and office help . Education: B.S .. The Ohio State University. Columbus. Ohio . Cultural Influences: My loving wife. and three amazing sons . Music (what would I do without it!). Human genius - from Picasso to Stephen Hawking . Human kindness. Coffee. antique malls and Borders . Environment: The studio is in The Ripley House. a charming old house built in 1815 in Worthington. Ohio (North Columbus). Confederate General Ripley was born here ... could it be haunted? It's a friendly environment with an open door. people coming and going. and a never-ending stream of new music playing . Philosophy: I am in a continual state of striving to grow/improve as a designer. How can I stay current. maintain income and actually still want to do this for the next 30 years? This fuels my approach to each new project. Every project is an opportunity to learn something new. create something better. It actually might take the next 30 years to get where I want to be!

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ROSS KING au t h or of Brunelleschi's J)ome

+++++++++++++++++++

4. Promotional mailer for Integrated Building Solutions. "IBS wanted a low-cost promo that they could use to introduce their company. To offset an extremely low print run, we combined an inkjet poster, a photocopied letter, business cards and 2-color service cards, packaged in a static bag with a wraparound label." 5. Exhibition catalog-Riffe Gallery. "This 92-page catalog was produced for Connections, an exhibition of Ohio artists who have traveled abroad . Images of the artists' work were combined to form a 'globe' motif which was used in different variations on the front/back cover, and select interior pages . Spot UV, metallic inks, spiral -binding and various paper stocks all contributed to creating a memorable piece." Katie Popoff, editor. 6 . Rockumentary promotional poster for the Wexner Center for the Arts. 7. Book cover for Vintage Books. John Gall, art director; Kamil Vojnar, photographer. 8 . Book cover for Penguin Books. Roseanne Serra, art director; R. A. Hulton Archive/Gettyimages, cover painting. C O M M U N I CAT I O N

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Mehdi Saeedi

Location: I am from Iran and live north of Tehran. Duration: I began my artistic work for museums, exhibitions and magazines from 1997, and I have been working in my own workshop from 2000. Staff: Now one person works in my workshop . Education: I studied in Malek Ashtar School of Art and after that I graduated from a graphic design course at Cambridge University in England. Cultural Influences: Everybody lives and grows with his country's culture and must refer to it to gain a considerable development in art, but I did not pay any attention to it so that everyone who watched my artwork didn't find any connection between it and our culture. One of the main reasons was my studies and research at foreign graphic schools (Westernization) . They influenced my mind and methods in cultural aspects, but it's been two years that I'm researching and applying the local and folklore visual principles of my country-so that I succeeded to win the special award of the International Biennial of the Poster in Mexico.

Environment: I begin to work every morning in a relaxed environment, working in the workshop is so enjoyable that sometimes I stay working three or four hours after nightfall. Philosophy: In my posters, I try to use intelligible and interesting symbols. I use a special Persian typography as a visual character that is my own design .

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1. The Vigesimal Year of Manumission of Khoramshahr, 2002. Mehdi Saeedi, art director/designer/illustrator; Sepah Pasdaran, client. 27'/8 X 31 , offset print. 2. The 16th Fajer International Music Festival, 2001 . Asadolah Yonesi, art director; Mehdi Saeedi, designer/illustrator; Music Fajer, client. 27'/8 X 31, offset print. 3. The 18th Fajer International Music Festival, 2002 . Mehdi Saeedi, art director/designer/ illustrator; Music Fajer, client. 27'/2 X 39'/4, digital print.

4. The Fifth Persian Painting Biennial Islamic of Iran, 2002. Mehdi Saeedi, art director/designer/illustrator; Tehran Contemporary Arts Museum, client. 19 3/4 X 27112, offset print. 5. Iranian Look, 2002. Mehdi Saeedi, art director/designerlillustrator/photographer; Tehran Contemporary Arts Museum, client. 113/4 X 23112, offset print. 6 . The China Painting Exhibition, 2001. Mehdi Saeedi, art director/designer/ illustrator; Tehran Contemporary Arts Museum, client. 113/4 X 23'/2. offset print.

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How to Build a Grenade Given the choice between looking or reading, you'll look By RICH BIN ELL AND JOHN BIELENBERG

orporate brochures are difficult, frustrating and sometimes big and lucrative projects, so it pays to examine them, and revisit some techniques to do them well, by making them stronger and more compelling.

Usually, it goes like this: You kill yourself to layout, present, shoot, proof, print and deliver a lovely brochure, and then when you hand it to someone, they flip through it, usually from the back to the front, or worse-skipping to random pages. This is bad. It's even worse when you figure that people you don't hand it to will treat it with even less interest or respect. The point is, most people don't read brochures. Which means you can either give up on getting anything read, or you can take that as an assumption, and examine it.

You don't have to read this, OK? The reason most people don't read most business brochures in an organized fashion is that for the most part, they are given permission not to do so. Think about it. With most brochures, you can read it or look at the pictures. One-hundred percent of all people will look at the pictures first. They look at it to decide whether to really read it. If the pictures are interesting, or tell a story, they can distract from the message by giving people a reason to skip the headlines or words. And photos rarely tell a story with a beginning, a middle and an end. So the reader hops around, and may miss the message that you and your client want to communicate entirely.

do not educate designers in the strategic use of words.

What about look and feel? Yes, a lot has been said, and written in this very magazine about the importance of look and feel and logos and typography when it comes to corporate positioning and branding and, of course, all that needs to be reflected in any good brochure. But-and this is important-it's not the real job the designer has to do. The real job of a designer is to ask how design can be used as a tool to make the client's business work better. So any designer who begins a brochure project by scribbling a layout and indicating " [Headline goes here]" with a bunch of gray text, has missed a huge opportunity, maybe two. The first is the chance to join forces with a writer and the client to figure what the main and most compelling message of the brochure is. And the second is to use that kind of thinking to become a valuable business asset-a business consultant-to the client. Why? If you were on the other side of the table, which would you find more valuable, a designer primarily interested in look and feel-the corporate equivalent of a cosmetologist-or a professional who begins every project by asking, "How can this help you sell more, produce more leads or qualify more leads?" Most designers never make this leap to understanding the business function of the designer. They continue to believe that look and feel is the highest calling of their profession. It is not. Making design, and designed communications, serve the interests ofthe client's business is.

This is bad. Well, what if you took the choice away, and used only words throughout a brochure? They had better be interesting words, of course. Words can be very clear. And clarity gives them power. So if there are only words in a brochure, you have made it very hard to miss the message. But for many designers, designing a brochure or other communications vehicle without pictures or illustrations is blasphemy. It's just not what they teach you in design school. It's just not what wins awards. The other reason is that design schools, for the most part, 170

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Start here That said, the purpose of most brochures, especially those for service companies, is to differentiate your client's products and services from the competition, and to get the reader to do something. In most cases, that's to call, take a sales call, mail a postcard back or visit a Web site. Some way to say, ''I'm a potential customer. " If that's the endpoint, then what is the beginning? The most overlooked piece of real estate in the whole brochure-the front cover.

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Drew Struzan

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Mitchell Gray

Bob Zuba

Kevin Sprouls

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Ben Garvie

Clark Benson Tate

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Books/Storyboards

Comic Book Illustration

PhotographyProduct/Still Life

Digital. People/Environments

Jane Shasky

Jack Harris

John Taylor Dismukes

Jack Perno

Michael Voorhees

Map Illustration

Digital Illustration

Logos/Realism/3D

PhotographyBeauty/Fashion

PhotographyPeople/ Active Lifestyle

Rich Nelson

Tony Garcia

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Oil Paintings. Portraits

PhotographyContempo rary Lifesty le

Expressive Realism and Distortion

PhotographyConceptual

Scratch board + Digi tal

Alberto Ruiz

Tim Mantoani

James Caulfield

Steve Moors

Sandy Ostroff

Digital Stylized Illustration

PhotographyCelebrity/Sports/Action

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Edgy. Fractured Elegance

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Shane Zalvin

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Digital Collage Illustration

The highest purpose of a brochure's cover is to get the brochure opened. Unfortunately, the front cover of most brochures has a company logo, and some vacuous statemen t, like "Improving the performance of widgets." Which essentially says, ''I'm boring inside, you don't have to pay attention. You certainly don't have to read me." This is bad. Why? Because it has fallen into the trap of assuming that the reader or potential customer already cares. But what if they don't care? It is far more important to involve the potential customer by starting where their issue or headache is, and stating it, or by making a provocative statement that intrigues or otherwise compels the reader to pick it up and continue reading. The first job of the message of the brochure is to answer the question ''I'm the reader. Why should I care?"

It helps if they are written in easily-digested, plain English, with a sensible pacing, and not too many words on the page. It helps even more if they have a sense of humor.

Brochures are key for clients Working on a brochure allows the client and you to take a look at the big picture of a company and its products, to ask the big questions about its inner workings, and to attempt to deliver even bigger solutions than the client asked for. All of which requires that the designer not abdicate the role of helping the writer and the client to construct the business strategy that is the backbone of the brochure. Brochures are "the foot in the door" for many companies, a method of generating leads for salespeople, who will quickly let you know if the brochure works by using it up-and asking for reprints. Which is, in fact, probably the key method of measuring

The five-minute rule When you have no tangible product, and can't deliver a product demonstration inside the brochure, then it pays to tell a simple, powerful story. Better yet, a simple, powerful story that can be read and understood in five minutes or less. Why? First, because that's about all the time most people will give any brochure, even if it's for something they want to buy. People are busy. Second, because people want to be seduced emotionally, and the power of a good story-even a product story-can capture, build and hold a reader's interest until they get to the call to action. And a good call to action then, of course, takes them another step closer to a sale.

how well a brochure is working: How often does the client ask you to reprint it?

Brochures are key for designers All of this big thinking about brochures can bring you to question your assumptions about what most designers think of as "the gray stuff" on the page. The message. The product story. The sales challenge. It requires that you think like a writer. Or a client. In fact , creating really powerful brochures requires that most designers question their definition of design. If it has to do with "Can you notice the designer in the layouts, logos and typography they produce for a client?" then hasn't somebody forgotten whom we're trying to make famous?

Don't just make brochures. Make grenades The more powerful the presentation made in the brochure,

If it's "To use all available means in order to make the client, the product and the message into the hero," then you're essen-

the more likely that it will help make a sale, or generate a lead.

tially getting paid for business consulting.

Occasionally, this can work tremendously well.

And that's what a few designers , and writers-good ones at least-have known for years.

"The Grenade" is the name given by a former client to one particularly useful brochure because it told the client's story with so much impact and pass-around value that when it entered a room, everyone was affected. People walked it around saying, "Did you see this?" Grenades have drama. They get noticed. They get past assistants whose job is to throwaway brochures and junk mail.

The bottom line? It's a question of whether you see your contribution's value in terms of message or look and feel, as communications or as cosmetology. _ Editor's note: Bielenberg submitted a parody ofan annual report to the AlGA communciation graphics competition some years ago, caLLed Virtual Telemetrix. Not only did it get in, but the caption in the annual did not even reflect that anyone realized it was

They often start, or are built around the most dramatic statement about the product, the potential customer or the marketplace. 172

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bogus. Nu./fsaid. -DK Holland

Reevaluating: Looking Outward Part two of a two-part series By WENDY RICHMOND

o far, this millennium has witnessed one damn scary thing after another. I could recite the list but you've already seen it too many times: in the newspapers, in your head, in your sleep. It's especially frightening when you drop from a high altitude and find yourself landing on shaky ground. And that's what has happened to a lot of people in the profession of visual communication.

How are the circumstances in the world affecting us? Has war, globalization and a dismal economy altered our goals and ambitions? Are we, as a profession and as individuals, changing? I have been trying to get a sense of perspective. What do we want to hold on to? What scares us? What are we hoping for? Where should we be heading? I look for insights to these questions from many sources: friends and colleagues, articles, conferences and from you. In my January/February Design Culture column, I asked if you were reevaluating your lives and your work, and if you were redefining the meaning and measure of success. I've been gathering these pieces so that I can present a picture of our various forms of reevaluation. As I ponder all of this, I'm beginning to see three elements that are fundamental to people who have chosen, and are deeply committed to , visual communication as a profession. It is a triangle of basic needs: survival, creativity and participation.

1) Survival In my May/June Design Culture column "Reevaluating: Looking Inward," I quoted many respondents whose focus was survival. On the surface, survival meant paying the bills. But on a deeper level, people were talking about surviving as a design professional. It is debilitating to do work that does not take advantage of one's training and expertise. "The challenges have been replaced by clients who want imitations with a one-hour budget .... My brain power has been replaced by the 'Instant Layout' button on the computer. I find myself closer to considering a career change than ever before." (Wichita Falls, Texas)

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seeking security ... remaining with a company that doesn't necessarily appreciate, or more correctly, doesn't understand the value of design. My idea of success? Designing, being appreciated, valued." (location not provided) These difficult stories are widespread, and it is important to tell them and to hear them. They are personal responses, almost like journals, and as such they are real. These stories illuminate the need for change, and that leads to calls for action, both personal and public. In the past two issues of CA alone, there have been a number of articles focusing on the need for, and approaches to, change. In the May/June issue, Clement Mok's article "Designers: Time for a Change" addressed the low professional esteem, and describes an in-depth methodology to "articulate and organize our professional culture. " Much of the article addresses ways in which to effectively develop and present the value of our capabilities.

2) Creativity Some of these calls to action are downplaying the role of personal creativity, and this concerns me. At a time when we are talking about the design profession's definition and relevance, it may sound indulgent of me to argue for personal creativity. But at the heart of the responses I received was the love of being creative. Many of the quotes I included in the May/June issue were about the optimistic desire to return to their love of the creative aspects of design. Whether it's through classes, personal projects or pro-bono work, designers are seeking ways to keep in contact with their creativity. We must not take for granted the reasons that brought us into this field in the first place. Creative immersion is required nourishment in this profession. It is a deep part of our motivation, and without a true personal motivation as your foundation, how can you sustain or grow your work? If you are not addressing your own passions, how can you devote your full powers to your work?

"Imagine my shock when (my client) forwarded me a SPAM e-mail he got for $499 corporate Web sites! ... He seriously wanted to know why I couldn't do a $500 Web site for him. " (Apex, North Carolina)

Your personal creativity feeds your public work. Years ago an illustrator wrote to me and said, "Personal work increases the vocabulary ... the closer we get to our centers, the more we are alike. Dig down deep within yourself and the personal becomes universal. "

"The declining economy, combined with 9/II scared me into

And, as one designer from South Mrica stated, "I strongly

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Forget the eye candy. Introducing a new element of Design: Return on Creative. Design-real Designis not pretty. It's not vacuous visuals and cuteness at the expense of effectiveness. It's business. And it has one purpose: to produce results. As efficiently and profitably as possible. This approach to Design is called Return on Creative. And if it sounds good in theory, you should see it in practice. Where? Aquent. We've built a new kind of creative services company to maximize our clients' return on creative investments. How? Three ways. Aquent's Talent Agency, delivering precisely the right professionals to handle every type of project from brochures to Web sites to presentations. Aquent Solutions, keeping your marketing and creative processes working at peak efficiency. And Aquent's Marketing and Branding Technologies group, the first global consulting firm focused on meeting the unique IT challenges of marketing and creative departments. If you want to raise your Return on Creative, visit us online or call us today. And if you want to see pretty pictures, visit the Louvre.

