julaug2017 by Commarts

COMMUNICATION ARTS PHOTOGRAPHY ANNUAL 58

Helios Design Labs Janine Rewell Shine United Manual Exhibit

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FIND YOUR NEXT ASSIGNMENT PHOTOGRAPHER. atedge

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JULY/AUGUST 2017 VOLUME 59, NUMBER 3

COMMUNICATION ARTS ��

��

�� FEATURES 38 Manual

by Ruth Hagopian Big on concept, this San Francisco–based design firm fills its integrated campaigns to the brim with character.

46 Shine United

COVER

Production still for Moonlight, by David Bornfriend, p. 94.

��

by Katie Ginder-Vogel Profound campaigns spring from this Madison, Wisconsin–based ad agency’s comprehensive client relationships.

54 Helios Design Labs

by Chris Daniels This Toronto-based digital firm creates sites that put visitors in the driver’s seat of documentaries.

62 Janine Rewell

by Garrick Webster A Finnish illustrator with limitless imagination explores every possible medium, from body painting to dollhouse making.

70 Exhibit

by Jean A. Coyne The latest and best in visual communication from here and abroad.

PHOTOGRAPHY ANNUAL 78 114 117 145 150 154 170 181 196

Advertising Books Editorial For Sale Multimedia Institutional Self-Promotion Unpublished Student

FRESH Editor/Designer Patrick Coyne Executive Editor Jean A. Coyne Managing Editor Michael Coyne

198

Jvdas Berra This Mexico City–based photographer’s work unites glamour and adventure.

200

Pablo Delcan From books to music videos, the work of this Brooklyn-based designer knows no bounds.

Associate Editor Esther Oh

202

Mariana Rodrigues A natural energy emanates from the superdetailed images of this London illustrator.

Art Director/Designer Jessica Reichard Production Manager/Competition Coordinator Lauren Coyne

COLUMNS 14

Design Culture Wendy Richmond explores the memories proffered by personal libraries.

Design Details Ellen Shapiro uncovers various methods of design research and acquiring public domain assets.

Advertising Maybe it’s time for copywriters and art directors to see other people, Ernie Schenck suggests.

Insights Director Martin Stirling unpacks his method for creating hard-hitting commercials.

Print Producer Daniel Sambrano

Creativity For designers looking to step outside the box, enter a zine library, Julia Lipscomb reports.

Design/Production Associate Joni Rivas Production Assistant/Customer Service Representative Khader Yanni Archivist Nancy Clark Lewis

Emerging Media Yolanda Zappaterra explores how generative design is set to change the industry.

Software Engineers Jiping Hu Srividhya Gopalakrishnan Technology Administrator Michael Hoyt Advertising Director Dirk Moeller

Typography Allan Haley talks with font designers about creating custom fonts for brands.

Circulation Director Perry Fotos Accounting Lois Vega Contributing Editors Sam McMillan Wendy Richmond Ernie Schenck

DEPARTMENTS 8 10 15 204

Editor At Large Anne Telford

Editor’s Column Contributors Web Watch Favorites

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206 208 211 212

Book Reviews Index to Photography Annual 58 Directory Overheard

Copyright 2017 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 US dollars, Canadian GST: 127848620.

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EDITOR’S COLUMN

Patrick Coyne

hen comparing last year’s Photography Annual winning

“Coming from the book publishing world, successful editorial images

entries with this year’s, they look quite different. Last

are built from equal parts concept, execution and composition,”

year’s dominant theme of illustrative, flat images with

Chu says. “I saw quite a few images where two of the three factors

high-contrast shadows has been replaced with photojournalistic realism. This is especially noticeable in the Editorial and Institutional categories, with the latter registering a fourfold increase in the number of entries selected. Even the Multimedia category was

were there—but not the third.” “I was surprised there weren’t more humorous pieces that stood out to me,” Kennedy says. “Everyone could use a little giggle.”

dominated by short-form documentaries. That said, still life and

For the past several years, there has been discussion among the

studio portraiture are well represented among this year’s winners.

judges about the impact that smartphones and social media are

“The still life work was amongst the most exciting and fresh in the entries,” says juror Chris Buck. “Perhaps the need to distill ideas

having on the field of commercial photography. This year was no exception.

made these the most effective pairings of narrative and visual.”

“Currently, there is much focus on the robust interaction between

“I was impressed by the volume and range of submissions,” says

photography and the general public—think Instagram—but I don’t

juror Carol Chu. “Several memorable advertising entries stood out,

know what that means for professional photography in the future,”

and so many were witty and eye-catching.”

Buck says. “I doubt that it’s a serious threat to the longevity of

“The Editorial submissions were, by far, my favorite,” juror Coni Kennedy says. “The images were incredibly powerful, and I found

commercial shooting.” “Photography is such a part of our everyday life now, what with

them to be the most effective, with simple, yet original concepts.

Instagram,” Arnold says. “But there’s still a need for professionals

I love knowing you can flip through this book many years later and

who bring a unique way to capture a story in a still image.”

clearly grasp the state of the world.” “Honestly, I was impressed with everything,” says juror Anna Alexander. “A couple of entries were a bit over-Photoshopped and out of style, but they were most likely not in the Editorial category, which is my beat.” Along with the praise came a fair amount of criticism. “I was surprised by the lack of experimentation,” juror Jon Arnold says. “There were some beautiful photographs, but few brought a new point of view.” “A handful of the entries were very impressive, but unfortunately, many were only capable, not surprising or exceptional in quality,” Buck says. “I would like to see more risk-taking in content and visual style.” 8

Photography Annual 2017

ANNA ALEXANDER is director of photography at WIRED magazine in San Francisco, California. She has been producing photo shoots and commissioning WIRED photographers for almost 20 years; she recently took a twoyear hiatus from WIRED to serve as photo director at Dwell Media. Alexander is the recipient of several gold and silver Society of Publication Designers awards for photography, and artwork she has produced has appeared in both American Photography and Communication Arts. Alexander holds a BFA in photography from the University of Arizona. She resides in the Marin County city of Novato with her husband and two children.

JON ARNOLD began his career in 1994 at TBWA Chiat/Day, St. Louis, Missouri, before spending eight years as art director at Core, helping to elevate its profile to become one of Graphis’s top ten most creative agencies in the world. Arnold subsequently worked at Mullen NC. He now resides in Nashville, where he is senior vice president/executive creative director at BOHAN Advertising, which was named 2014 Southeast Small Agency of the Year by Advertising Age. His work has garnered recognition from the ATHENA Awards, Communication Arts, The Drum, Graphis and Lürzer’s Archive. Arnold enjoys spending time with his wife and their eleven-year-old daughter.

Photographs by Steve Castillo

And what about the

Corrections

impact of technology?

In the May/June 2017 issue, on the Contents page, the correct page number for Tim O’Brien’s cover illustration is 141.

“I hope the field is going more toward creating

Manuel Kilger’s (p. 163) and Jim Salvati’s (p. 159) captions and credits are transposed.

techniques in camera and not in Photoshop!” Alexander says.

On page 204, we incorrectly listed Land Rover, REI and The North Face as clients of Myles McGuinness, who had stated only that he would like them as clients.

“Bring back traditional film,” Kennedy adds. “My overall impression is

like to extend our grateful appreciation to our jurors for their

On page 208, the Index to Illustrators contains several page number errors. The correct page numbers are: Bott, Luke, p. 96; Chang, Albert, p. 177; Di Lillo, Anne, p. 177; Drew, Ned, p. 188; DuBois, Gérard, pp. 95, 186; Frazier, Craig, p. 105; Greer, Kortney, p. 96; Huerta, Roy, p. 193; Kidd, Kendrick, p. 96; Manchess, Gregory, p. 188; McGinnis, Mark, p. 190; McManus, Brenda, p. 188; O’Hara, Colleen, p. 190; Orr, Clark, p. 96; Red Nose Studio, p. 147; Simmers, Kyle, p. 190; Soon, Ileana, p. 190; Taxali, Gary, p. 190; Volken Togni, Fernando, p. 88.

conscientious efforts in selecting our 58th Photography Annual.

Our apologies for these errors. ca

that photography is a healthy and evolving field, reflective of our societies and cultures, and it’s headed hand-in-hand with technology into a brave new world,” Chu says. A minimum of three out of five votes was required for a project to be awarded in this year’s competition. Judges were not permitted to vote on projects in which they were directly involved. I would

CHRIS BUCK was born in Toronto, Canada. Since his father worked for Kodak, Buck went into the family business by becoming a photographer. He moved to New York in 1990 and established himself as an editorial and advertising photographer. In 2007, Buck became the first recipient of the Arnold Newman Prize for New Directions in Photographic Portraiture. His first book, Presence: The Invisible Portrait (2012), is a collection of celebrity photos in which the famous sitters are present, but not visible. Kathy Ryan, director of photography for the New York Times Magazine, called it a “crazy subversive book.” His latest, Uneasy: Chris Buck Portraits 1986–2016, was published in 2017.

CAROL CHU is an award-winning creative director at Houghton Mifflin Harcourt Books for Young Readers. She has been nominated for Print’s annual New Visual Artists issue and the Art Directors Club Young Guns. Her designs have been shown in the Cooper Hewitt, Smithsonian Design Museum and at the D&AD, the New England Book Show and the Puck Show, and they are included in the AIGA Design Archives and the Library of Congress’s permanent collection. She is a graduate of Pratt Institute. Chu has illustrated three books and coauthored two, on topics ranging from teenage rock stars to runway fashion to cats.