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believe that if the passion for the game is there, the money

munication. Right after I read this article , I received an

will definitely follow that passion."

e-mail from a young Lebanese graduate in creative advertising. I realized that not only do we need to become more

3) Participation

sensitive to the messages that we are creating, we must also

Many of the responses I received conveyed a feeling of iso-

acknowledge how America itself is perceived. Sometimes

lation. There was a sense of retrenchment, a desire to retreat to a smaller context. The focus was more on individual

the positive message of a product or even a company is overruled when it comes from a nation that is despised.

stability and security, as opposed to the wider, external

Looking outward must include looking at ourselves from

sphere of community.

another part of the globe, not just as designers , but also as

As I was in the midst of receiving these responses, I attended

voting citizens. In many ways, the direction of our govern-

the AI GA Y conference in San Diego, and experienced the opposite impression. The conference theme was "proximity." The more I listened, the more relevant it became. It is

ment influences the direction of our profession. "What affects the region here, the region of the Middle East,

the natural tendency of a gathering to foster collaboration, to promote seeing beyond our limited spheres, to be look-

especially, the anti-American movement .... Lebanon is the

ing, in a word, outward. This felt like an antidote to the large number of cautious e-mails I received.

is not only the whole bad economical situation but also, and most 'modern' and open market in the region, and we, Lebanese people, drive American cars (Buicks ... etc.), while drinking Pepsi-Cola, and eating at one of the many

In this time when we are so concerned with (re)construct-

McDonald's branches, smoking Marlboros, etc.

ing the professional lives that we want, it may be more important than ever to gather, to be in closer proximity with

"But now, with that open absurd war, most Muslims are ban-

others in our field, and to participate in working on the profession of visual communication itself. Then, looking further outward, we can see ourselves as participants in a global network of professions and cultures. Designers have a community, and it is a precious one. Gathering at conferences, workshops, retreats or potluck suppers gives you a lot more than networking. It gives you a place to practice optimism. As Patrick Coyne said in a recent editorial, "Optimism validates our long-term motivation because it lets us see the future as positive and worthwhile."

ning American products. They didn't only srop eating American food and smoking American cigarettes. Yesterday morning a man even burnt his own American car. "And now you can imagine the effect this is having on Lebanese advertising agencies that have as clients all these American brands. Advertising business is not only dormant; it is in a coma. The price of billboard renting has even been divided by four and we still see some empty banners on our roads. No one dares to advertise. What happens when the product is afraid of addressing its consumers? ... many employees are being fired, and no new ones are hired. " (Beyrouth, Lebanon)

Petrula Vrontikis, one of the AlGA conference speakers, said, "Put yourself in a situation where people are making a difference. Find good company in every aspect of your life." Below are several of the specific questions that I posed in my JanuarylFebruary column. Q: Are the circumstances that the United

States has faced in the past year - economic downturn, terrorism and (at the time I am writing this column) an impending war-re-directing your decisions? Most responses came before and during the war in Iraq. They were primarily from American or western designers who approached this question from, quite naturally, their own geographical point of view. In her excellent MarchIApril Design Issues article, Carolyn McCarron spoke of the need for American design professionals to understand globalization and its effect on visual com176

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Q: Has the direction of the field of visual

communication itself changed? Many of the responses referred to the profession's leap into technology. "In 1983, I saw what was happening with computers in the publishing world .... I realized that I had better learn this new tool and learn it fast. I landed a job with a design firm that not only embraced the technology, they put their money into buying the latest, cutting-edge machines and provided in-depth training. " (Chicago, Illinois) To get a perspective on the ways in which the field is changing, it's worth taking a look at the early stages of personal computers, before designers were getting stock options and titles like Webmaster. Technology made the future clear. It was easy to see, even in the early 1980s, that computers were going to have a huge influence on design, and that it was imperative to become computer-literate.

It was not difficult to predict this direction, nor was it hard to prepare for it. The companies that were promoting technology made it easy. They wanted you to buy their products, so they supplied you with the necessary sales venues, conferences , promotions and manuals. Their job was to get you to adopt their "productivity tools. " They made contributions of equipment and software to schools to ensure that graduating students will continue to use (and buy) their products. Of course they were doing the same thing, on a much larger scale, for designers' clients. Everyone adopted computers as tools and as the delivery medium of choice. It was a winwin-win situation. Many say that the next endeavor for the field of visual communication is to address globalization. Unlike the technology companies, there is no clear specific industry that will benefit from designers becoming "globally-literate." We are accustomed to being taken on a step-by-step course by companies whose existence depends on selling their hardware and software. In whose interest-or expertise-is it now to provide the tools, training, conferences and employment that we need to become globally and culturally literate designers? This will be a lot more challenging, difficult and amorphous than learning to embrace and profit from new technology. Which leads me to the next question: Q: Are you taking classes, adding to your

skills?

more than preparatory: it must be a predictor of the future. What should the curriculum be now in order to support students for the future? The AlGA Y conference included an excellent panel, moderated by Susan Merritt, on design education. Terry Irwin, one of the speakers, set the stage when she asked, "Are we teaching students what they really need to know?" The panelists spoke of the need to prepare students for individual change, for collaboration and for incorporating a global perspective. Rob Peters, President of ICOGRADA, also a speaker at the conference, informed the audience about the Icograda Education Network, which "brings together the worldwide community of graphic design educational institutions." When lEN was inaugurated at a meeting in Brno, Czech Republic, in June 2002, it was attended by 73 delegates from 28 countries. (For more information, go to www. education.icograda.net)

We were reminded by another speaker that change also comes from the work that's done in the neighborhood: Visual Asylum's MaeLin Levine talked about the responsibility of the design community to bring in new blood, to be mentors, and to be patient with the process of educating young people.

Q: Are you reevaluating?

Most responses were, indeed, about skills . A designer from San Francisco says of her down time, "I have used the extra time to take classes (Flash, Dreamweaver)."

Back in January, when I wrote the column that asked if you were reevaluating, I said "We tend to reevaluate when something gets broken or falls apart. In the past year, lots of things have broken or fallen apart, globally, nationally and

However, some responses made me realize that the question needs to expand to the broader question of education.

locally. For some of us, things have broken personally as well, in many cases as a result of the larger circumstances."

''I've applied to go back to graduate school in order to learn more about ecological design and environmental studies so that I can begin to work in areas that will have more meaning and be of greater service. " (Mill Valley, California)

Based on the responses, the conferences, the conversations and the articles, it seems to me that we are moving past the stage oflamenting about the things that are broken, even past the stage of picking up the pieces. Maybe we're beginning to rearrange them and put them into a better place.

Many recent graduates are questioning the value of their education altogether. One respondent exhibited bitterness at the uselessness of his education. "I've been looking for work for 2.5 years .... the design and ad industry aren't very viable career options and certainly not a very good choice as a college major program .... I can honestly say that it would've been better had I not gone back to university to get my B.F.A. " (location not provided) Just as people in visual communication are undergoing intense personal reevaluation, so are design programs at colleges and universities. The curriculum for designers must be more than a mirror for the design profession. It has to be

Before the turn of this millennium, we had come to expect a huge financial bonanza and a steady source of high-profile employment. Escalating economic prosperity was a huge factor in directing many designers' decisions and goals. Perhaps the profession of visual communication no longer has the possibility of reaping such great monetary rewards . But it may have the rewards that we wanted in the first place: to be immersed in work where we are creative, effective, influential and recognized participants, not just in our profession, but in our world . • © 2003 W. Richmond

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The Selling Portfolio

(D ~

By BARBARA

GORDON

decided to discuss one of the basics this month because of the many phone calls I've been receiving from recent art school graduates wanting to become freelancers. So many of them make the assumption that because they graduated from top schools or were tops in their class, their futures are assured in freelancing. While a good education can be the foundation of one's career, graduation is just the beginning of many steps one will have to take to establish that successful career. The first foundation, and always the ongoing foundation, of any freelance career-your public signature-your portfolio- is your selling portfolio. I'd like to share with you, especially the newcomers to the field, some of the advice I've been giving to some of these young callers over the past few months. For purposes of discussion, this column will be about the portfolio for the general freelancer, not the specialist. By specialist I mean someone pursuing a specific area, i.e., fash-

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To start, I look at what other mass marketers for the freelance buying audience are doing to sell this audience. What are the specifics of the inventory they are selling? What kinds of situations are they promoting to that buying audience? Where do you find these mass marketers? One of the first sources that come to mind are many of the stock houses.

Right now I have several stock catalogs before me, let me cite just a few of the categories at random: "Big Business"corporate situations; "Families"-scenes of family life and activities; "Relationships"-couples of all ages and types; "Travel"-tourists and tourist areas; "Health and Medical"medical, health scenes and persons . .. etc. This is just a infinitesimal start of a very long list of subjects and situations, but this can give you an idea of some of the areas that your buying audience is interested in , as well as some ideas on casting.

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The basic selling portfolio, the one that everyone starts out with is the inventory of what you have to sell in the marketplace. In some ways it's like the windows in a retail store. You like what you see in the windows and you go into the store to browse further and perhaps to buy. The freelancer who specializes might be compared to the specialty store, i.e., shoe store, sporting goods, etc. But if you're a generalist, like the retail stores, you want to appeal to the widest possible buying audience out there. You want to show the greatest number of prospective buyers your range and ability to handle their assignments. How do you do that? What should be in your window? Let me discuss some ideas of how to determine this.

All of you are familiar with stock houses that sell existing photos or illustrations of particular subject matter on an inexpensive basis to some members of that buying audience. Stock pieces are not custom pieces designed for a specific client or product, so most of the stock houses want to sell those same images over and over to get the maximum profit. To generate multiple sales of the same image, their catalogs show the areas and subjects that their research indicates are used extensively. This enables them to generate resale after resale of the same photo or illustration. So if you're looking for some of the most popular subjects or situations to include in a selling portfolio, look at the stock catalogs for ideas.

Consumer Magazine Ads 1 (series)

ion, medical, technical, although much of what I'm going to say will apply to specialists as well, but on a narrower basis.

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Take On the World! Create A New Digital Imaging World! The Canon Digital Creators Contest challenges artists to push the boundaries of visual expression through digital imaging. Entries creatively communicate originality, novelty and expressiveness. In its fourth consecutive year hosted by Canon, the contest will showcase the artwork of the world's top digital creators.

( Entry Categories

Gold Award: US$20,OOO

Digital Photo(Print) Division -Photograph(s) captured with a digital camera; direct-print (unmodified) printout of a digitized photo(s); or printout of a digital camera image(s) that has been digitally modified.

Digital Graphics! Illustration (Print) Division -Printouts of computer-generated graphics, illustrations, etc.

Digital Movie Division---Modified and/or edited live-action digital movies shot with a digital video camcorder; or computer-graphics animated movies.

Web Division-----Web-based graphics or other images (interactive or noninteractive) viewable over the Internet using Internet Explorer 5.0 (or later versions) or Netscape Navigator 4.7 (or later versions) .

( Entry Period Monday, March 24-Thursday, September 4, 2003 All entries must be received by 5:00 pm local time on September 4, 2003 Fo r offi ci al contest rules , please visit www.canon .com/cdcc/

( Judges tomato (Creative Unit, UK). Kate Gibb (Printmaker), Katsura Moshino (Illustrator/Art Director). Hiroyuki Nakano (Director, Peacedelic Affilidation), Scott Ross (CEO, President, and Co-founder of Digital Domain, Inc.). Joshua Davis (Artist/Technologist) Contest Supervisor: Hiroshi Kashiwagi (Professor, Musashino Art University, Art and Design Critic)

Organized by: Canon Inc. Sponsored by: Adobe Systems Inc. / Adobe Systems Co., Ltd., Beretton G~ S.pA./ Beretton ~ Co., Ltd., Macromedia Inc. / Macromedia Japan K.K., Canon Sales Co., Inc. / Canon U.SA., Inc. / Canon Euopa N.V./ Canon Europe Ltd./ Canon (China) Co., Ltd. / Canon Singapore Pte. Ltd. / Canon Hongkong Co., Ltd. / Canon Austral ia Pty. Ltd.

( For inquries, contact: Canon Digital Creators Contest New York Secretariat E-mail : info-us@c-dcc.com Fax : 631-454-1814

Tel : 1-800-959-3631 URL : www.canon.com/ cdcc/

Support from : Computer Graphic Arts Society, Digital Content Association of Japan • All brand names are trademarks or registered trademarks of respective companies. Canon is a registered trademark of Canon Inc. Cl2003 Canon U.S.A., Inc.

Canon

Current television commercials, magazine ads, direct mail are also good sources of what that buying audience is looking for.

folio, but what about all of that experimental work? Do you forget it? No, keep developing that until you have a fullydeveloped portfolio in that area as well, and then slip some

For the publishing audience I often find the marketplace books {published by Writer's Digest Books)-the ones written for artists, photographers, designers-a good source

of this work into the selling portfolio for feedback as well as exposure. One other note, always keep a visual image of everything you do-gallery submissions, private commissions, etc. It takes a small effort and every now and then you can hit a big assignment with this work. I speak from broad experience.

because they list what they are looking for as well as how much they pay. For example, two large publishers say they are interested in freelancers who do "children, historical, multicultural & self-help. " These books are inexpensive and a good way to add to, as well as better target, your mailing lists. I have been talking about the general selling portfolio, which, unless you are a specialist, I believe all beginners should start out with. Primarily because it increases your odds of getting work, which every beginning freelancer needs. So, always keep your options open. All right, you're on your way to setting up your general port-

The bottom line in today's market is that the competition is large and sometimes fierce. Economically many of the markets we deal with have been less than expansive, and as I write this no one knows how the present military situation will affect the future. This is why it is imperative to have a versatile portfolio that appeals to the widest buying audience possible. There is nothing more discouraging than not getting any assignments, and sometimes what looks like a pedestrian assignment can be a major career turning point. Always aim for work. As to what portfolio to submit? If the request is specific"we need someone to do historical scenes," be specific and tailor your visuals, but you can add some experimental pieces too. If the request is general "we'll know it when we see it," I would submit a broad portfolio of style as well as subject matter; because often if you happen to have just one of the right subject matter or style, it usually encourages a call back. I can't write about portfolios without mentioning a very important fact, especially when sending an unsolicited portfolio-know the audience you're sending your work to. If your images are heavily oriented towards guns, motorcycles and battle scenes, I wouldn't send it to an account or publisher that deals with baby products. I hear complaints from art buyers and art directors about freelancers who do this sort of thing all of the time. Your buying audience is insulted by this.

The School for Deslgll, Art Direction, Writing, Advertising Art Direction, New Media, Photography and illustration 125 Bennett Street, Atlanta, Georgia 30309 www.portfoliocenter.com

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To sum up: start by setting up a selling portfolio; keep working on all aspects of your artistic talent; keep a visual record of all artistic endeavors, gallery, private assignments, experimentals. Try to know as much about your buying audience as possible in advance and tailor your visuals to that audience. Your portfolio is your store window. Make sure it reflects who you are as an artist. •

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Marks for IllustratorsTrademarks, That Is By LEONARD D. DuBoFF

he United States Supreme Court recently consid-

ered the constitutionality of the Sonny Bono Copyright Extension Act, which extended the term of copyright protection for an additional twenty years. The lobbying efforts in favor of the law were spearheaded by the Walt Disney Company since the period of copyright protection for Mickey Mouse was about to expire. It is for this reason that many commentators have referred to the legislation and the case that ultimately held that it was constitutional as a Mickey Mouse arrangement. Despite the fact that the copyright on Mickey Mouse was about to expire, the Walt Disney Company was not truly in jeopardy of losing control over the famous rodent. In fact, Mickey Mouse is protected by trademark laws, and a trademark may be protected forever. A registered trademark can be continuously renewed, and an unregistered trademark enjoys common-law protection for so long as the mark is properly in use. Illustrators, cartoonists, graphic designers and others involved in the communication arts who create characters can protect those characters under the copyright laws, as well as the trademark laws. Copyright protects the <esthetics of the work and prevents others from copying it, while the trademark laws protect the work when used to identify a product

federal statute. In addition, many states require that a trademark or service mark be registered before that mark can be protected under those states' laws. The federal statute, on the other hand, permits enforcement even without registration, though there are benefits for those who federally register a mark. These benefits include, among others, a presumption of the validity of a registered mark, the ability to use the federal registration symbol ® (establishing the presumption that an infringer knows s/he is infringing because of the registration symbol), and the notoriety that comes from having a mark on the Federal Principal Registry. Prior to 1996, the federal statute provided protection for trademarks and service marks only in the category within which the mark was being used and in any likely area of expansion. At that time, there were 34 international categories for goods and 8 categories of services. As a result of this limitation, General Motors could not protect its registered trademark Cadillac from being used in connection with dog food, despite the fact that it was clearly being used on the dog food for the purpose of implying that purchasers of the kibble would be obtaining the best-or Cadillac-of dog foods. Similarly, the manufacturer of the Lexus automobile could not prevent use of the mark Lexis as the name

or serVice.

of a legal research database, even though the two marks

Regardless of the business you are in, one of the most valuable assets you have is the name under which your business is conducted. That name may be protectable under the federal stature if the activity of your business is interstate or international, and may also be protectable in every state in which the activity is conducted.

sound alike.