CONI KENNEDY is a partner and the creative director at L.A. Inc., a boutique agency in Toronto, Canada. With more than 30 years’ experience as a graphic designer, Kennedy has produced numerous award-winning brand and print campaigns. Among her creative credits are awards from the Advertising & Design Club of Canada, Applied Arts, Communication Arts, Coupe and Designedge Canada. She has also been honored by the National Association of Home Builders in Washington, DC, and the Canadian Home Builders’ Association. Kennedy started her career with an honors degree in graphic design from George Brown College. She is a type enthusiast and mother of two.

Communication Arts | commarts.com

CONTRIBUTORS Features

Toronto-based Chris Daniels (chris@ chrisdaniels.ca) writes about advertising, marketing and visual communications for publications such as Applied Arts and Marketing. In this issue, he profiles Helios Design Labs, a Toronto-based digital agency that fosters both self-reflection and social awareness through its interactive documentaries. Katie Ginder-Vogel (katiegv@gmail.com) is a freelance writer and editor whose work has appeared in Delaware Today and Update—the Wisconsin School of Business alumni magazine—as well as numerous digital publications. In this issue, she discovers the warm, welcoming company culture of Madison, Wisconsin–based ad agency Shine United. Ruth Hagopian (ruth.hagopian@gmail.com) is a freelance writer and editor whose profiles of designers, photographers and artists have appeared in Create, Digital Graphics and Print magazines. She was also a publisher of Online Design magazine and a partner in Visual Strategies, a San Francisco–based design firm. In this issue, Hagopian unearths the conceptual design thinking behind the work of San Francisco– based creative firm Manual. Garrick Webster (imageandtext.co.uk) is a United Kingdom–based journalist, editor and writer who has been working in the creative industry for the last 20 years. In 2011, he curated Memories, a book in support of the UK cancer charity Maggie’s Centres. In this issue, Webster travels to Helsinki to meet Janine Rewell, a Finnish illustrator with an adventurously feminine style.

Columns

Allan Haley is a storyteller and a consultant with expertise in fonts, font technology, type

and typographic communication. He was director of Words and Letters at Monotype for fifteen years and has six books and hundreds of articles to his credit. He is a past president of the Type Directors Club and was executive vice president of the International Typeface Corporation. In this issue’s Typography column, Haley highlights the pros and cons of designing custom typefaces for brands. Julia Lipscomb (julialipscomb.com) sells computers by day and writes about art and social justice by night. She started self-publishing zines as a teenager, and her passion for them continues. Lipscomb’s work has appeared in a variety of publications, from The Awl to GOOD magazine. She lives in New York City with her cat, Grace. In this issue’s Creativity column, Lipscomb showcases the rich wellspring of do-it-yourself inspiration available at zine libraries across the United States. Wendy Richmond (wendyrichmond.com) is a visual artist, a writer and an educator whose work explores public privacy, personal technology and creativity. Richmond has taught at Harvard University, the International Center of Photography and the Rhode Island School of Design, and she serves on BRIC’s Artists Advisory Council and the MacDowell Fellows Executive Committee. Her latest book is Art Without Compromise* (Allworth Press). In this issue’s Design Culture column, Richmond rediscovers her book collection and the memories behind each title within it. Ernie Schenck (ernieschenckcreative .myportfolio.com) is a freelance writer, creative director and regular contributor to Communication Arts’ Advertising column.

Schenck is an Emmy finalist, a three-time Kelly nominee, and a perennial award winner at Cannes, the Clios, D&AD, the FWAs and the One Show. As a freelancer, an executive creative director at Hill Holliday/Boston and a cofounder of Pagano Schenck & Kay, he has worked on campaigns for some of the most prestigious brands in the world. In this issue’s Advertising column, Schenck reevaluates the efficacy of the tried-andtrue pairing of art director and writer. Ellen Shapiro (visualanguage.net) is a graphic designer and writer based in Irvington, New York. Author of The Graphic Designer’s Guide to Clients (Allworth Press) and more than 200 magazine articles and posts about design, illustration, photography and visual culture around the world, Shapiro has been contributing to Communication Arts since 1991. In this issue’s Design Details column, she explores different methods for designers to conduct design research for projects. Yolanda Zappaterra (yolandazappaterra .wordpress.com) is a London-based writer and blogger. She writes about architecture, design, fine art, photography, food and travel for a range of European publications —including Blueprint and Time Out—and has published many books on architecture, editorial design and illustration. In this issue’s Emerging Media column, Zappaterra uncovers the aleatoric discipline of generative art and how it can revolutionize the design industry.

Book Reviews

Dzana Tsomondo (dzanatsomondo@gmail .com) is a freelance writer living and working in New York City. Tsomondo is passionate about music, art and politics, and his work has appeared in a variety of publications, from Cool’eh Magazine to Photo District News.

Pictured contributors wrote features and columns: Chris Daniels, Katie Ginder-Vogel, Ruth Hagopian, Garrick Webster, Allan Haley, Julia Lipscomb, Wendy Richmond, Ernie Schenck, Ellen Shapiro, Yolanda Zappaterra. 10

Photography Annual 2017

C A R I O C A ST U D I O P H OTO G RA P H Y www.jsragency.com

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DESIGN CULTURE

Wendy Richmond

Dear Books

y books, my books! How I’ve missed you!

For years, my art and design books were scattered throughout various rooms, in small bookcases, on tables, on the floor. Some (too many) were in storage, in cardboard boxes labeled “HEAVY.” I wanted to see them all in one place, so I finally ordered a shelving system that would cover a single large wall. My books would be available to me in one visual sweep. When the unit was delivered and installed, I retrieved the boxes from storage. I figured it would take an afternoon, maybe two, to arrange the books on the shelves. “Not so fast!” they said to me. I had neglected my books for so long, and they demanded that we get reacquainted. Paging through one after another, I realized that their collective influence on my life comes not only from their literal contents, but also from the circumstances surrounding them. They are reminders of places, relationships and ambitions. Where was I when I bought Matisse’s Jazz? Who gave me A History of Graphic Design? How did I acquire the massive Bauhaus? This led to more musings: What was I doing at the time? Who were my friends, colleagues and mentors? In other words, who was I when each book came into my life? One of my favorites is a catalog on the work of artist Alberto Burri. The text is in Italian, so my comprehension is fuzzy, but the memory associated with it is precise. I purchased the book during a graduate school field trip to the Fondazione Palazzo Albizzini Collezione Burri in Città di Castello, Italy. I was overwhelmed by the estate’s vast spaces and evocative paintings, a feeling that has since become familiar when I encounter powerful works of art and architecture. The catalog reminds me of this privilege— a passion that was both ignited and nurtured during those years of study. The heaviest storage box was filled with musty old typography books and actual type catalogs (remember those?) that I found during road trips to out-of-the-way bookstores. At one point, I was fixated on acquiring books by graphic designers and type designers from the early 1900s. One special find, The Power of Print—And Men (Brooklyn, New York: Mergenthaler, Linotype

Photography Annual 2017

Company, 1936), was designed by W.A. Dwiggins; another one, Layout in Advertising (Harper and Brothers, 1928), was written by him. I bought these when a designer I worked with and admired had just moved to Hingham, Massachusetts, not far from where Dwiggins had lived. I think I had intended to give him these volumes, but never did. Now visible on my shelves, they remind me of how my colleague inspired me. I should try to find him. My reflections made me curious about other people’s experiences with their books. I started asking friends about the memories their bookshelves summoned. A writer I’ve known for decades has a big house with bookcases in almost every room. Sitting in her home office, she reminisced about the books that had affected her in college. She found a hardcover on a top shelf titled Wanderer of the Wasteland. “There was a group of cool classmates, and they were all buying and reading Zane Grey,” she said. “I wanted to be like them, to emulate them, to be liked by them.” I asked her if she had read it. “No,” she told me. “Seeing it now, I’m looking at a time in my life when I wasn’t proud of myself.” Another friend showed me standouts from the shelves that she shares with her husband. At first, her selections made me laugh because they were from a litany of former boyfriends: a book on Chinese eroticism from a much older professor/lover; another by an ex-boyfriend’s filmmaker brother whom my friend sought out in Paris. Then she pointed to a pair of identical books—one hardbound, one paperback: Claes Oldenburg’s Notes in Hand: Miniatures of My Notebook Pages. “When John moved in with me, we found that we had the same book,” she said. “We bonded over that, our similar taste in art.” As I thumbed through the paperback, she noticed my book envy and said, “Sorry, I can’t lend one. I don’t want to lose the two-ness of them.” I love seeing my books together, old sitting alongside new. Some are mangled from being carried around and dog-eared, with Post-it notes peeking out. Others are pristine, waiting for me to get to know them. And there are the books whose meanings have changed for me or, more surprisingly, have remained the same. When I wonder about who I was before and who I am now, these crowded rows say, “Just look at me. I’ll tell you.” ca ©2017 W. Richmond

Timothy Taylor Founded in 1996 by art dealer Timothy Taylor, the London– and New York– based gallery Timothy Taylor breaks the mold of the exclusive gallery business model with transparent pricing, digital inventory systems, and an extensive presence online and on social media. Designed and developed by Londonbased creative firm Zak Group, timothytaylor.com reflects a new branding system and digital ethos. By creating a custom integration with Artlogic—a database specifically designed for curators—Zak Group enabled Timothy Taylor to manage and publish work to the site from a single repository, which also contains extensive information for each work of art, including location, previous ownership and shipping.