The federal trademark law, known as the Lanham Act, protects the first user of any trademark or service mark-that is, a name, symbol, logo or any combination of these-from any subsequent use of a similar mark which sounds like, looks like or is confusingly similar to the protected mark in connection with similar goods or services or is used in any likely area of business expansion. The state statutes have comparable provisions, though their applications are geographically limited to state boundaries. Many states do, however, have remedies for unauthorized uses of trademarks and service marks that differ from the

It was argued by commentators that the problem with this type of use, known as dilution of the mark, was that the distinctive qualities of a protected mark may be blurred or tarnished by the unauthorized use, even though there is no direct competition by the other business using the mark. Blurring occurs when the association between the mark and its product is lessened, that is, the unique significance of the mark to identify and distinguish one source of that product is weakened. For example, if a restaurant opened in Manhattan called Nike, it could dilute the value of the famous running shoe and sportswear manufacturer's mark by blurring. A tarnishing use is one which is deemed by members of the public to be so distasteful as to tarnish the reputation of the owner of the famous mark. Prior to 1996, 25 states had adopted antidilution laws, whereby an unauthorized noncompetitive use of a protected COM M U N I CAT ION

ART S

183

trademark could give rise to claims under the state statute. The federal law remained silent on the subject, however,

• the degree of recognition of the mark in the trading areas

until Congress amended the Lanham Act by adding a provision that granted fomous trademarks the ability to prevent uses which, even though not competitive, would dilute the

person against whom the injunction is sought;

famous marks. Unfortunately, the Federal Trademark Dilu-

and channels of trade used by the mark's owner and the

• the nature and extent of use of the same or similar marks by third parties; and

tion Act (FTDA), which became effective January I, 1996, did not define "famous mark, " and the courts are continu-

• whether the mark was registered under the Act of March 3, 1881, or the Act of February 20, 1905, or on the princi-

ing to attempt to fashion a workable definition. The statute

pal register.

does, however, list eight factors to be considered when deter-

The federal statute was also not clear in defining what a

mining whether a mark is famous:

claimant must establish to prove dilution. Indeed, some

• the degree of inherent or acquired distinctiveness of th e mark;

courts felt that all that needed to be established was that

• the duration and extent of use of the mark in connection with the goods or services with which the mark is used;

aggrieved owner of a famous mark must establish that there

• the duration and extent of advertising and publicity of th e mark; • the geographical extent of the trading area in which the mark is used;

there be a likelihood of dilution. Other courts felt that the was actual injury before the requirements of the federal antidilution statute were satisfied. This confusion came to a head in a case called Moseley v. V

Secret Catalogue, Inc. In this case, a Kentucky couple, Victor and Cathy Moseley, opened an adult novelty store known as Victor's Secret. When Victoria's Secret sent a cease-and-

• the channels of trade for the goods or services with which the mark is used;

desist letter to Victor's Secret, the name was changed to Victor's Little Secret, but that change was not enough to satisfy the famous lingerie company.

Renew your subscription to

Communication Arts

Victoria's Secret filed suit, alleging, among other things, that

,.d".

the Kentucky adult entertainment store was engaged in

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unlawful trademark dilution under the federal statute. The district court agreed with Victoria's Secret on its dilution

~\I~

claim, and the United States Court of Appeals for the Sixth

Circuit affirmed. The United States Supreme Court agreed to review the case because of the confusion among the circuit courts, and on March 4, 2003, the Supreme Court unanimously held that a violation of the federal statute requires actual dilution rather than merely a likelihood of dilution. The Court did not go so far as to require that the holder of the famous mark prove actual loss of sales or profits , but permitted circumstantial evidence of economic harm.

Renew

Justice Stevens, speaking for the Court, made it clear that, at least where trademarks are similar but not identical, such as in the Victoria's Secret case, more than a mental association between the famous mark and the accused mark is required to establish a federal dilution claim. It was suggested that a survey to establish that dilution has occurred may be

A one-year subscription to Communication Arts consists of eight issues including the Design, Advertising, Illustration, Photography and Interactive annuals.

required in future cases. Such a survey would have to establish that the public actually has experienced a change in its perception of the owner of a mark due to the allegedly infringing mark. Unfortunately, the cost of conducting such sur-

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veys is quite high, and even owners of famous marks will

directory advertisements, Web sites and the like-can be

bear a heavy burden when trying to prove actual dilution.

quite high, and many feel that a forced name change may

Commentators have criticized the Victoria's Secret case for

also undermine the goodwill that the business has worked

not giving clearer guidance with respect to dilution and for

hard to achieve.

suggesting that owners of famous marks may need to invest

Even .the fact that your business name may be your own

in expensive surveys when involved in antidilution cases

family's name may not be a defense to trademark infringe-

where the marks are not identical. It is also clear that those

ment. In the case of Gallo v. Gallo, the court found that the

who use marks which are similar to famous marks may have

first Gallo brother had a better right to use the family name

to invest in surveys . Thus, the Supreme Court has increased

as a trademark, and, therefore , the other Gallo family mem-

the cost of antidilution litigation and underscored the neces-

ber's use was an unlawful infringement.

sity for graphic artists and other business people to be more

The cost of conducting a trademark search is quite modest

prudent and careful to avoid becoming embroiled in trade-

when compared to the risk of liability that may result from

mark disputes.

an improper use. There are many companies in the Yellow

As noted above, the federal trademark statute provides pro-

Pages that conduct searches, and law firms such as ours con-

tection for names, symbols and logos used in interstate or

duct them in-house.

foreign commerce, even if they are not registered. Even inno-

Not every use of a protected trademark would be deemed

cent use of another's protected mark, that is, a use where

an infringing use, however, so it is important to hire a

the infringer does not realize that a protected mark is being used, may result in an injunction or prohibition against

knowledgeable attorney or search service. For example, it was held that 1981 Playmate of the Year Terri Welles's use of

future use. The cost of adopting a new mark-changing

"Playboy Playmate of the Year 1981" on her Web site was

stationery, business cards, advertising literature, telephone

not an infringing use since she made it clear that her site was not the Playboy site but, rather, that she was merely identifying herself as having achieved that status. The federal and state trademark laws are in constant flux and, as a result of the importance of trademark protection, are constantly being interpreted by the judiciary. It is, thus, essential for graphic artists to work with experienced trademark counsel. AUTHOR'S NOTE: In the article titled Now You See It, Now You Don't, which appeared in the MarchiApril2003 issue ofthis

publication, the right to terminate licenses and assignments of post-I978 copyrights was discussed. I pointed out that this past New Year's Day was the first time that a notice ofintent to terminate rights could be given. The Register of Copyright has now established a final regulation dealing with the procedure fo r termination. This regulation, which can be found at www. copyright.gov/docs/20 1-10-final.pdf, sets forth the content of the notice, as well as how it must be served and on whom it must be served. In addition, the form procedure and persons on whom notice must be served for pre-I978 termination ofassignments and licenses is also available on that site. _ © 2003 Leona rd D. DuBoff

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A Really, Really Important Thing You're Not Learning in Ad School By DYLAN LEE was asked to write about what you don't learn in the portfolio schools. Choke. Gasp. Cough. Twelve years of advertising shocks overwhelming body. Vision going black ... going black ... going ...

And that's to like what you do.

... thud.

I've had years where I've won the biggest awards in the indus-

But after I thought about it, I realized that after becoming a copywriter or art director, you eventually learn most of these real-world advertising truths anyway. Everything from the fastest way to boost your salary-change jobs-toOmigod-people in advertising having sex with lots of other people in advertising. And besides, if I gave you a great big cheat sheet on what really happens in advertising, it could ruin a lifetime of fun-filled surprises and laughter. I've been in the business a little over a decade. I would never claim to know everything. There is, however, at least one thing it seems many creatives never learn, in ad school or the real ad world. Photography by: Bill Robbins

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Finished groaning yet? It's OK. Go ahead. I'll wait. .. Done? Let me explain .

try, and I've had years where I haven't even won a merit in the local retail hangtag show {moron judges wouldn't know a gold pencil retail hangtag if it bit them in the ass.0.

CA and the One Show are important. They show us what's out there. They reward great work. They inspire us. They push us to do what hasn't been done. But you cannot control them. Most of the time, most of the best work gets in. But your BEST WORK EVER doesn't always make it. Your spot could be pushed out by a judge who bitterly hates yo ur agency. Your alternative-media campaign could be entered in the wrong category. Your idea could be so fresh that it polarizes the judges. Or it could just be that your breakthro ugh , full-color spreads for the pet store aren't

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appreciated like you think breakthrough, full-color spreads

stolen off bus shelters and slapped up on bedroom walls.

for a pet store should be.

Let's see ... what else could validate your success?

So you have to like the work you do.

Urn, did your ads do what they were supposed to do? Translation: Did your ads sell stuff? Hey, you sold a butt-load of product. The clients are happy. Good golly, there's a reason to smile.

I'm sure the shows do their best to ensure the most deserving work is recognized. But it's a subjective, political business. Judges are human. And sometimes hung-over. 1 know 1 sound like Mister Rogers (may he rest in peace), but you will be a much, much happier creative if you don't rely on award shows as the sole measuring stick of your achievements and worth on this planet Earth. 1 once helped write a campaign for Mothers Against Drunk Driving. The gratitude 1 received from the victims' families was worth infinitely more to me than any CA mention or gold pencil. The ads we created actually made those people feel something good came out of it.

Before you flip to the contributors page to see if I'm actually an account exec, I'm not saying don't try to win awards. 1 still want to win. 1 have an ego, too. We all do. But I've also written spots that I've heard complete strangers reciting. It's pretty damn surreal to hear that. People are supposed to hate ads. They're not supposed to willingly recite copy. Something else. Are you in ad school now? Take a seat. I've got something very disturbing to tell you: YOU MAY NOT GET A JOB AT GOODBY OR WIEDEN OR WORK ON VOLKSWAGEN. EVER.

Or how about influencing culture? I doubt you can measure the feeling of putting "Whassup!" on the lips of every frat boy in the country. (1 pray they stop soon, though.) How rewarding it must have been to plant the seed that inspired every golfer in the country to try to juggle a ball on the end of their clubs. And some of the best posters never win awards, but are

I know you think you will, but there is a chance you may not. And even if you do, it's damn hard to get the juicy assignments. So if you limit yourself to doing the biggest, coolest ads that win the biggest, coolest awards, you're in for a very, very bitter, woe-filled career. You'll spend your ad life flipping through CA and other books, muttering, "Sucks. Seen it. Hate it. That crap got in? I did that two years ago. Crap. Crap. I don't get it. Sucks. Seen it. Sucks. Crap. Crap. Crap. My breakthrough, fullcolor spreads for a pet store are a lot better than that dreck. " Of course, I'm not encouraging you to settle, to think OK is OK. Always strive to be compelling, to do the ''I've never seen that before" idea. Just know that even when you do, and even if it's not recognized in the books, you've still done well. You can still consider yourself successful. If nothing else, think about this. You get to spend a good chunk of your day being creative. You're not waiting tables. And you're not making charts or doing math all day. You get to go on shoots. Travel. Sleep in fancy hotels. Eat dinner on the agency. And you make a living doing it! We easily become spoiled in this industry. We forget how fortunate we are, even if we don't win awards. Both my parents are librarians. They've thoroughly enjoyed spending their days around their passions: books and reading. And I'm pretty sure they've never won best of show at the Dewey Decimal Festival. So don't give control of your self-worth to award show judges. If you do, you're in serious danger of becoming derivative. Because you can fall into the trap of creating ads you think they will like. Don't do that. Have a unique voice. And be happy with it. Cut to Mister Rogers looking at your ad, smiling, and pinning it up on his wall. •

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§) 2003 Hewlett-Packard Development Company, L.P.

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The Dawn of a New Era By AL JACKSON

just saw a commercial so great it made me feel like an idiot. It woke me up. It opened my eyes and showed

me that for so many years, most of us in advertising, me included, have really been missing the mark. By a lot. It's a new commercial for Hummer. In it, a Hummer simply cruises along in an urban setting. There is no real "concept," at least not in the traditional sense of the word. Just great music, cool editing and a super that reads "SLIP INTO SOMETHING A LITTLE MORE METAL:' It's fabulous. And yet, oddly enough, it doesn't follow the standard award-winning formula of "clever story with unexpected twist." So it must not be "smart," I can hear all the traditionalists saying. But I say it is something much more rare and much more important than "smart." It's "enjoyable." Lee Clow was once asked to describe what he thought separated great advertising from that which is merely good. He summed it up in one word: likability. I loved hearing that. It made me remember what I had once known, long ago, back when I was a normal consumer. And that is, that people

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just want to "enjoy" ads. Not be "impressed" by them. Lately, as an industry, we've been trying too hard to "impress" one another with clever plots, unexpected twists and fullblown stories-and with only 30 seconds in which to tell them! It's actually a little sad when you think about it. It's as if, deep down, we feel insecure that we merely create "lowly commercials, " not Hollywood films. So we compensate by creating these "mini-movies" which may serve to impress ourselves and our peers when viewing them on %" machines, or in the quiet confines of a judging room (sort of like in 9th grade, when trapped in a dark classroom, any biology film or drivers-ed movie suddenly became the most riveting piece of cinema you'd ever seen). It's the classic "captive audience phenomenon. " Under such circumstances, almost any spot can magically become a profound piece of brilliance, taking on a "magical quality" that is simply not apparent to the consumer at home. Remember, they're seeing our commercials against the landscape of their 500-channel premium cable package. We see our commercials against

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the landscape of a day at work. Of course we think our spots are great.

players is a perfect example. No plot. No twist. No traditional "idea." Just something funny happening for 30 seconds.

The Hummer spot, however, stands out against even the

And probably one of the best campaigns in history. DDB Chicago's "Whassup" spots and TBWA/Chiat/Day SF's Levi's "Crazy Legs" are other wonderful examples. They're

best TV programming. It capitalizes on something that MTV has understood for years. That very short segments of film or video need not be, and should not be, anything more than just something cool happening on screen for 30 seconds,

beyond "clever." They're "likable. " And unlike the standard

or 3 minutes in the case of music videos. Nothing more than something coolon screen-from the first second to

without feeling the need to go on a shooting spree.

the thirtieth. No plot, no climax and no obligatory, unexpected twist (which really just says to the viewer, "Hey, see how clever we are? We outsmarted you."). I don't think consumers care much for "clever. " I think that's an inside thing in

that may signal a new age or new landscape in advertising. I believe the ads I mentioned above, and a few others like

our industry. Consumers just want to be taken on a journey. Like with wine or with good music. Lee Clow and the guys at Modernista!, the agency that created the Hummer spot, are not alone in understanding the "just do something cool" principle vs. the "I-wish-I-were-

"clever surprise" spot, you can watch them again and again,

Dan Wieden asked this year's Cannes jury to look for ads

them, are beginning to lead such a shift, for television anyway. Because anyone can create ads that are clever. But only the most clever people can create ads that are likable. For print, I see a shift occurring as well. We seem to be moving away from the "anti-ad," which was the 1990-1999 notion that, "Hey, other ads look like ads, so I'll make mine stand

Alfred-Hitchcock" spots.

out by hiding the product, reducing the logo size and by giving it a design that disguises the fact that it's an ad." But

There are a few other fine examples of "likability over clever"

by 1999, when every print ad produced fit that description,

that have popped up here and there. Cliff Freeman's spots for Fox Sports where the two white kids act like black basketball

guess what? They looked like ads. It reminds me of the time I saw a group of punk rockers, all wearing similar combat boots, tattoos, nose rings, etc., verbally assaulting a group of preppy guys by calling them "conformists. " Lately though, there's been an emergence of award-winning print that boldly puts the brand and/or product at center stage. Examples include the BMW MINI, Altoids, Guinness, Heinz ketchup and of course, Volkswagen. These brands are not afraid of themselves. They're not afraid to say "Hey, I'm an ad." And the people who created them are talented enough to create brilliance within those tight confines. Anyone can create great ads outside the box. That requires no skill or discipline. It's when you can effectively operate inside the box that will result in tomorrow's greatest ads. Personally, I'm glad to see the landscape changing. Great advertising, or even good advertising, will have a much higher standard to answer to. The days of relying simply on the ability to "maneuver" within large, bad agencies are numbered. Things like sucking up to your boss, being a slick

Is there an afterlife for PSAs. Now that your pro bono spot has finished its run in your country, why let it gather dust? A successful PSA in the UK could be just as effective in Brazil. At chokolat, we breathe new life into existing pro bono spots by making them available to needy charities all over the

presenter and playing golf with clients will always be helpful, of course, but will no longer be enough to carry an entire career. The work, for the first time, industry-wide, will be the end-all. Imposters will be exposed. Those with talent and those with the passion to develop their talent will carry the

world. We call it "free chokolat" and we think everyone involved

torch. As a result, the work will become far better than it

benefits . Worthy causes get great work for nothing. Brilliant

has ever been. And then something quite strange will happen.

creative gets to live on. Possibly forever.