The site’s open-source content management system gives Timothy Taylor flexibility in creating new pages and managing its archive from more than 20 years of operation. Individual artist pages aggregate selected content from across the Internet, charting the artist’s practice while featuring recent work, news, publications and videos. Links to social media also enable the gallery to repost Instagram pictures that mention the gallery and its artists. “The website does what we think the digital presence of all commercial art galleries will need to do in the future,” says Zak Kyes, director of Zak Group. “The channels used to access culture have changed dramatically, and technology is a vital tool to provide transparency and engage with audiences.” —Michael Coyne Zak Kyes, art director; Rupert Dunk, senior designer/senior developer; Robin Scholz, developer; Nico Bucci, typographer; Zak Group (London, United Kingdom), project design and development; Danielle Chidlow/ Tania Doropolous/Lada Sorokopud/Cassie Vaughan/Kate Wong, Timothy Taylor, clients.

World in focus

Documentaries done differently The Massachusetts Institute of Technology’s Open Documentary Lab makes good on its commitment to advance new forms of documentary with docubase. The site gathers some of the most innovative examples of documentary storytelling to explore the frontiers of the genre. Using a curatorial approach, docubase showcases playlists from expert guides: filmmakers, professors and producers. These experimental docs may not be coming to a movie theater near you, but they are worth a look at docubase.mit.edu.

Quite possibly the best travel photography you’ve never seen is on Maptia (maptia .com). These photographs are a revelation, a gorgeous depiction of place and time ranging from Beth Moon’s starstruck trees in Africa to Raffaele Petralla’s depiction of the harsh realities of brick factory work in Bangladesh to Tony Wu’s eye-popping encounter with sperm whales. Maptia invites photographers to join its collaborative storytelling project—so far, more than 200 have signed on.

No more excuses Women Photograph (womenphotograph .com) is a pictorial database of female photographers from around the world working in the documentary and editorial arenas. Designed to promote the work of women—and to get them work—the site directly addresses the art directors, photography editors and creative directors responsible for hiring photographers. Additional resources include grants for documentary projects and a listing of workshops and conferences where women photographers can build a community and meet their next clients. —Sam McMillan Communication Arts | commarts.com

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Ernie Schenck

Is It Time for the Creative Team to Get Divorced?

omewhere back there in the Cretaceous period—or maybe it was the Jurassic, I can never remember—Bill Bernbach teamed copywriters and art directors together and just like that, whoomph! The first creative team was born. It worked pretty well. Did I say pretty? Not pretty. Amazingly. There’s really no other way to say it. For a very long time, the copy-art team churned out work that was stunning and disruptive and changed the course of culture in ways no one could have foreseen. 1984. Mean Joe. Cavemen. Whassup! And that was all well and good until a whole slew of asteroids landed and blew the hell out of advertising. Digital. Social. Experiential. Virtual reality (VR). Augmented reality. Stunts. Social experiments. It goes on. Suddenly, the creative team as we knew it wasn’t the beall and end-all. Who was to say what a team needed to be anymore? Who was to say what a big idea was anymore? True enough, the great teams, the Clows and the Haydens, the Goodbys and the Silversteins, the Champs and the Moores, they all will be forever ensconced in the annals of ideas that shook the world. But that was before the big bang. Before the Visigoths came riding over the mountains and started slashing, burning and rejiggering everything—mostly for the good, but all too often for the bad. Regardless, it’s a different landscape now. It’s more complex, brimming with possibilities that not all can see, let alone exploit. As I write this, South by Southwest 2017 is in full swing. A producer I know went on Facebook Live with a VR experience in which viewers find themselves in the deep of space, floating among the stars, drifting through nebulas, comets streaking by. He said it was the best use of VR that he’s seen yet. And though I’m sure it was beautiful to behold, I can all but guarantee that it was not even close. Why? Because until we figure out how to tell stories within a spherical universe, VR cannot and will not fulfill its potential. Is VR capable of that? Without question. But until we really can see what it’s capable of, we will struggle to exploit it. Like I said, it’s complicated. For the creative team that was conceived in a simpler time, maybe too complicated.

Photography Annual 2017

The creative team that’s going to succeed now might as well be seven creatives as five or three or two. Today, it might be a writer, an app designer, an experiential engineer and a psychologist. Next month, it could be an art director, a composer and a social scientist. Not that this is news to BrightHouse. When I first got involved with the Atlanta creative consultancy, I was struck by how it went about getting to a big idea. Instead of the traditional creative team, BrightHouse put together an eclectic team of what it called “visionaries,” people who were capable of looking at a problem through a unique lens. A writer? Maybe. An art director? Possibly. But a neuroscientist? That was possible, too. A schoolteacher. A violinist. A poet. People who could see things writers and art directors might not ever see. Yes, I know. We’ve been talking about this for a while now. It’s not like it hasn’t occurred to anyone that we need fresh ways of coming at brands. The problem is that, well, talking is pretty much all we’ve done. True enough, there are some mutant creative teams out there that look about as much like a copywriter and an art director as a bartender and a meerkat. But the reality is that most of the teams still out there sitting around in team rooms, chomping on cold pizza at five o’clock on a Saturday afternoon, still think in terms of words and pictures. And if an experience I had not long ago is any indication, it’s not hard to see why. Coming off a really successful campaign, it was time to reload and evolve it to the next level. But this time, instead of bringing in three or four teams of copywriters and art directors, I wanted to see what amazing things might happen if we mashed it up. Writer, digital strategist and UX designer. Art director, social planner and experiential designer. I had high hopes—until not one team came back with something even approximating an idea. The writers were brilliant. The art directors, too. So was everyone else. But mixing them up together? Let’s just say, it didn’t blend. And yet the creative team has to change. It won’t be smooth. It won’t go down without a fight. But all good things, as they say, must come to an end. And the creative marriage between words and art is no different. ca

CREATIVITY

Julia Lipscomb

Zine Libraries: A Source of Design Inspiration

Founded in 2003, the Denver Zine Library holds a collection of more than 15,000 independent and alternative zines. Maintained entirely by volunteers, the collection is open for the public to browse and discover different do-it-yourself techniques.

he first time I walked into the Zine Archive & Publishing Project (ZAPP) in Seattle was overwhelming. Eight bookcases were stacked with zines that, at first glance, appeared to be multicolored papers folded too small for me to read the bindings without taking them out, one by one, from the repurposed cereal boxes they lived in. Labeled by subject, like Art, Comics and DIY, these boxes contained a world of history. Zines are hand-bound, self-made publications usually created by one person or a small group of people who oversee all aspects of the writing, layout and production process. Once published, zines are usually donated to a zine library. At ZAPP, a designer seeking inspiration could choose to read the afternoon away sitting on a comfy blue couch or to sit in front of ZAPP’s vintage manual typewriters and write her own zine.

“The goal had always been to have ZAPP own the collection and operate independently,” says Graham Isaac, ZAPP’s former managing editor. Isaac also notes that the funds that had been raised will be donated to several related organizations, including Hollow Earth Radio, the Independent Publishing Resource Center and Short Run Seattle.

Established in 1996 as part of the literary nonprofit Richard Hugo House, ZAPP grew from a collection containing a couple of hundred zines in the basement of a Victorian mansion to the 30,000 zines it had amassed by 2016, when the collection was absorbed into the Seattle Public Library (SPL). Without consulting the organizers of ZAPP, the Richard Hugo House, which had retained ownership of the collection, finalized a deal to give the collection to the SPL. This ended ZAPP’s two-year-long effort to fund a new location, and the largest privately run zine library in the country was no longer independent from an institution.

“Everything that I do creatively now can be traced to the connections I made [at ZAPP],” says Horn, who had the opportunity to learn screen printing when a former ZAPP manager gave him $25 to take a class. “I approach design, or rather, pick projects in print as opposed to digital almost exclusively. That doesn’t mean I don’t use my computer to achieve results, but I am most excited by limited editions of tactile things. Whether posters, street art, trading cards, books or zines, the process is always informed from the beginning by the medium used. Everything stems from the constraints presented by the medium.”

However, ZAPP’s collaborative ethos lives on through the designers and printmakers who had visited the space. One of them, Seattlebased artist Jon Horn, had been screen printing music posters when he discovered the screen-printed zines of the French studios Le Cagibi and Le Dernier Cri. He then began molding the medium of posters with the 3-D quality of zines.

Communication Arts | commarts.com

CREATIVITY

Selections from zines printed by the French screen-printing collective Le Cagibi. Screen printing is one of many techniques employed by zine designers.

In other pockets of the world, zine libraries attract communities of local artists and designers who gravitate toward the hand-printed, collaborative medium of zines. Most libraries operate in a way that fuses the methodology of both an archive and a library: an archive in the sense of being nonlending and collected to preserve the time and history of the zines and a library in the sense of allowing visitors to browse and touch the zines. This fusion is key in enabling any designer to gather inspiration for a project without constraint. Seattle had ZAPP, and Denver has the Denver Zine Library, New York City has the ABC No Rio Zine Library and Philadelphia has The Soapbox: Community Print Shop & Zine Library. The Denver Zine Library (DZL), a nonprofit organization founded in 2003, today has a collection of 20,000 zines. It is run entirely by volunteers and actively curates many programs, from cataloging to workshops to events to outreach, like the Denver Zine Fest and the Denver Independent Comic and Art Expo. The DZL also offers classes, including a more tailored curriculum for classes from universities such as Rocky Mountain College of Art + Design. “The zine library is an opportunity to get outside of the narrow lens of what zines could be,” says Kelly Shortandqueer, a co-organizer at the DZL. “There’s a lot of fun and interesting ways that our collection has continued to grow based on programming.” Working on projects at the DZL inspired comic artist Bruce Otter to learn more about printing. Otter started making comic strips in 2008 using Bitstrips—an online service that enabled users to create their 22