Consumers will begin to like advertising .•

To learn how it works visit chokolat.ca

194

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Book Reviews The Design Manual By David Whitbread 400 pages, softcover, $41 .95 Published by University of Washington Press P.O. Box 50096 Seattle, Washington 98145 www.w ashington .edu/ uwpress

This Manual aims to help anyonestudent, designer, client or printerproduce visually-engaging solutions that work both <Esthetically and as good business. Author David Whitbread is a monthly columnist for Australian MacWorld and former head of graphic design at the University of Canberra. Here he shows readers in straightforward, easily readable text, how to analyze, organize and execute their designs, from sketching to publishing, whether it's for print or the screen. The book begins with the questions one should ask before designing, including how we read, who's the audience and the appropriateness of a given format to a job. There's a discussion of visual literacy and metaphors and, fitting in

a book created initially as a government-commissioned project, a chapter on "Designing with Australian Eyes" (although the book is by no means limited to just Aussies). The middle section is project-based: publications (annual reports , catalogs, comics and graphic novels), corporate identity (markets, mascots/promotional characters, corporate typefaces and colors), stationery (letterheads, forms, signage), screen-based media (multimedia, Web design), and advertising (posters, flyers, direct-mail). In each, Whitbread lays out all the pertinent issues (for example, the various ways to fold a 3-panel pamphlet), often including checklists and tips. The third section goes into detail on each step in the road from design to final product: layout (eye flow, grids, "space and pace"), typography (typeface selection, legibility, formatting and page furniture), color and color systems (halftoning, the Pantone Color System, and RGB/hexadecimal colors), prepress (trapping, imposition and output resolution), the many types of printing, paper, varnishes and other finishing processes, bindings, and so much more. There are sections on how to use a designer, how to write a brief and construct a contract, and "four ways to save a failing design" (including "increase tonal contrast" and "alter scale relationships"). In addition to the numerous marginal notes and sidebars, there are many "before/after" and "do/don't" examples and other illustrations that support the text. And all along are pointers on how to do it better, faster and for less money. Going far beyond the old PocketPal of yo ur schooldays (although there's an updated edition of that venerable publication available at ippocketpal.com), yo u'll find yourself getting lost in all the details of production, most of which will be familiar territory to experienced designers, but which, in Whitbread's writing, still sound fascinating. -ANGELYNN GRANT

Athlete By Howard Schatz 256 pages, hardbound, $59 .99 Published by HarperColl ins Publishers 10 E. 53rd Street New York, New York 10022 www.harpercollins.com

Howard Schatz exults in the human body and its extraordinary potential for physical grace and athleticism. Whether celebrating the beauty of redheads (Seeing Red: The Rapture ofRedheads) or infants (Newborn), Schatz has elevated the body to an artform. In previous 196

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John Pirman, Digital Illustrator, NYC www.theispot.com/artist/pirman

l' VI, ta.kt,n contro' o..f: P\y co'or. li lt was tough to get colors on my monitor to accurately match my prints. Now it's not. Using the SpyderTM to correct my displays, I'm able to achieve true color matching with great results. Now, I really see what I get - every time. II Take control of your color with the PANTONE® COLORVISION™family of affordable digital color control products. Follow your vision, from creative input to creative output. Call 888-PANTONE or visit www.pantone.com.

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PANTONE® and other Pantone, Inc. trademarks are the property of Pantone, Inc. COLORVISIONTM and other C olorVision Inc. trademarks are the property of ColorVislon Inc. I!:i Pantone, Inc. 2003. All rights reserved.

PANTONE·

Book Reviews titles he has documented dancers and models, offering views of the body both ethereally beautiful (Waterdance and Pool Light), and impossibly graceful and powerful (Passion & Line and Nude Body Nude). Here, the athletes pictured show how their bodies are shaped by the sports they pursue. The book is divided into sections such as "Hit Shoot Kick," "Ski Skate Swim" and "Jump Dive Flip Fly," wherein reside photographs exemplifying the attributes needed to perform those actions. Each section opens with a two-page spread showing the athletes pictured, standing in a row. These are striking for the range of body types shown. For example, under "Form Lift" the bodies range from Corey and Chris Wheir, exponen ts of natural bodybuilding, at 5'10" and 6', and 205 and 203 pounds respectively, to weightlifter Cheryl Haworth at 5'9" and 297 pounds to rhythmic gymnast Olga Karmansky at 5' I" and 85 pounds. Photographs to give pause, inspire or drive one to renew that gym membership or sign up for Pilates classes!

page that recalls old template rulers filled with circles, ellipses and other shapes comprising the "basic geometric components (DNA) of an icon," and page after page of clever, sometimes piquant, little icons-from maze-laden brains to petite yet frightening globes that show the growing hole in the ozone layer (created for Greenpeace). The book chronicles work done from 1995 to 2000, all created under the maxim of "I will change" (the translation of mutabor from Latin). The designers hope to "provide insight into our workshop and show readers some ways of creating the perfect icon," and go beyond "bad copies of well-known, strong symbols or effects from the DTP toolkit." There are over 1,300 icons shown in Lingua Grafica, all rigorously numbered and cross-referenced by idea. The book is so cleanly organized, it may just make you want to reshuffle your Documents folder, straighten out your sock drawer or, even better, create your own uniquely eccentric icons. -A.G. Indie Fonts: A Compendium of Digital Type from

From close-ups of muscular arms to the burly neck of football player Joe Johnson, to bilateral amputee Aimee Mullins (sprint and long jump) running down a beach with her curved sci-fi prostheses, humans are presented as beautiful, powerful creatures. For a society that celebrates the painfully thin fashion model as "ideal," it is heartening to see a book filled with big, small, fat, thin, people-all of whom have shaped their bodies to fit their passion. Once again, Howard Schatz, and project director/senior editor Beverly J. Ornstein, have produced a beautiful, and inspiring, pa::an to the possibilities inherent in the human body. -ANNE TELFORD

Briefly noted: Lingua Grafica: Major Reference Work for Image Language by Heinrich Paravicini, Johannes Plass, edited

by R. Klanten, M. Mischler (Published by Die Gestalten Verlag GmbH, Mariannenstr. 9/rO, D- 10999, Berlin, 190 pages, softcover, $34.99). The award-winning Hamburg design studio Mutabor has created a charming little book to display their numerous logo and icon designs. The 8 x 5% book has a plastic cover that recalls technical instruction manuals, and, in a way, it seems apt here. Mutabor has found an entertaining way to walk readers, for the most part non-verbally, through their design process, with amusingly "corrected" diagrams ("Result OK, master drawing amateurish! Dismiss the designer immediately!"), a precisely-labeled 198

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Independent Foundries edited by Richard Kegler, James Grieshaber and Tamye Riggs (Published by P-Type Publications, P.O. Box 770, Buffalo, New York 14213, www.p22.com/indiefonts. 408 pages plus CD, hardcover, $39 .95). This delightful book features over 2,000 fonts designed by 18 innovative and "indie" (translation: not the big guns like Adobe or ITC) "type foundries" (translation: digital type designers). More than a mere typeface catalog, it's a pretty little keepsake. It has a brilliant red bookcloth binding (with an embossed star burst on the front; so tactilely rich), specimen pages laid out by each studio (who add cute touches like the paper airplane dingbat flying off page in Altered Ego's Eclectic Two STF display), a compact size that lies flat on your desk, organizational tabs on the fore edge of each page (making it easy to thumb right to the section you want), and little info-blurbs on each font (for example, "Stolen from hand cut rubber stamp lettering found on Chinese shipping cartons" for Typodermic's Chinese Rocks Deluxe). Foundries include Carter & Cone, fontBoy, Font Diner, Chank, GarageFonts, just to name a few, as well as the editors' own P-22. Indie Fonts is really much more than a glorified specimen book; it's actually a neat little reference, featuring a nice glossary (are you sure you know your spurs from your ears?), a character keyboard reference chart (for example, the trademark symbol is typed with Option-2 on a Mac), a nice list of books for further reading (kudos for including Fred Smeijers's excellent Counterpunch and Ruari McLean's essential Thames and Hudson Manual of Typography) , and a thoughtful essay on intellectual property rights and the ethics behind font use.

And, as if all this weren't enough, there's a CD with a sampling of 33 nifty fonts from many of the designers, which by itself is worth much more than the cover price.

-A.G.

inexperienced users. They're new to the Web and they get frustrated easily. Others click before they read. Before you can say "download the latest Flash plug-in," your audience has hit the back button.

Back to the User is dedicated to the simple premise of keep-

Technology: Adobe Photoshop Master Class By John Paul Capon igro 504 pages, softcover, $55 Published by Peach pit Press 1249 Eighth Street Berkeley, California 94710 www .peach p it.com

Adobe's Photoshop is considered to be the de facto imageediting software of choice. This distinction has produced a plethora of books instructing how to understand, and how to get the most out of the program. Identifying the target audience for the majority of Photoshop books generally falls into a category according to its appeal for a certain level of experience (beginner, intermediate or advanced). Adobe Photoshop Master Class by John Paul Caponigro is definitely in a class by itself. Discovering a niche for this book is a challenge, but the answer may lie in the introduction. The author explains that the title-Master Class-should not be misconstrued to mean a superfluity of advanced techniques. The title should instead conjure up the idea of an apprentice who seeks to benefit from the experience and reflection of a more knowledgeable instructor. To continue with the Class theme, the best analogy of Caponigro's book would be like majoring in photographic philosophy with a minor in Photoshop methodology. In other words , this book focuses more on a philosophy behind the work, and a philosophy of how to work (with Photoshop concepts thrown in along the way). If you are familiar with John Paul Caponigro's work as a photographer, and would like to delve deeper into the experience and reflections behind this recognized practitioner, then this book is definitely for you. If your needs or immediate goal is to learn and understand Photoshop, then you may want to seek help from another book. -

MARA ZEBEST NATHANSON

Back to the User By Tammy Sachs and Gary McClain 360 pages, softcover, $34.99 Published by New Riders 201 W. 103rd Street Indianapolis, Indiana 46290 www.newriders .com

Believe it or not, the world is still full of slow modems and

ing users on your site, enabling them to quickly get the information they need, make a purchase or transact their business. As anyone who has tried to purchase an airline ticket, check a bank balance or rent a car on the Web knows , that's easier said than done. The authors recommend development teams target the user, think like a user and immerse themselves into the world of their target audience. That means giving users what they want, as opposed to what the production team thinks they want. To separate fact from opinion, Back to the User explains the need for research, focus groups and user testing on "live" working prototypes. Additional sections cover site design issues, "bucketing" of information into easy-to-understand sections, making sites sticky, navigation and how to include interaction that supports the functionality of the site. The advice is presented in layman's terms, such as "If your Mom can't read it, the print's too small" that intends to be folksy, and is backed up by examples and experience the authors draw from their product research consultancy. An appendix offers a crash course in Web development research. -SAM McMILLAN

Briefly noted: Beyond Borders by John Yunker. (Published by New Riders, 201 W. I03rd Street, Indianapolis, Indiana 46290,

www.newriders.com. 552 pages, softcover, $39.99). One Web site; many languages. Beyond Borders puts the world in World Wide Web. If you are involved in the arduous, painstaking task of localizing a Web site for consumption in different countries and different languages, Beyond Borders will take much of the pain away. There's much more to globalization and localization than translation. For multinational corporations, that means a multiplicity of domain names, support for international customers, and the headache of global content management. And that's just for starters. Author John Yuker will take readers through the process of globalization and localization-from implementation to translation, from design and development to ongoing management. No detail is too small for this authoritative work. Readers will find hands-on techniques, case studies, and practical advice on how to go global. -S.M. COM M U N I CAT ION

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REsources your heart desires. The inside

has twenty years of retail mer-

cover is a dry-erase surface,

chandising experience, most

Literature

where quick notes find a home,

recently from Marshall Fields .

Heaven and Hell

only to be wiped clean later; it

Touting that the "Kinko's Look" is

It's anarchy, a revolution . It's

holds 275 pages comfortably,

out, russell+hazel provides hip

Heaven and Hell. This is not your

more if crammed full; and the

and colorful office and school

average sourcebook, as the sub-

bright bookcloth spine comes in

supplies. See for yourself at

title states, it's an Inspirat ional

brown, light blue, lime, charcoal,

russellandhazel.com

Artistic Resource . The content

red and marigold . That's not all in

Chank Fonts

within the pages of this 260-page

Agfa Monotype added 70 new

hardbound book packs a power-

the binder department: there are Notebook Jackets, Expanding

products to Fonts.com thanks to

fu l punch of original ity. Heaven

The Chank Company and the

and Hell , two diametrically

is also a Paper category, which

Chank typeface collection . The

opposed ideas are interpreted in

includes Composition Books,

wacky names for each typeface

a blend of images and words,

Single and 3-Subject Notebooks

family are intriguing and fun :

provoking compelling dialogue

and PeopleTracker Pads, just to

Crusti, Nicotine, Chub, Bonehead,

and demanding time . This visua l feast is at times funny and irrev-

Files, Slim 3-ring Binders. There

name a few. Tools & Writing is

Mr. Lincoln and Zsa Zsa Galore,

fairly self-explanatory, so I'll move

to name a few. Unconventional to

erent, at others solemn and sub-

on to the Accessories section

say the least, but the fonts range

where you'll find a sassy little

tle . Designer and creator Mark

from cheeky (i .e., the Crusti fam -

Passport Sack made of soft

Murphy intended the loaded sub-

ily with increasing weights and

leather or vinyl, unique Stash

deterioration - Crusti, Crustier,

Sacks featuring cool transfer

Crustiest) to conventional. Pop-

with Christine Plantan, an archi-

designs and, my personal favorite,

ping from family to family in the

tect and mother of two . At the

Snifferifics - revolutionary deodor-

Chank collection, I could not help

start of each school year, her kids

izers for lockers, backpacks, desks

but wonder at the man behind it

asked her to brighten up their

and cars . The size of a coaster,

all. Chank Diesel, who founded

plain, ho-hum binders . Christine's

Snifferifics have a small chain for

The Chank Company in 1993, is

design sense kicked in and she

hanging, funky designs on both

the primary type designer and,

dressed up their binders with

the front and back, and most

from the look of things, is having

cards, fabric, trim - just about

importantly, come in three

a frolicking good time with

Materials russell + hazel Another merchandising design er's success story... It all began some time ago in Minneapolis,

ject-matter to stir up rich artistic exchange while at the same t ime providing a valuable illustration resource to the industry. He 's right on the mark. The book features 110 original pieces by 58 artists from the United States, Mexico, Ireland and Canada . Murphy's vision and direction brings together top artists such as Cathie Bleck, the Clayton

anything lying about the house .

scents-Suntan Lotion (for a brief

design . He adds a bit of mischief,

The customized supplies soon

moment your cube can be Mauil.

mirth and merriment to his fonts,

Brothers, Douglas Fraser, Jody

became the talk of the school.

Bubblegum and Poopy (I'm afraid

which like a spoonful of sugar, is

Hewgill, Joel Nakamura and Joe

Style and design permeates into

to ask) . Last but certainly not

not such a bad thing . Chank fonts

Sorren with up-and-com ing artists

every aspect of our modern lives,

least is the Ready Sets category -

are available for both the Mac

Joseph Hart, Kevin Christy, Keith

why not school and home office

Back-To-School Set, Semester

and PC in both PostScript and

Warren Greiman, Jacqui Oa kl ey,

supplies? Thus russell+hazel was

Refresher Set and russell+hazel

TrueType formats, and prices

Martha Rich and Ryan Wallace .

born - a tribute to Christine's

Gift sets (Russell for boys and

begin at $22 . Go to fonts.com

Wordsmith Anne Telford , gath-

grandparents, who'd send a gift

Hazel for girls) . In order to marry

for a peek or to purchase .

ered and edited supporting text

package of school supplies to her

style and function, as well as

every school year. Spawned from

encourage creative expression,

such sweet memories, it's no

Christine pulled together an

wonder these savvy supp lies are

expert team : creative director

making an impact in design

Cynthia Knox is president of

circles . Boring blue binders and

Kilter, a marketing and branding

Peechee folders be gone!

firm; director of product devel-

Russell+hazel's products blend

opment Kobe Suvongse started

fashion trends and utility. For

simultaneously at Kilter and r+h

instance, their 3-Ring Binder is

after eleven years at Duffy Design

made of Davey board, for paint-

New York; and director of mer-

ing, staining, covering - whatever

chandising Barbara Giangrossi

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abcdefgh1jk ~bcdefghijklm • ABCD.EFGH ABCDEFGHIJKl 1234567090!? Crusti

Nicotine

the 100% Junk Mail paper, Gilroy Garlic (made with the skins from garlic bulbs), Roasted Java, Hemp Heritage and Hemp Thread.