Photography Annual 2017

own comics using customizable characters and preset poses and scenes—which led to his producing the biweekly weird-humor web comic “Brain Teaser Comics” for three years. Otter became a regular artist at the DZL. Recalling how he moved from web comics to comic zines, he says, “Another artist challenged me to do two all-original eight-page minicomics as part of a podcast episode we did on the subject of minicomics. I loved the whole process of drawing, printing, assembling and stapling the finished projects and discovered it was satisfying in a way separate from doing the web comic. I ended up doing a noncomic zine called Notes of the Future, made with art from public domain sources for the Denver Zine Fest.” In New York, the ABC No Rio Zine Library, a collectively run nonprofit that began with the city’s 1980s punk scene, has a collection of more than 12,000 zines primarily focused on oppositional culture—the rejection of conformity by subcultures. Zines from the international underground punk scene, such as Maximum Rocknroll, Slug and Lettuce, HeartattaCk and Punk Planet, are favorites of ABC No Rio librarian Suckzoo Han, as well as smaller serial zines like Temp Slave! and Doris. “These zines delivered intimate life experiences in a very direct and undiluted way that was lacking in mainstream literature,” explains Han. “[For] a person who is interested in printing, the zine world was—and still is—an excellent place to witness a variety of printing techniques, most of which seem outdated or labor intensive.”

A page from one of zine designer and podcaster Bruce Otter’s minicomics (left). Otter also created the zine Notes of the Future (center and right) for the Denver Zine Fest, an annual festival by the Denver Zine Library.

With the advent of digital media, not only have zines not died out, but also they have taken a very different turn in printed matter toward more sophisticated design and illustration, all while maintaining the DIY spirit that is ingrained in the zine ethos. Adapting the analog resources and skills that are typically utilized to make zines— like cutting and pasting, collaging, using newsprint, and hand-writing and hand-binding—can be freeing for any designer or illustrator. “Playing with the more intuitive cut-and-paste techniques that are de rigueur in zine making is freeing for me,” explains Mary Tasillo, an artist and co-organizer of The Soapbox: Community Print Shop & Zine Library. “I tend toward simple structures in zine making, often with handmade elements on the cover and binding, because it frees me from the high expectations I place on myself when making an artist book.” In March 2011, Tasillo cofounded The Soapbox in West Philadelphia. The nonprofit community studio offers access to shared studio equipment and a reading room with a library of 2,500 zines. Social justice emerges as a favorite theme among many designers in the zine community, and members of The Soapbox often create projects that reflect on racial, gender, environmental and disability justice. “I think podcasts and zines have a lot in common in that they democratize media,” says Otter, who, in addition to zines, produces a podcast—another medium that has experienced a resurgence in popularity in recent years—for the DZL. “[They] give voice to any and every interest under the sun.”

With their expansiveness of topics, zines can be used as a way of breaking things down to get over artist’s block. The independently produced periodicals represent chaos, a diversion from more structured design projects and design “rules” that can cause a major obstruction in workflow. The nature of the zine enables the designer to see the zine’s design in print during the creative process instead of at the end and to create without an editor’s or a director’s approval—a process that is very freeing to the designer. “For me personally as a zine publisher, having access to different zines has sometimes influenced the ways that I write or format things,” explains Shortandqueer, who publishes the eponymous zine Shortandqueer. “There’s an incredible sharing of styles, ideas and passions, even if the content is different. We used to do zine workshops and say, ‘You can do whatever you want,’ and for most people, that’s way too open-ended. They need more history. For other folks, it’s to be able to say, ‘I can do this’ or ‘This way is interesting, but I think I’m going to do it another way.’ I think the Denver Zine Library really works as a container of creativity and inspiration.” From West Philadelphia to New York to Denver, these containers beckon, and although the libraries have key differences in how they are run and programmed, clear similarities exist between them: opportunities to collaborate, to network and to volunteer to keep the DIY spirit of zines alive. For any designers seeking to stretch their creative muscles, zine libraries will welcome them with open arms. ca Communication Arts | commarts.com

DESIGN DETAILS

Ellen Shapiro

How do you find that special image and negotiate the rights?

wish I could put up a YouTube video to answer that question. I’ve found how-to videos for almost everything, including how to make buttonholes using my new electronic sewing machine. That was tricky, but not as tricky as finding and getting the rights to use an unusual or historical image.

Poulin turned to his mobile phone. He had an image in mind of a 1920s Rodchenko mural in Moscow—but its quoted use fee was above the nonprofit client’s budget. So he searched for the mural on Instagram via hashtag. “A local photographer had taken a perfect shot and licensed it to us for a fraction of the price,” Poulin reports.