- Rebecca Bedrossian

Tools Netomat- making a business of art Some peop le are never satisfied . Maciej Wisniewski is one of those people . He believes the Web can

I Have Seen the Light, by Red Nose Studio from Heaven and Hell sourcebook.

be a richer, more communicative and quotations from modern-day

Grow-A-Note paper are bound-

theologians worldwide, leaving

Green Field Paper Company

much to reflect on, like Wendy

Grow-A-Note just about knocked

think of a use, Green Field has a

Richmond's evocative passage

me off my feet. Paper you can

line of Grow-A-Note cards:

plant. Talk about environmentally-

Ready-made Invitation and Thank

friendly. It's the circle of life. All

You Card Sets; six all-occasion

this is possible with Specia lty

cards (one of which is infused

Seed Paper from Green Field

with catnip seeds with none other

Paper Company. It's amazingly

than a cat illustration); and six

tactile with a variety of colorful

cards with specific images for

wildflower seeds embedded into

card-buying events - hello, love,

the handmade paper. Making

celebrate, happy birthday, oh

handcrafted unique paper and

baby and thank you . Each Grow-

and OK Holland's short story, "Down at the Esopus." Engaging artist quotes introduce and give insight into each illustrator's unique vision, like Kevin Christy's " Hell is having to smile when you don't want to. Heaven is not being able to stop yourself." The result

less. But just in case you couldn't

is a cohesive, focused book that

stationery products has been

A-Note card features the whim -

holds its own on any art director's

Green Field's main objective since

sical drawings of San Diego-

desk or anyone's coffee table.

their inception in 1992 . Unique

based illustrator Blair Thornley,

A long supporter and promoter

being the operative word for

who is also an avid gardener-

and certainly more fun place to hang out if more people have access to creative tools. A longtime proponent of making the Web an artistic medium, in 1999, Wisniewski created an art project called Netomat. The idea was to create a free-form, collaborative medium of expression for people on the Web. Netomat was launched at Postmasters Gallery in New York City. The project was deemed a success with more than a mil lion downloads from 80 countries and it captured the imagination of curator and Postmasters's co-owner Tamas

of original illustration, this is

Grow-A-Note paper because

a perfect match . So write it.

Murphy's sixth artist collection

since it is colored with low-

Mail it . Plant it. It's the thought

book . Earlier books and calendars

impact pigments sl ight variations

that counts . Why not think eco-

include Guapo y Fuerte [tough

occur in color and thickness from

friendly? Go to www.greenfield

and handsome], SuperHero and

batch to batch . Seeds are care-

paper.com . Be sure to check out

Look Homeward Aphid-Rock

fully chosen for their

Gershenfeld and Kris Ramanthan

hardiness and their abi lity to

to found Netomat as a business

Salt in collaboration with Joe Sorren and Matt Hall. Rich and colorful, the H+H collection will also be exhibited at the Sketch Club in Philadelphia in July as one of the satellite events at the third Illustration Conference. Beautifully-designed, Heaven and

Hell is a delight for sight and

Banovich. Wisniewski and Banovich set out to create a product from the Netomat concept and they teamed with Alan

grow throughout the United

in 2002. The company is being

States . The best-selling

funded by a group of venture

Wildflower seed mix is

capitalists and foundations with

stocked in four colors .

the Rockefeller Foundation

Custom seed types and

taking the lead. The Rockefeller

paper co lors, which closely

money carries with it a require-

approximate a range of

ment for "culture return" from

PANTONE MATCHING

their investments as well as pro-

SYSTEM colors, are

fits. To that end, Netomat offers

mind, and is available for $32 at

available on larger paper

users a shared space and simple

murphydesign .com . Is there

orders. From business cards,

tools to create anything they

a Heaven? Is there a Hell? So

wedding invitations and

want-it can be a public or private

many variations can unsettle

announcements to book-

space for people to communicate

the soul . It's subjective, like

marks, direct mail and hang-

with friends, loved ones, business

illustration . See for yourself.

tags, the possibilities for

colleagues, the world. COM M U N I CAT ION

ART S

201

REsources One of the most interesting

Some Standard version features

elements of Netomat is the tech-

include: one-button PDF creation

nology's flexibility. In beta tests,

from MS Office applications; 128-

it doesn't seem as if the same

bit encryption and password

technology underlies all the

protection of documents; e-ma il-

different expressions of it. That's

based review, document man-

because Maciej and company

agement and commenting tools;

have built it on top of the

and the ability to easily combine

extremely flexible technology of

various files into a single PDF

the Web and have created their

document. The Professional ver-

own version of XM L, called

sion includes all these features

NML, which lets users go beyond

plus : one-button PDF creation

the simple interface and tools

from AutoCAD, Visio and Micro-

provided by Netomat - and this

soft Project (Windows only); elec-

is where things get interesting .

"Hairstyler," a Netomat site created by Tea Fougner, where wigs and

tronic forms creation; support for

headpieces can be interchanged to find the right look - more or less.

document layers in techn ical

Based on XML, Netomat gives create a site with pictures, anima-

The pull-down menu tracks the different changes that visitors have made. Note also the tool bars at the top that allow visitors to send a site to someone via e-mail, draw, add text or select and move the hair,

tions, music, text and drawing

bows, etc.

large format drawings; and bu ilt-

tools . There are enough basic

in preflighting tools for print

elements to enable the least cre-

site . Thus, the original creation is

comments, photos or drawings .

production.

ative among us to create interest-

maintained and each addition is

The Net is a wonderful conduit

Acrobat 6 has been designed fo r

available too . Like a mini-Web

for communication, but it has

enterprise-w ide workgroup inte-

site, a Netomat communique can

users simp le interactive tools to

ing multimedia postcards, but at the same time Netomat is flexible enough that it doesn't stand in the way of those more creative . NML provides a base for the creation of additional tools for Netomat. However, the basic system has quite a few tools built- in including drawing tools, the ability to paste photos (which can be automatically si zed), the ability to add audio annotation, etc . Those who have suffered through the agony of waiting for elaborate Flash sites to download and for clever effects to jiggle by will note that Netomat is not only interactive, it is also very snappy.

drawings; enhan ced too ls for viewing, navigating and printing

failed to live up to the dream

gration . For example, advertising

link to several pages . Similar in

that it could become a creative

agencies and graphic designers

concept to a blog, the Netomat

playground for users. Netomat

can convert an ad or design

idea has several important differ-

has the capability of changing

project into a PDF document

ences . Each Netomat creation

the way people interact w ith

which can be directly published

can stand alone as a piece - it

the Web . Its creators are commit-

to the Web or routed via e-ma il

doesn't carry the awful responsi -

ted to freeing the inner creativ-

for comments then passed

bility of a blog that needs to

ity of anyone who comes in

directly to the publication or

constantly be updated . Also, the

contact with these tools, how-

pre press provider.

collaborative capabilities of

ever the concept can be extended

Acrobat Elements (the th ird ver-

Netomat make it an ideal tool for

to very practical work in all

sion), available through multiple

sending design ideas, comps,

types of design . After all , at the

site licenses, gives compan ies a cost-effective way to offer PDF

location shots, and clients can

heart of it is communication

add notes and annotations-time

and collaboration .

document creation and sharing

zones become irrelevant and

It's easier to understand how

to all their employees . The PDF

deadlines are met. It's designed

Netomat works by actually

Acrobat 6.0 reader has also been

to enable communication

playing with sites . In addition

upgraded . Users who have th e

between groups .

there are very clear explana -

free utility can view and print

Netomat will be offered as a sub-

tions of the technology at

Adobe PDF f iles that look just like

for business as well as con -

scription service. With a low-

www.netomat.net.

the original documents, w ith all

sumers . The important aspect of

priced subscription, users have

Netomat is its powerful collabora-

access to the online creative tools

tive capabilities. It is a true two-

to create an interactive site or

Although Netomat is astoundingly simple to use, it can be put to work in a variety of applications

- Kathleen Maher

fonts, formatting and colors intact. Adobe Reader also lets

Adobe Acrobat 6.0

way medium , but it is also

e-mail messages. People can

Adobe Acrobat 6 represents a

nonlinear. As people virtually

receive or access Netomat cre-

major upgrade and is being

users fill in Adobe PDF forms and view Adobe Photoshop Albu m Slide Shows and eCards .

gather round a Netomat site, they

ations without having to be sub-

released in four vers ions : Pro-

Address ing the needs of t he

can add to it; each iteration is

scribers and they have access to

fessional, Standard, Elements

Windows users are a host of

saved as an overlay to the original

simple tools to add their own

and Reader.

conven ient features such as one-

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ANN U A L

ILL U S T RAT ION

2 0 0

button PDF document creation

PDF/X export capabilities and

such as Adobe InDesign, Illus-

cally detects the Flash files on

from with in the most popular

PostScript level compatibility,

trator and OuarkXPress guarantee

any given page, enabling you to

M icrosoft business applications .

make Adobe the publishing force

absolute font fidelity. For more

choose the file and save it to your

W indows Internet Explorer users

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information, go to www.

hard drive. For more information,

fontreserve.com

vis it www.saveflash.com

can con vert a Web page, or a complete Web site, into a PDF

For system requirements and pricing, visit www.adobe.com

document w ith links intact and f unctiona l (Macintosh users can

- Garv W. Priester

al so do th is, but wi ll need to enter

Imposition software

Effects tools

Impose jobs directly in

Sapphire Innovations has released

OuarkXPress quickly and easily

a number of frames and plug-in

using INposition Lite 5.0 from

effects. Andrew's Plugins (vol. 1- 10) is a set of 190 Photoshop

t he URL in Acrobat).

Web design software

Dynagram . Because of its ability

PDF (Adobe 's Portable Document

MindAvenue's AXELedge V2

to access native OuarkXPress,

plug-in effects including emboss,

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Web-design suite enables

Pagemaker and Acrobat files,

gradients, color effects, line

fa cto format for submitting mate-

designers to create content for

prepress professionals can

effects, blurs, grids and more .

ri als to pri nters and prepress

Flash, MPEG -4 video

fa cilities . And this area has been

and interactive OuickTime 3D

greatly improved in vers ion 6.

on the Web, CD-ROM or DVD .

Enhanced prefl ighting tools can

AXELedge integrates 2-D, 3-D

test a f ile for PDFIX compliance (a

video, sound and text, and

focused subset of PDF designed

enables publication and export

specifically for rel iable prepress

impose, preview, edit, proof, color

Frames (vol. 1- 12) includes more

separate and print from within

than 2,000 frames and border

one seamless environment. For

effects. Rough, blurred , painted

more information, visit www.

and zigzag frames and contours

dynagram.com

enable users to create com-

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pelling visua l effects in seconds .

in a full range of popular Web

data interchange) and then save

graphics formats . For more

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documents and overcome the

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avenue.com

dreaded "bad file format."

non-CMYK colors, missing fonts,

Color management

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Consistent, reliable and pre-

encountered , you can view a

dictable color is delivered with

detailed report listing all problem

the streamlined Eye-One color

colors and see a highlighted pre-

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view where each problem occurs .

GretagMacbeth . Eye-One Display

You ca n preview CMYK separa-

calibrates and profiles computer

t ions by ind ividual color and/or

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designed for digital photogra-

preview overprinting. Macintosh

phers who need accurate on -

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screen color and finished RGB

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MarkzTools 5 is an XTension that

Into the mystic. Auto FX Software

helps eliminate file corruption

has just released Mystical

while saving . You can verify saved

Lighting , a digital photography

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tool that enables users to create

copy for back-up availabi lity in

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case a file goes bad . The "gray

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w ith Acrobat 6 Professional giv-

prints . Eye-One Publish combines

Tracking Flash

autofx.com/mysticaUightingl

ing users the ab ility to turn off

a spectrophotometer and soft-

Track the effectiveness of Flash

mysticaUighting.html

high -resolut ion images . Vector

Video compression

ware for calibrating monitors,

content on your Web site with

and raster rendering has been

scanners and printers in print-

Vividence eXpress and Vividence

Faster than real time? Believe

upgraded as well. There is an

production environments. For

XMS reporting tools . Now you

it. BitJazz has developed

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more information, visit www.

can measure customers'

SheerVideo, a faster than real -

but fo rtunate ly there is a well-

i 1 color.com

behaviors as they interact with

time perfect-quality video codec

rollovers, clicks or other Flash

that runs on OuickTime for the

desig ne d, easy-to-get-to Help sect ion .

Manage fonts Font Reserve Server 1.6 for Mac

Adobe 's innovative high-end pub-

OS X provides client-server font

lish ing solution, InDesign 2.0, has

management tools that help

actions in context of real user

Mac and supports RGB, 2vuy,

goals. For more information, visit

and yuv2 pixel formats . Com -

www.vividence.com

pression speeds are 50 times faster than any other perfectly-

been stead ily closing ground on

system administrators address

Save Flash files

industry leader OuarkXPress .

the challenges of managing fonts

Found a Flash banner that's so

lossless codec, and its compression power averages about 2.2 for

The t ight integration between

in a networked environment.

cool you want to watch it again

InDesign, Photoshop and Illus-

Improved server architecture

and again? Now you can, with

real-world footage . That means

trator and Acrobat 6's power

delivers enterprise-level process-

Save Flash , a utility that snaps

SheerVideo can virtually double

fe atures such as enhanced

ing power. Font Sense plug-ins

into your Internet Explorer toolbar.

the effective speed of hard disks

for high-end pub lishing tools

Open Save Flash and it automati-

and gigabit Ethernet while com-

prefl ighting and previewing tools,

COM M U N I CAT ION

ART S

203

REsources pressing and decompressing on

enables designers, publishers,

tors plans are set for the 32nd

count information, contact Sherry

the fly. Download a sneak pre-

photographers and ad agencies

Annual Conference on Writing

Rodgers at (800) 227-7048 x137.

view free from www.bitjazz.

to output professional color at an

and Illustrating for Children to be

For information, visit Dynamic

com/sheer/

affordable price. Easy-to-use and

he ld from August 15- 18 at the

Graphic's site at www. dgusa.com

3-D tools A new suite of 3-D animation character tools called Absolute

integrate into an existing work-

Century Plaza Hotel in Los

flow, Proof Master Adesso

Angeles, California . SCBWI is a

promises users wil l be up and

national organization with more

October AlGA/Minnesota scheduled its

printing accurate color output

than 11,000 members. A bi -

within ten minutes of installation.

monthly newsletter, a number of

Design Camp October 3- 5 at

For more information, visit

informational publications, a ros-

Grand View Lodge in Nisswa,

realistic character modeling and

www.proofmaster.net

ter of members and national and

Minnesota . The event draws 350-

animation . ACT-Pro comes with

Stock matchmaker

regional conferences are some of

400 local and regional designers,

Character Tools Pro is available from Turbo Squid . ACT-Pro is a complete set of tools for creating

cgHuman, a complete human

A new matchmaking service that

skeletal, muscle and skin

promises to hitch photo buyers

character set rigged and ready to

and stock photographers is now

animate . For more information,

accepting image requests .

go to www.turbosquid.com

StockPhotoRequest.com is a

free service that enables photo buyers to post requests which are

Resources

then matched with professional

Royalty-free stock

photographers . Buyers can view

ImageDJ is a new photography

all requested images on a single

portal offering affordable royalty-

password-protected digital light

free stock photography over the

box . Visit www.stockphoto

Web. Its database of 50,000

request.com to register and

images are suitable for hi-res,

begin posting image requests .

print-quality usage . Designers can download single images, order by prepaid amounts or use imageDJ's edollar billing system (Unlimited Download service for all Pro subscribers). Thematic CDs are also available in flexible formats with image file size ranging from 1 to 90MB . For more information, visit www. imagedj.com

the services they provide . Contact

photographers, writers, illustra-

them for more information: e-mail

tors and other creative people .

info@scbwi .org or go to www.

Speakers and workshops will be

scbwi.org

offered throughout the weekend . For information, contact AlGAl

September

Minnesota, 275 Market Street,

The Society of Illustrators

Suite 54, Minneapolis, M innesota

Members 14th Annual Open exhi-

55405; call (612) 339-6904; fa x

bition presents over 200 works,

(612) 338-7981; e-mail office@

showcasing the varied talents

aigaminn.org; or visit www.

of the Society's membership,

aigaminn.org

September 3- 27 . Markets such as paperbacks, children's books, magazines, annual reports, will be featured in Gallery 1 and 2, 128 E.

The 28th Design Management Institute International Conference, establishing design as a corporate

Maps

63rd Street. New York, New York

Map Resources Atlas, a collection

10021 . For information, contact

of editable maps specially

The Society of Illustrators, call

designed for graphics profes-

(212) 838-2560; fax (212) 838-

sionals, is now avai lable in Photo-

2561; e-mail society@society

shop and Illustrator formats . Atlas

illustrators.org; or visit www.

Raster gives Photoshop users the

societyillustrators.org

ability to edit fully-layered, profes-

Maria Piscopo, Communication

as internationally-known speak-

siona l-quality maps. Atlas Vector

Arts contributor, consultant and

ers . For information , contact DMI ,

includes fully layered maps com-

art/photo rep, will lead seminars

29 Temple Place, Boston, Mas-

patible with Illustrator. Each Atlas

for designers, graphic artists,

sachusetts 02111 ; call (617 ) 338-

core value, convenes October 1923 at its trad itional venue, the Chatham Bars Inn, in the Cape Cod seaside town of Chatham , Massachusetts. The conference attracts senior design executives, managers and designers, as well

File transfer

contains over 225 maps including

creative service managers, art

Send and receive large files

6380; fax (617) 338-6570 ; or

globes, world maps, continents,

department managers, creative

quickly and simply with Files-

e-mail dmistaff@dm i. org . Confer-

the U.S .A. and all 50 states . For

directors and other creative pro-

Direct, a Web-based file transfer

ence information is also available

more information or to download

fessionals to increase their busi-

service designed especially for

at www.dmi.org/conferences

a free sample, visit www.

ness management skills with

print professionals . Features

mapresources.com

Dynamic Graphics Training's

include anywhere - anytime

-Sam McMillan

delivery, e-mail notification and file encryption for security. For more information, visit www.filesdirect.com

Calendar

two-day classes. "Managing Creative Services" schedule:

Copy must be received three

September 11 - 12 in Dallas ,

months prior to the publication

Texas; October 2- 3 in Chicago,

date. Please include a contact,

Illinois; November 6- 7 in San

phone number and address.

Color output

August

Proof Master Adesso for Mac OSX

The Society of Children's

November 20- 21 in Cleveland,

is a state-of-the-art RIP that

Book Writers and lIIustra-

Ohio. For professional group dis-

204

ANN U A L

ILL U S T RAT ION

Francisco, California; and

2 0 0

- Jean A. Coyne

"Hey, mom, I think I'll be an art director In Amsterdam for 3 months. OK?"

MIAMI AD SCHOOL MIAMI " I graduated from Notre Dame University in Graphic Design. I looked around a bit and decided I wanted to go back to school and study art direction. Lots of research lead me to Miami Ad School; their Quarter Away program blew me away. I spent a year there getting the basics, tore up my knee in a school soccer game (the president of the school is a fanatic about futbol) and won the $10,000 Bill Bernbach scholarship for minorities."

MIAMI AD SCHOOL MINNEAPOLIS "Minneapolis in the winter, ah yes, I love those little gerbil tubes that connect all the downtown buildings. Some of the best moments of winter where building a snowman, ice skating on the lake with my mom and watching my partner, Guy, slipping on the icy sidewalk . The classes really kicked our butts . If the ad wasn't good enough, it got ripped down . We learned a lot and I got tons of work for my book."

MIAMI AD SCHOOL LONDON "My classes at BBH, Fallon, Saatchi & Saatchi and Agency Republic were valuable each in their own way with more ad campaigns, information and connections. From my British teachers-who worked at these agencies-I learned how to continue to push my ideas. Then I asked Mom about going to Amsterdam. I'd already been in London for three months and survived the swingingest city in the world . And I'd also made it through a quarter in Minneapolis r ,' ," without freezing to death. !. / .' . 'Go for it,' Mom said . 'Stay out '" of the coffee shops in Holland. They sell a lot more than coffee. If'

MIAMI AD SCHOOL AMSTERDAM "What a fantastic city. I loved riding my bike,- just like all the other Dutch , people-to and from my internship everyday. One of our classes was 1icX.aU

with Clare McNally, the copywriter who did that award winning spot for Bic pens. She's really cool and she spent so much time working with each of us on our portfolios."

MY FIRST JOB IIBy the time I graduated, I was hooked. London was where I wanted to work. No one was hiring but I kept an open mind. Then, one day, three agencies called me for a second interview. I was hired at M&C Saatchi. Ever since I've been working on British Airways and Foster's Beer. How about that, Mom?1I

M IAMI AD SCHOOL MIAMI 955 Alton Road, M iam i Beach, FL 33139 Tel: 305·538·3193

SAO PAULO

WARSAW

MIAMI AD SCHOOL MINNEAPOLIS 25 North 4th Street Suite 201 , Minneapolis, MN 55401 Tel : 612·339·4089

AMSTERDAM

LONDON

CHICAGO

HAMBURG

NEW YORK

MIAMI AD SCHOOL SAN FRANCISCO 415 Jackson Street Suite B, San Francisco, CA 94111 Tel : 415·837·0966

PRAGUE

For more info visit www.miamiadschool.com or call 1.800.858 .3190

BERLIN

MADRID

BUCHAREST

Index to Illustrators Adel, Daniel 59, 91, 126 (212) 989-6114 danieladel@mindspring .com 56 W. 22nd Street, Floor 8 New York, NY 10010

Bedrosian, Wesley

Bliss, Harry

(718) 782-5018 ma iI@wesleybedrosian .com www.wesleybedrosian.com 302 Metropolitan Avenue, #2

(802) 652-5951 harrybliss@aol.com 5 Mayfair Street South Burlington, VT 05403

Brooklyn, NY 11211

Allen, Jessica 141 (508) 359-4115 jessica@jessicaallen .net www.jessicaallen.net 388 Main Street Medfield, MA 02052 Arihara, Shino 65, 82 (626) 826-3287 shinoarihara@earthlink.net www.shinoillustration.com 789 E. California Boulevard Pasadena, CA 91106 Arsenault, Isabelle 68 Represented by Anna Goodson Management (514) 983-9020 info@agoodson.com www.agoodson.com C.P. 325 succ. Westmount Montreal, Quebec, H3Z 2T5 Canada Ascencios, Natalie 144 (718) 386-1240 n@ascencios.com www.ascencios.com 382 Jefferson Street Brooklyn, NY 11237 Augustine, Stefanie 86 (914) 235-7442 stef765432@aol .com 1 Badeau Place New Rochelle, NY 10801

Banyai, Istvan 91 c/o The New Yorker (212) 286-5936 janice_yu@newyorker.com 4 Times Square New York, NY 10036

Baseman, Gary 11, 77, 136 (323) 934-5567 basemanart@earthlink.net 257 S. Lucerne Boulevard Los Angeles, CA 90004 Beck, Melinda 60 (718) 499-0985 studio@melindabeck.com www.melindabeck.com 536 5th Street, #2 Brooklyn, NY 11215

206

Blitt, Barry 54 (203) 698-2983

Bejar, Daniel 143 (845) 567-6209 dabejar@hotmail .com P.O. Box 903 Vails Gate, NY 12584

barry@barryblitt.com 176 Rive rside Avenue Riverside, CT 06878

Bennett, James 99 (215) 766-2134 jamesbennettart @comcast.net 5821 Durham Road Pipersville, PA 18947 Represented by Richard Solomon Artist Representative (212) 223-9545 solomonart@aol.com www.richardsolomon.com 305 E. 50th Street New York, NY 10022

mbenny@austin .rr.com 11703 Uplands Ridge Drive Austin, TX 78738

Benoit, Jean-Marie 130 (514) 522-5572 jmbeenoit@hotmail.com 4439 Avenue, Des Erables Montreal, Quebec H2H 2C7 Canada Represented by Kate Larkworthy Artist Representation, Ltd. (212) 253-2839 kate@larkworthy.com www.larkworthy.com

Bower, Tim 88 (718) 834-8974 tjbower@mindspring .com

Bowers, David 97 (724) 942-3274 d m bowers@cobweb .net 206 Arrowhead Lane Eighty-Four, PA 15330 Bowman, Eric 18 ebowman@aracnet.com 7311 SW Pine Street Tigard, OR 97223 Brodner, Steve 54 (212) 942-7139 sbrodner@aol.com 711 W. 190th Street, #5F New York City, NY 10040

Chan, Theseus 14 +65 323-3202 theseus@workwerk .com 78B Pagoda Street Singapore 059237 Singapore Chang, Michelle 115 (718) 797-4427 bluespider@mindspring .com www.michellechang.com 36 3rd Street, #4L Brooklyn, NY 11231 Chang, Warren 105 (707) 766-7510 studio@warrenchang .com 3645 Middle Two Rock Road Petaluma, CA 94952 Ciardiello, Joe 63, 103, 118, 134 (908) 996-4392 joe@joeciardiello.com www.joeciardiello.com 35 Little York Mt. Pleasant Road Milford, NJ 08848 Clayton Brothers (323) 478-0200 christian@ciayton

brothers.com 2942 Honolulu Avenue

Collier, John 126 Represented by Richard Solomon Artist Representative (212) 223-9545 solomonart@aol.com 305 E. 50th Street New York, NY 10022 Cosentino, Carlo 118 (514) 620-8912 carlo. cosenti no@videotron .ca 573 Cherrier Street lie Bizard, Quebec H9E 1J7 Canada Craig, Daniel 14, 50 (612) 871-4539 dancraig@scc.net 118 E. 26th Street Suite 302 Minneapolis, MN 55404 Represented by Bernstein & Andriulli (212) 682-1490 franciner@ba-reps .com 58 W. 40th Street, Floor 6 New York, NY 10018 Crawshaw, Curt 141 (626) 922-2985 curt@curtcrawshaw.com 655 N. Oakland Avenue, #2 Pasadena, CA 91101 Cronin, Brian 77 (212) 727-9539 brian@briancron in.com www.briancronin.com Cuneo,John 79,88 (845) 679-7973 jcuneol @hvc.rr.com 18 Elt ing Lane Bearsville, NY 12409

La Crescenta, CA 91214

Bentley, James 134 (514) 894-0547 james@jamesbentley.com www.jamesbentley.com 4874 Parkinson Pierrefonds, Quebec H8Y 2Z3 Canada

Brown, Calef 41 (626) 796-6607 calefbrown@earthlink.net www.calefbrown.com 101 S. Michigan Avenue Pasadena, CA 91106 Represented by Lisa Freeman (317) 920-0068 lisa@lisafreeman.com www.lisafreeman.com

Berry, Rick 46 (781) 648-6375 berry@braid.com 93 Warren Street Arlington, MA 02474

Burckhardt, Marc (512) 458-1690 marc@marcart.net 112 W. 41 st Street Austin, TX 78751

Biers, Nanette 141 (415) 927-1531 nbiers@pacbell.net 123 Willow Avenue Corte Madera, CA 94925

ANN U A L

Borge, Richard 99 (212) 262-9823 borge@rcn .com www.richardborge.com 459 W. 49th Street, #4W New York, NY 10019 Represented by Jan Collier Represents (415) 383-9026 jan@jan-collierrepresents. com

61 Pearl Street, Suite 306 Brooklyn, NY 11201

Benny, Mike 123 (512) 263-5490

ILL U S T R AT I O N

Burke, Jim 11 , 24, 126, 139 (718) 383-7621 jimburkeart@aol.com 140 Guernsey Street, #2L Brooklyn, NY 11222

2 0 0

125

Clayton, Christian 79 (323) 478-0200 christian@ciayton brothers .com 2942 Honolulu Avenue La Crescenta, CA 91214 Clayton, Rob 54 (818) 541 -0750 rob@ciaytonbrothers .com 2942 Honolulu Avenue La Crescenta, CA 91214 Clouse, Dennis 46 (206) 323-7357 cyclone@seanet.com 1517 12th Avenue Seattle, WA 98122

Dallas, Paul 59 (416) 762-5456 zerothru9@sympatico.ca 54 Rivercrest Road Toronto, Ontario M6S 4H3 Canada

Davis, Paul 116 (212) 420-8789 paul@okdavis.com 14 E. 4th Street, #504 New York, NY 10012

Dawson. John D. 134 Represented by Richard Solomon Artist Representative (212) 223-9545 solomonart@aol.com 305 E. 50th Street New York. NY 10022

Day, Rob 139 (317) 253-9000 r@robday.com 6095 Ralston Avenue Ind ianapolis. IN 46220 de Seve, Peter 46, 128 (718) 398-8099 deseve@earthlink.net 25 Park Place Brooklyn. NY 11217 Deas, M ichael J. 24 (504) 524-3957 914 Governor Nicholls Street New Orleans. LA 70116 Decost er, Jeffrey 65 (415) 822-9430 mrjeff@sbcglobal .net 4104 24th Street. #367 San Francisco. CA 94114

Dewar, Nick 126 Represented by Kate Larkworthy Artist Representation. Ltd . (212) 253-2839 rocco@larkworthy.com www.larkworthy.com 182 Norfolk Street. #3 New York. NY 10012 Dob, Bob 134 (310) 376-0207 bobdob@bobdob.com 1720 Ardmore Avenue. #129 Hermosa Beach. CA 90254 DuBois, Gerard 39, 92 (450) 465-8040 dubois@netaxis.ca 525 Green Street St. Lambert. Quebec J4P 1V4 Canada

Evans, Matthew 113 c/o 501 creative (314) 863-0501 khandelman @501creative.com 6321 Clayton Road St. Louis. MO 63117

Fancher, Lou 66 (612) 377-8728 fancher@dancingpeople.com www.johnson andfancher.com 440 Sheridan Avenue. S. Minneapolis. MN 55405 Fanelli, Sara 32 Represented by Riley Illustration (845) 255-8770 teresa@rileyillustration .com www.rileyillustration .com 200 Forest Glen Road P.O. Box 92 New Paltz. NY 12561 Fasolino, Teresa 68 (212) 533-5543 tfasolino@earthl ink.net 233 E. 21 st. #6 New York. NY 10010 Faught, Korin 130 (818) 243-1554 korinxoxo@hotmail .com 1231 N. Maryland Avenue Glendale. CA 91202 Fedorova, Yvetta 123 (212) 673-5363 yvetta .fedorova @verizon .net 640 Broadway. #3E New York. NY 10012 Fidler, P-Jay 125, 128 (323) 251-8321 pjay@pjfidler.com www.pjfidler.com 4708 La Crescenta Avenue La Crescenta. CA 91214

Duquette, Benoit 132 (514) 523-4917 ducoq2001 @yahoo .com www.benoitduquette.com 4375 Rue Chapleau Montreal. Quebec H2H 2K9 Canada

Fink, Michael 75, 128 (717) 391-3045 mikefinkl @mac.com www.portfolios.com/ mikefinkillustration 19 Atkins Avenue Lancaster. PA 17603 Flesher, Vivienne 16 (415) 648-3794 warddraw@best.com 630 Pennsylvania Avenue San Francisco. CA 94107

Fluharty, Thomas 63, 75 Represented by Levy Creative Management (212) 687-6463 info@levycreative.com 300 E. 46th Street. Suite 8E New York. NY 10017

Harlin, Greg 50 c/o Wood Ronsaville Harlin. Inc (410) 266-6550 wrh@wrh-illustration .com 17 Pinewood Street Annapolis. MD 21401

Fraser, Douglas 75, 130 (250) 385-4881 doug@fraserart.com 1161 Cam rose Crescent Victoria. British Columbia V8P lM9 Canada

Harrington, Glenn 22, 100 (610) 294-8104 gharring@epix.net 54 Twin Lear Road Pipersville. PA 18947

Freda, Anthony 56, 73 (718) 786-3537 ambant@earthlink.net 43-06 34th Avenue Long Island City. NY 11101 Fredrickson, Mark 63 (520) 760-5667 fredricksonart@cox .net 9808 E. Rock Ridge Court Tucson. AZ 85749 French, Martin 59 (541) 549-4969 martino@teleport.com 69425 Deer Ridge Road Sisters. OR 97759

Gall, Chris 85, 86 (520) 299-4454 chris@chrisgall .com 4421 N. Camino del Santo Tucson. AZ 85718 Gibbs, Michael 77, 100, 141 (703) 502-3400 mike@michaelgibbs.com 13908 Stonefield Lane Clifton. VA 20124 Gutierrez, Rudy 24 (212) 568-2848 rgutierrez7@nyc.rr.com 330 Haven Avenue. #1 D New York. NY 10033

Hajek, Olaf 81, 134 Represented by Kate Larkworthy Artist Representation. Ltd. (212) 253-2839 kate@larkworthy.com www.larkworthy.com 182 Norfolk Street. Apt #3 New York. NY 10002

Hess, Mark 66 (914) 232-5870 mark@hessdesignworks.com 88 Quicks Lane Katonah. NY 10536 Hewgill, Jody 8, 65, 66, 75 (416) 924-4200 jody@jodyhewgill.com www.jodyhewgill.com 260 Brunswick Avenue Toronto. Ontario M5S 2M7 Canada Holland, Brad 82, 110, 116 (212) 226-3675 brad-ho lland@erols.com 96 Greene Street. #4 New York. NY 10012 Hollenbach, David 123 Represented by Frank Sturges Artist Representative (740) 369-9702 frank@sturgesreps.com 142 W. Winter Street Delaware. OH 43015

Holley, Jason 54, 60, 88 (626) 836-7700 harpy23@sprintmail .com 391 W. Grand View Avenue Sierra Madre. CA 91024

Isip, Jordin 54 (718) 499-0985 jordin@jordinisip .com 536 5th Street. #2 Brooklyn. NY 11215

Jarrie, Martin 27 Represented by Marlena Agency (609) 252-9405 marzena@verizon .net www.marlenaagency.com 145 Witherspoon Street Princeton. NJ 08542 Jessell, Tim 63 (405) 377-3619 ti m@timjessell .com 7906 N. Perkins Road Stillwater. OK 74075 Johnson, Colin 139 (651) 334-3535 colin@colinjohnsonillustration .com www.colinjohnson iIIustration.com 2889 12th Street NW New Brighton. MN 55112 Johnson, Steve 66 (612) 377-8728 fancher@dancingpeople.com www.johnson andfancher.com 440 Sheridan Avenue. S. Minneapolis. MN 55405 Juhasz, Victor 88 (908) 351-4227 juhasz@optonline.net 576 Westminster Ave . Elizabeth. NJ 07208 Represented by The Newborn Group www.newborngroup.com

Hranilovich, Barbara 108 (517) 321-2917 bhranilovich@earthl ink.net www.hranilovich .com 3422 Ridgefield Lansing. MI 48906 Hundley, Sterling 88 (804) 644-2034 sterling404@earthlink.net 2500 E. Cary Street. #116 Richmond. VA 23223

Kalback, Jerry 143 (330) 655-2462 jkalback@kent.edu 5881 Sunset Drive Hudson. OH 44236 Kelley, Gary 92, 113, 134 (319) 277-2330 lindalee@cfu .net 226'/2 Main Street Cedar Falls. IA 50613

COM MU NI CAT IO N

A R TS

207

Index to Illustrators Krause, Jon C. 77 (215) 338-1531 jk@jonkrause.com www.jonkrause.com 2924 Disston Street Ph iladelphia, PA 19149 Krepel, Dick 105 (912) 727-3368 rkrepel@coastalnow.net 869 Warnell Drive Richmond Hill, GA 31324 Kunz, Anita 60,66 (416) 364-3846 akunz@globalserve.net 218 Ontario Street Toronto, Ontario M5A 2V5 Canada Kurniawan, Ronald 139 (818) 345-0880 ronkurn ia@yahoo.com 19540 Sherman Way, #101 Reseda, CA 91335

Long, Loren 24 (513) 942-4551 golonggo@yahoo.com 5839 Owl Nest Drive West Chester, OH 45069

Milbourn, Patrick 100 (212) 989-4594 mrmilbourn@aol.com 327 W. 22nd Street New York, NY 10011

Lopez, Rafael 8 (619) 237-8061 r.lopez@cox .net 843 10th Avenue, #C San Diego, CA 92101

Milelli, Pascal 7, 27 (604) 608-2708 pascal@pascalmilelli .com #609 402 W. Pender Street Vancouver, British Columbia V6B lT6 Canada Milot, Rene 7 (416) 425-7726 renemilot@rogers.com 49 Thorncliffe Park Drive, Suite 1604 Toronto, Ontario M4H lJ6 Canada Represented by Morgan Gaynin Inc (212) 475-0440 info@morgangaynin.com www.morgangaynin.com 194 Third Avenue New York, NY 10003

Manchess, Gregory 39 (503) 590-5447 manchess@mac.com 13358 SW Gallop Court Portland, OR 97008 Mattos, John 130 (415) 397-2138 john@johnmattos.com 1546 Grant Avenue San Francisco, CA 94133

Laumann, Scott 82, 132 (714) 547-0656 scott@scottlaumann.com www.scottlaumann.com 4813 Verano Place Irvine, CA 92612

McLean, Wilson 146 Represented by The Newborn Group Inc. (212) 989-4600 Joan@newborngroup.com www.newborngroup.com 115 W. 23rd Street, #43A New York, NY 10011

Laurent, Richard 97 (312) 939-7130 richer@ameritech.net 531 S. Plymouth Court, #205 Chicago, IL 60605

Menchin, Scott 82 (212) 673-5363 s.menchin@verizon.net 640 Broadway New York, NY 10012

Lino 36 Represented by Anna Goodson Management (514) 983-9020 info@agoodson .com www.agoodson.com C.P. 325 succ. Wesmount Montreal, Quebec, H3Z 2T5 Canada Livingston, Francis 94, 99 (208) 788-1978 francislivingston@msn .com 110 Elderberry Lane Bellevue, 1083313 Long, Laurel 44 (909) 392-8295 laurellong@aol.com 6641 Quail Court La Verne, CA 91750

208

Merrell, David W . 71 (405) 844-8752 davidmerrell@sbcglobal .net 1301 Charlton Road Edmond, OK 73003 Represented by Suzanne Craig Represents, Inc. (918) 749-9424 suzanne@suzannecraig .com www.suzannecraig.com 4015 E. 53rd Street Tulsa, OK 74135

ANN U A L

Montgomery, Jay 79 (770) 309-6004 jay@jaymontgomery.com www.jaymontgomery.com 290 Vistawood Drive Marietta, GA 30066 Moore, Larry 144 (407) 222-8585 elmodraws@cfl.rr.com 2440 Roxbury Road Winter Park, FL 32789

Merino, Jose Luis 113 Represented by Kate Larkworthy Artist Representation, Ltd. (212) 253-2839 rocco@larkworthy.com www.larkworthy.com 182 Norfolk Street, #3 New York, NY 10012

ILL U S T RAT ION

Minor, Wendell 34 (860) 868-9101 wendell@minorart.com 15 Old North Road P.O. Box 1135 Washington, CT 06793

2 0 0

Morse, Joe 12 (416) 516-2835 joemorse@rogers .com 217 Indian Grove Toronto, Ontario M6P 2H4 Canada

Nakamura, Joel 11 (505) 989-1404 jona ka@nm.net 72 Bobcat Trail Santa Fe, NM 87505

Nascimbene, Van 22 (530) 756-7076 yan@yannascimbene.com www.yannascimbene.com 235 7th Street Davis, CA 95616 Nemec, Gregory 97 (914) 747-6125 me@gregorynemec.com 37 Martling Avenue Pleasantville, NY 10570

Parada, Roberto 63, 75, 77,85 Represented by Levy Creative Management (212) 687-6463 info@levycreative.com 300 E. 46th Street, Suite 8E New York, NY 10017

Ng, Evonne 14 +65 323-3202 theseus@workwerk.com 78B Pagoda Street Singapore 059237 Singapore Niemann, Christoph 81 c/o The New Yorker (212) 286-5936 janice_yu@newyorker.com 4 Times Square New York, NY 10036 Northeast, Christian 132 (905) 373-4157 christian@christian northeast.com www.christian

82,

northeast.com 2 Street, Lawrence Place Cobourg, Ontario K9A 4G8 Canada

O'Brien, Tim 53 (718) 282-2821 tonka1964@aol.com www.obrienillustration.com 310 Marlborough Road Brooklyn, NY 11226 Olbinski, Rafal 49, 103 (212) 532-4328 rafal.olbinski@ mindspring .com 142 E. 35th Street New York, NY 10016 Olson, Kristian 94 (909) 536-7374 kristian@secretsatellite.com www.kristianolson.com 1601 Barton Road , #2016 Redlands, CA 92373 Ota, Nathan 123 (310) 837-3594 natha n@nathanota .com 3916 Huron Avenue Culver City, CA 90232

Otis, Chad 126 (206) 818-2921 cotis@jetcitystudios.com 7535 44th Avenue, NE Seattle, WA 98115

Park, Kong Woo 39 +82 (2) 2243-2814 wooart21 @hanmail. net 1-203 Kumsung Villa 94-55, Jangan Dong Dongdaemun-gu Seoul 130-835 Korea Parker, Curtis 91 , 92 (480) 820-6015 curtisparker5@aol.com 1946 E. Palomino Drive Tempe, AZ 85284 Payne, C.F. 43, 73 Represented by Richard Solomon Artist Representative (212) 223-9545 305 E. 50th Street, Suite 1 New York, NY 10022 Plunkert, David 31 (410) 235-7803 info@spurdesign.com 3504 Ash Street Baltimore, MD 21211 Pratt, Pierre 20 (514) 277-0721 ppratt@mlink.net 5976 Jeanne-Mance Street Montreal , Quebec H2V 4K8 Canada Represented by Wanda Nowak (212) 535-0438 wandanowak@aol.com www.wandanow.com 231 E. 76th Street, Suite 50 New York, NY 10021 Pullen, Zachary 54 (845) 339-7088 zak@zacharypullen.com 136 Jansen Avenue Kingston , NY 12401

Rea. Brian 8 (718) 855-9740 bria n@brian-rea.com 185 Bergen Street Brooklyn, NY 11217 Roberts, Bruce 31 (5 14) 938-0731 madei nq uebec@sympatico.ca 103 Irvine Montreal, Quebec H3Z 2K3 Canada Rodriguez, Edel 85 (973) 983-7776 edel rodriguez@aol .com 16 Ridgewood Avenue, Box 102 Mt. Tabor, NJ 07878 Rosenthal, Marc 14 (413) 637-1879 ma rc@marc-rosenthal.com 39 Cliffwood Street Lenox, MA 01240 Rush,John 18 (847) 869-2078 www.johnrush iIIustration .com 123 Kedzie Street Evanston, IL 60202 Rydberg , Steven 126 (612 ) 340-1212 srydberg@mninter.net 1204 Harmon Place, #25 Minneapolis, MN 55403

Santat, Dan 100 (626) 396-9668 dsantat@yahoo.com www.dantat.com 874 Magnolia Avenue, #6 Pasadena, CA 91106 Santore, Charles 28 (21 5) 563-0430 nsantore@yahoo.com 138 S. 20th Street Philadelphia, PA 19103 Sealock, Rick 59, 141 (403) 276-5428 sealock@telusplanet.net #391 Rega l Park, NE Calgary, Alberta T2E OS6 Canada

Smith, Douglas 118 Represented by Richard Solomon Artist Representative (212) 223-9545 solomonart@aol.com 305 E. 50th Street New York, NY 10022 Smith, Ryan Jacob 144 (626) 524-1791 me@ryanjacobsmith.com www.ryanjacobsmith.com 1617 Raymond Hill, #3 South Pasadena, CA 91030 Sorren, Joe 73 (928) 214-9980 sparkle@infomagic.net 611 W. Aspen Avenue Flagstaff, AZ 86001 Soto, Jeff 63 (909) 328-8776 jeff@jeffsoto.com www.jeffsoto.com 727 Kelly Lane Riverside, CA 92501 Sowa, Michael 75 c/o The New Yorker (212) 286-5936 janice_yu@newyorker.com 4 Times Square New York, NY 10036 Streeter, Katherine 125 (212) 260-0108 dollhead@mindspring.com 195 Chrystie Street, #701 B New York, NY 10002 Stutzman, Mark 81 (301) 334-4086 eloqui@mindspring.com www.eloqui.com Eloqui 100 G Street Mountain Lake Park, MD 21550 Summers, Mark 118 Represented by Richard Solomon Artist Representative (212) 223-9545 solomona rt@aol.com 305 E. 50th Street New York, NY 10022

Taxali, Gary 66 (416) 651-3737 gary@garytaxali .com www.garytaxali.com 1 Wiltshire Avenue, #107 Toronto, Ontario M6N 2V7 Canada Thomson, Bill 77 (860) 621-5501 billt140@cox. net www.billthomson.com 66 Fox Run Drive Southington, CT 06489 Tillinghast, David 60 (323) 256-3065 dtillinghast@ea rthlink .net 1300 Yosemite Drive Los Angeles, CA 90041 Toelke, Cathleen 46 (845) 876-5262 cath leen@cathleentoelke.com P.O. Box 487 Rhinebeck, NY 12572 Tomlin, Lara 65 (718) 439-1671 lara@rappart.com 543 55th Street Brooklyn, NY 11220 Twingley, Jonathan 71 (212) 613-0906 jtwing ley@yahoo.com 615 W. 172nd Street, #53 New York, NY 10032

Valdes, Marius 16 (804) 353-3375 marius@va ldescreative.com 3204-B E. Broad Street Richmond, VA 23223

White, Eric 11 (718) 369-1167 ewhite@ieaccess.net 123 7th Avenue, #230 Brooklyn, NY 11215

Ventura, Andrea 121 Represented by Richard Solomon Artist Representative (212) 223-9545 solomonart@aol.com 305 E. 50th Street New York, NY 10022

Wilton, Nicholas 86, 99 (415) 488-4710 nick@zocolo.com 220 Alta Avenue P.O. Box 292 Lagunitas, CA 94938

Ventura, Marco 12, 65 Represented by The Artworks USA (212) 366-1893 sally@theartworksinc.com 455 W. 23rd Street, #80 New York, NY 10011 Viljoen, John 132 (416) 536-4887 jviljoen@rsgc .on .ca 24 Barton Avenue Toronto, Ontario M6G 1P1 Canada von Foerster, Madeline 12 (718) 782-8841 baphomatty@earthlink.net 142 Kingsland Avenue, #3L Brooklyn, NY 11222

Yeo, Brad 85 (403) 237-5553 yeob@telus .net www.bradyeo.com 602 8th Avenue, NE Calgary, Alberta T2E OR6 Canada

Zeltner, Tim 110 (416) 588-8115 zeltner@sympatico.ca www.i2iart.com 27 Marchmount Road Toronto, Ontario M6G 2A8 Canada Zumbo, Matt (414) 277-9541

Uhl, David 106 (303) 697-5243 daviduhl@uhlstudios .com 28 W. Ranch Trail Morrison, CO 80465 Ulriksen, Mark 7, 59, 66 (415) 387-0170 ulriksen@prodigy.net 841 Shrader Street San Francisco, CA 94117 Unruh, Jack 60, 85, 118 (214) 327-6211 jack@jackunruh.com 8138 Santa Clara Dallas, TX 75218

Wallace, Ryan 128 (718) 349-8748 ryanwallace3000@hotmail .com www.ryanmwallace.com 918 Manhattan Avenue, #1 Brooklyn, NY 11222 Washington, Romeo S. 144 (650) 737-0607 286 Linden Avenue San Bruno, CA 94066 Weiner, Jonathan 121 Represented by Levy Creative Management (212) 687-6463 info@levycreative.com 300 E. 46th Street, Suite 8E New York, NY 10017

wzi@exec pc.com Represented by Wilson/Zumbo Illustration Group (414) 271 -3388 wilson-zumbo@wi .rr.com www.wilson-zumbo.com 900 S. 5th Street, #203 Milwaukee, WI 53204

Editor's Note Every effort has been made to ensure that the credits comply with information supplied to us. If. for any reason, a misspelling, omission or other error has occurred, notify us within 30 days and we will be able to issue corrected award certificates.

Whipple, Lynn 139 (407) 644-5223 jxlwhipple@aol.com www.whippleart.com 632 Ololu Drive Winter Park, FL 32789 C OM M U N I C A T ION

AR T S

209

Index to Individuals and Firms Represented in the 44th Illustration Annual Abbink, Jeanette Hodge

Abbott Mead Vickers .BBDO 11 Ackerman McQueen Ad House Books

11, 126, 134

Doret, Michael

Business 2.0

88, 91

Driver, Robert

125

Bussolati Associates

Alexander, Gunta

The Algonquin Hotel

41 Gilfillan, Etienne 132

Gonzales, Paul

Dwell

GQ Magazine

Grant Collaborative Design

Caccia, Gianni

American School Counselor

n 91

Angus, Jean

Inc.

California Council for the Canadian Business

59, 65

Candlewick Press

Cantonement

Arcadia Gallery

94, 99

Capital Area Humane Society

8 11

134

Electric Six

Celic, Christine

Central PA

Esquire

113

Champions

134

Eleanor Ettinger Gallery

115

Barcl ift, Amir

City Pages Clase

HaasWittmann Design

Fanelli, Sara

Cleveland Magazine

Fast Company

75, 85

Feaster, Scott

Collins, Dana

Fedorova, Yvetta

Conrad, Jon

123

Festino, Robert

Beeke, Anthon

116

Cornish, Geoff

Festival Santa Fe

Cosgrove, Dan

144

130

Bense, Michael

Cosgrove Design

Bentley, James

134

Cowles, Andy

Berresford, Lee

79, 88

Crawford, Emily Curry, Chris

Berry, Rick

Beyn, Bob

123

Blackley, Cam

144

59 85

128

Cyclone Design

Binstok, Jacques

Bloomberg Personal Finance

116

Richard Borge Studio

Borgman, Hans The Boston Globe Boston Magazine The Box Studio

65, 85 54, 79 88

Davin, Tim

59, 65

Dellas Graphics

126, 134

Details

Braid .com

DeVino, Frank

Brand, Christy

7, 134

Breeder's Choice

Brower, Steven

Buick, Sunny

130

Kner, Andrew

11, 126

Koerber, Nora

123

Korpics, John

59, 63

Hazen, Shawn

KQED

Heckler Magazine

Fink, Mic hael

128

Herbapol

Fiorillo, Dale

Hess Design Works

Hessler, Geraldine

60, 63,

66,81,88,92

Himelfarb, Gary

Fortean Times

Hinrichs, Kit

139

L.A. Weekly 11

65 100

Langteaux, James

16, 130, 134

Last Gasp Publishing

Laurent Design

Hochstein, Arthur

Leduc, France

Hollander, Sarah

Leers, Randall

125

Hoards Dairyman

Henry Holt and Company 24

Lenning, Matthew

130

60,

Lenzer, Janet

Leo-Kelly, Nancy 105

Les 400 coups

44 36

Gale, David

Lesniewski, Bill

Gale, Mark

Levin, Susan

65, 85

Gallo, Irene

22, 39

Lim, Mi Jung

82, 86

Nast

DNP Media Create Kansai

60,88

IBM

110

Imagin'Art Infocom

116

2 0 0

Les Pelleteurs De Nuages

Gentlemen's Quarterly/Conde

ANN U A L

Kurniawan, Ronald

103

Foreign Policy

Friel, Michael

7,16

Kuntz and Maguire

Dial Books for Young Readers

ILL U S T RAT ION

Harris, John

The Harvard Business Review

Diloia, Michael

116

Hurley, Maura

116

Kitazawa, Eishi

113

Paul Davis Studio

Boys Life

Humane Society of Missouri

Daub, Travis

Delson, Sarah

Kirsheh, Nathal ie

Publishing

110

113

Harper Collins Childrens

Heller, Steven

Freedom First

Kelley, Gary

Heeb, Gisela

Fournel, Jocelyne

Kehrig, Geoff

Kinsman, M ichael

106

Fides Publisher

Fossil Records Dai Nippon Printing Co., Ltd.

141

Field & Stream

113

116 Kay, Ben

Kensington Books

Heart & Soul

Fortran Publishing

Bloomberg Wealth Manager

210

123

Flying Coffin Press

Boland, Maggie

116

501 creative, inc.

56, 73

113

Harley-Davidson

116

Keaschuk, Jack

Harlequin Enterprises

141

130

108 108

134

Hajek, Olaf

Happee, Sacha 50

126

Benoit, Jean-Marie

HaasWittmann, Terri Handelman, Karen

Bascomb, Art

100

113

Clayton, Rob

Barnhart/CMI Advertising

59, 63

Cleveland, Laura

Katsui, Mitsuo

Mitsuo Katsui Design Office

100

Cinnamon, Shelley Ball, Matthew

60,

Every Picture Tells A Story

Christian History Project Bachleda, Florian

63,66,79,81,88,92

Cho, Young Ok

Groundwood Books

Kalish, Nicki

Auras Design

Chetta, AI

Entertainment Weekly

Journey Group

Ayuso, Daniel

Chan, Theseus

Groner, Terry

Jones, Randall

Emeraud, Cecile

Caplan , David

Edwards, Craig

108

Arenella, Michael

Editions du Rouergue Editions du Seuil

Antoniak, Marek Arena Stage

Greeley, Ruth Ann

105

Colin Johnson Illustration 139

Donald M . Grant, Publisher,

Humanities

Amstutz, Jeff

Bark

Gnam, Carl

105

America Magazine

@Issue

144

116

Dutton

Ishibashi, Akiko Isip, Jordin

Gibson, John Dana

Duquett~ Benoft

The J. Paul Getty Museum

Drobka, Jim

Aitchison, Jim

Ambar

Dolbinski, Steve

Burke, Jim

Burckhardt Studio, Inc.

Lopez, Cand ice 118 12

Rafael Lopez Stud io

Los Angeles Times

Magazine L'Actualite

Mailhot, Caroline

Majewski, Lech

103 103

Reynolds, Sara

Rheuban, Carol

Olbinski, Rafal

49, 103

Riddick, Mark

Olson, Kristian

Riddick, Michael

Rinaldi, Jennifer

111 Minna Gallery

Martin, Jim

86 103

Matorin, Faith MBC

126

O'Quinn, Thomas

Major League Baseball MAN

O'Neill, Cindy

126

RIS Paper Company

Otis, Steve

Rizzoli

Outside

McCaughey, Hannah McClure, Chris

54, 77

Oxford American

130

59, 82, 115

Rosebraugh, Keri

56 Mead, Monte Meier, Jana

Roth, Andrew

18 54

Time

110

Zavetz, Laura

56, 73

66,73

Tor Books

Rolling Stone

Yung, Cecilia

116

Communications

Rodrigue~ Robert

McDonald-Burke, Beatrice

Terauchi, Aya

Thornton Medical

115

Yoder, Steve

31,36 126

Rock and Roll Hall of Fame

Tatou communication visuelle

Robinson, Cathy

XL Records

71 Tagariello, Frank

Otis, Chad Out

McCabe, Susan

130

Tabletalk, Ligonier Ministries

22, 39

Tsetsekas, Gus Turner, Clay

123

113

RT & E Integrated

Wendell Minor Design

Palecek, Jane

Communications

Mires Design

PanaHome Co., Ltd.

Mires, Scott

Parisi, Elizabeth B.

Uhl, David

Mize, Vivian

105

Parsons, Robert

54, 79

Unruh, Jack

118

Every effort has been made

Moburg, Julia

Paulsen, Nancy

Uong, Minh

63, 75

to ensure that the credits

Montage Restaurant

113

Pedro Garcia

116

comply with information

Pedzwater, Devin

Sappi Papers

Port of Montreal

118

Penguin Putnam

Scali, Sam

Moody Magazine

Pentagram

7,16,130,134

Scandrett, Susan

Penthouse

82, 86

Scenario

144

Morrison, Alethia

130

Perry, Tamaye

Mortgage Banking Magazine 92 Mother Jones

Mouly, Franr;oise

66, 75, 63

occurred, notify us within

50, 53

54, 65

Picador USA

Pitzer, Chris

Vander Weg, Kara

Seramur, Chris

Vangsgard, Amy

123

Seraphein Beyn

123

VFW

Vibe

Serra, Roseanne

Serrat, Carlos 79

Potlatch Corporation

46 113

130 92

G.P. Putnam's Sons

Shore, Keith

New York

Simon and Schuster

Solomon, Richard

118, 121,

126,134 11

Rago, Martha

Random House

Rapp, Gerald & Cullen 54, 65, 66,

75, 77, 79, 81, 91

RAS Records

132

Reader's Digest

Realms of Fantasy Magazine

Nightingale, Victoria Nike Team Sports

59 12

Le nouveau Salon des Cent

Regent University Rembert, Daniel

116

Wenze l, Maria White, John

Staebler, Tom

Starak, Jerzy

103

66 79

Wieden + Kennedy

Wiener, Robert K. Williams, Jeff 97

Stitzlein, Leslie

Sugar, Robert

14 100

134

Wingate, Sasha

130

Woo, Cameron

Woodward, Fred

60, 77, 88

WORK (Singapore) Worth

Wright, John Patrick

77 Records, Heather

Stevens, Rodger

63, 81

Watanabe, Shoji

Widener, Robert

Spooner, Andrea 68, 71

Walker, John

The Weekly Standard

Nisnevitch, Lev

123 27

The New York Times Book

Ng, Evonne

128

Solomon, Michael

The New Yorker

14 63

Angeles

63, 75

Society of Illustrators of Los Querencia

Villard Books Vlcek, Nick

Society of Illustrators 134

The New York Times Review

Signals Design Group

Smith, Bill

Nelson Schmidt

The Village Voice

Shamlian Advertising

Procopio, Jennifer

certificates.

Seneyee, Henry

Sluzewski, Gary

Nelson, Jim

to issue corrected award

Van Ness, Tom Vancouver Opera

Sloss, Virginia

Naughton, Vera

18 141

Poisson, Michelle

Drug Abuse

30 days and we will be able

Sea Star Books

125,128

National Council Against

Sealock, Rick

Murphy, Mark

Nakamachi, Akiko

Va ldes Creative

Playboy

Nahan Editions

omission or other error has

125, 128

reason, a misspelling, 88, 91

Philips Electronics

Murphy Design Music Farm

supplied to us. If, for any

132

Scholastic

Pinsonneault, Sylvie

MSP Communications

134

Philadelphia Opera Phillips, Owen

77, 79, 81, 91

Editor's Note

113

Monteiro, Paulo

Moore, Larry

106

100

Wyoming Travel & Tourism 18

116

COM M U N I CAT I O N

A R T S

211

Directory Featured in this issue Fresh Base Art Co. The Ripley House 623 High Street Worthington , OH 43085 (614) 841-7480 (614) 841-7491 fax info@baseartco.com www.baseartco.com Chad Holder 27 N. 4th Street, #304 Minneapolis, MN 55401 (612) 384-7553 chad@pushstudio .com Represented by virtu Candace Gelman and Liz Baugher Chicago: (312) 540-9888 New York: (212) 989-8880 www.virtu .ws Mehdi Saeedi No. 275 Orkide Gharbi Alley.Shahrak Golestan St.35 Metry Esteghlal.Ave Hengam SQ. Resalat Tehran 16879-83711 Iran +98 (21) 736-5770

Legal Affairs Leonard DuBoff DuBoff & Ross Hampton Oaks, Second Floor 6665 S.w. Hampton Street Portland, OR 97223 (503) 968-8111

Advertising Dylan Lee Wieden+Kennedy dylanl@wk.com

Opinion/Commentary AI Jackson VP Group Creative Director BBDO Atlanta al.jackson@bbdoatl.com

REsources Kathleen Maher kmaher@ix.netcom .com Sam McMillan saml067@pacbell.net

Design Issues John Bielenberg 25 Congress Street Belfast, ME 04915 john@c21Ic.com Rich Binell binell@ea rthlink.net

Design Culture Wendy Richmond W. Richmond & Co. 457 Mount Auburn Street, #8 Cambridge, MA 02138 (617) 492-8228 (617) 876-8142 fax wrichmond@aol.com

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ILL U S T R AT I O N

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ANN U A L

2 0 0

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Advertiser's Index AHop2 171 AlGA 213 158-163 amshow+Archive Aquent 175 Auto FX Software 193 Canon Digital Creator's Contest 179 Chokolat 194 Comstock 189 Corbis 152 Creative Circus 190 DuPont-Digital Imaging 195 Gerald & Cullen Rapp 185 173 Getty Images HPPrinters 191 Miami Ad School 205 Pantone 197 Portfolio Center 180 178 Portfolios.com Raw Talent Photo 155,188 theispot back cover Weyerhaeuser 147 Workbook & Company 151 Workbookstock.com 187 181 Yupo Corporation

• the power of Design • AlGA National Design Conference •

VANCOUVER, BRITISH COLUMBIA

October ~3-~6, ~ oo3

economy. culture. environment. Designers have the potential to be powerful agents of social change, architects of sustainable solutions for a troubled planet and facilitators of crucial public discourse. AlGA's tenth biennial National Design Conference will focus on the power of Design to effect change in the areas of economy, culture and environment - and your ability to communicate this role to your clients.

Speakers, participants and available muses include: LAURALEE ALBEN

JOHN HOCKENBERRY

ROBERT PETERS

LUCILLE TENAZAS

MICHAEL BRAUNGART

JONATHAN HOEFLER

PLAZM

MICHAEL VANDERBYL

RALPH CAPLAN

JANINE JAMES

WOODY PIRTLE

LORRAINE WILD

FRITJOF CAPRA

BRENDA LAUREL

STEFAN SAGMEISTER

WOWHAUS

EAMES DEMETRIOS

BRUCE MAU

ERIK SPIEKERMANN

KEITH YAMASHITA

WILLIAM DRENTTEL

KATHERINE MCCOY

BRUCE STERLING

ANDREW ZOLLI

JESSICA HELFAND

DAVID ORR

STUDIO EG

AND MORE ...

To register and for more information, visit

http://powerofdesign.aiga.org

available online at www.commarts.com 'I'

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November 2002 o..lgn Annul

Dece mber 2002 Adven laing Annual

March/April 2000

May/June 2001

Dinnick & Howells; Amy Guip: Aerobleu: Mauk Design; Gary Baseman: Exhibit; &0; Amsterdam: Europe's New Creative Center; Technology Feature: Kioken

January/February 2001

Grant Design Collaborative: Nanette Biers; Singapore Advertising; Kwaku Alston; Album Cover Design; Pioneers: Helmut Krone; Color Predictions; &0; Exhibit: Index to Volume 41; Technology Feature: THUNKdesign

March/April 2001

illustration Cl 2003 Juliette Borda

January/February 2002

July 2001

Werner Design Werks: John Offenbach; Department 3; Cynthia von Buhler: Rick Colby; Merchandising Designers; &0; Exhibit; Fresh: Public, lrit Hayton Studio, Smari

Erbe Design; Marc Yankus; Taxi; The Chopping Block; Martin French; Fossil Design; 2002 International ECHO Awards; Brasil! Brasil! Brasil!: Graphic Design in South America's Powerhouse; Exhibit; Fresh: joSon; Ryan Sanchez; Cultivator Advertising & Design

$/6

August 2001

July 2002

Ditko; Shelly Reese; 300FeetOut

September!October 2001

sl6

2001 Illustration Annual; Fresh: Charles

Glaubitz; Kenny Johnson; delux design associates

s16

Viva Dolan; Lars Toplemann; BVK McDonald; Anja Kroencke; Exhibit; &0; Interactive Annual 7 + CD-ROM; Fresh: Corey Sandelius; Piper Design Co.; Viktor Koen

November 2002 2002 Design Annual; Fresh: Rachel Salomon; Zachary Scott: Lodge Design Co.

December 2002 2002 Advertising Annual ; Fresh: Fort Franklin; David TIllinghast; Claudia Goerzelmann

Photography Annuals Package

SZ4

Poulin + Morris; The Clayton Brothers: Sean Kernan; Color Predictions: The Syndicate; Brno Poster Biennale; Pioneers: A1exey Brodovitch; Exhibit; Fresh : Fiona Hewitt; Picture Mill; Mark Luinenburg

1001 Photography Annual: Fresh: Steve

August 1996, 1997, 2001 Photography Annuals

JanuarylFebruary 2003

Mires; Dominique Malaterre, Tilt; hillmancurtis, inc.: Chris Gall; Core: The Colorado International Invirational Poster Exhibition; &0: Exhibit: Pioneers: Armando Testa; Fresh: Motion Theory, Molly Zakrajsek, Kevin Twomey; Index to Volume 41 March/April 2002 s8

Liz Lomax; Graham Rounthwaite

Planet Propaganda; Stephen Wilkes; West & Vaughan ; Imaginary Forces; Barbara Nessim; Exhibit; &0; jViva! Disefio en Mexico; Fresh: Imagewerks; Open; Nichole Sloan

M.y/Jun. 2003

illustration C; Nicholas Wilton

Ralph Appelbaum Associates Incorporated: Mark Ryden; Marc Sixdeniers: Abbott Mead Vickers BBoo: Deborah Jones: Tsunami of Change: a new wave of Japanese design: Exhibit; &0; Great Ideas on Limited Budgets; Pioneers: Otto Storch: Fresh: Janusz Kaminski; Carbon": Slavimir SrojanoviC 1001 lIIustration Annual; Fresh: Srereorype;

July 2002 llluatr8tlon Annu l

Illustration Annuals Package July 1990, 1994, 1996 lIIustration Annuals

SZ4

Interactive Annuals Package

March/April 2003

May/June 2003 Great Ideas on Limited Budgets; Neal Brown; Moffatt/Rosenthal; Clients and Designers: Spot Design and Barry Weissler, Chicago producer; Juliette Botda; AIGA/Aquent Survey of D esign Salaries ; Pioneer: Gene Federico; Exhibit; Fresh: Scorr Lightner; Paper Plane Studio; Melissa Szalkowski

SZ4

Sep/Oct 1998, 2001 Interactive Annuals

You can order back issues of Communication Arts online at www.commarts.com. by phone at (800) 258-9111 in the U.S. and Canada or (650) 326-6040 in all other countries, or by mail using the form at right. All orders must be accompanied with payment. For shipping within the U.S., please add $4 (U.S.) per issue. All other countries, please add $5 (U.S.) per issue. Californi a residents, please add 8. 25% sales tax. Canadian residents, please add 7% GST. Allow up to three weeks to receive your order. International orders 4-6 weeks. All back issues are subject to availabili ty, we will refund your money on any issues that may have sold out. For an up-to-date listing of available issues, please check online at www.commarts.com.

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