Need a picture of a happy family or a snowy forest path or Nixon resigning? No problem. There are infinite options. More specific shots of, say, teatime in England or children in a Ugandan hospital can be licensed on sites like Getty Images, which offers 200 million visual assets in hundreds of categories, including news, entertainment, sports and “creative,” with collections as esoteric as “car culture” and “untitled X-ray,” which tantalizes with white-on-black images of translucent flowers and plants.

Nancy Lerner, principal of Otherwise Incorporated, a Chicago firm that specializes in branding for real estate clients and civic organizations, takes professional use of social media one step further. “The whole process of commissioning photography has been flattened and simplified,” she states. “After the advent of cheap and free stock, clients didn’t want to pay for photo shoots. But now we’re commissioning more original work than we have in years. That’s because we can source talent on Instagram or Tumblr and art-direct longdistance on FaceTime.” Lerner says she can find a photographer almost anywhere who will shoot precisely what her clients need and send proofs instantaneously via text message.

But what if I need teatime in a particular English village or children being treated in a specific hospital in Uganda? And my client doesn’t have the budget to hire a photographer at a day rate plus airfare and expenses? For some designers, social media is making the world of available imagery (and talent) as close as their iPhones.

Finding your image or photographer via hashtag More and more designers are finding their visual assets on Instagram. Poulin + Morris, a New York design consultancy that creates signage and environmental graphics for leading institutions around the world, is just one firm broadening its search methodology. The images for an exhibit at Vassar College’s Integrated Science Commons—which displays tools and artifacts alongside photographs of scientists and labs—were researched by designers on Poulin + Morris’s project team and came from sources ranging from National Geographic to iStock, according to design director Richard Poulin. For a project for American Society of Landscape Architects, however, 24

Photography Annual 2017

A treasure hunt Historical images are a different story. When Lerner’s firm needs, for example, vintage images of a neighborhood for a real estate client, a staffer or an intern will be dispatched to sources like the Chicago History Museum and the archives of the city of Chicago. “Picture research is people-intensive,” she says. “It’s time-intensive, but there are all kinds of great images squirreled away. You have to get out there and find the people who have them and talk to them. There are more dead ends than live paths. It’s a treasure hunt. You have to love the hunt and go where it takes you.” “We’re often challenged with finding an image that we’re not even certain exists,” adds Samantha Osborne, marketing manager at the Rantoul, Illinois–based exhibit design firm Taylor Studios, Inc. “In obtaining obscure imagery, persistence and creativity is key.

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DESIGN DETAILS More often than not, we can’t fulfill our needs with stock. While we may begin on Google, we call upon museums, libraries and historical societies and search out local resources, like borrowing and scanning 35mm slides from a retired hobbyist.” For a timeline installation in Alaska about North America’s tallest peak, Denali, and the pioneers who first climbed it, Osborne says that the imagery came from the Anchorage Museum, companies that make climbing gear, Flickr, the Library of Congress, a local library, personal websites and the photo albums of mountain-climbing legends.

Going to the sources One of the most comprehensive image databases is in the Library of Congress, in Washington, DC, all of which may be searched online and downloaded for free (though it’s up to the user to track down the copyright owners and get permissions). “We have preserved and provide access to nearly sixteen million photographs, drawings and prints from the fifteenth century to the present day,” writes Barbara Natanson, head of the Reference Section Prints and Photographs Division. “International in scope, these visual collections represent a uniquely rich array of human experience, knowledge, creativity and achievement, touching on almost every realm of endeavor: science, art, invention, government and political struggle, and the recording of history.” To test what I could find there, I devised a theoretical assignment: a photograph of the Watts Towers for a book about 1950s Los Angeles. I searched the Library of Congress Digital Collections—“no results found.” Really? Did I do it right? I tried again. Still nothing. So I switched to Google Images. Before I could finish typing in Watts Towers, hundreds of beautiful shots—many from stock houses and some from individual bloggers—of the rebar structures decorated with broken crockery popped up. I quickly found a high-resolution image on a travel blog that surely could be licensed for a reasonable fee. But what I really wanted was a photo of Simon Rodia, the towers’ artist. A new Google search took me to a black-and-white photo taken in 1950 by Sanford Roth, in the collection of the Los Angeles County Museum of Art. I clicked on “Order Photography” to open an online Rights and Reproduction Order Form with more than 30 questions: Contact information. The purpose and usage. Date of publication. Number of copies. I filled it out and, at the time of this writing, am still waiting for a response. Over the years, I’ve learned from my husband, a trademark and copyright lawyer, that almost everything created prior to 1978, such as the portrait of Rodia, probably doesn’t have a copyright notice. If it was created after that, I have to track down the owner and negotiate the rights. Otherwise I might get sued. Designers routinely pull the images they need for mockups off Google Images or Pinterest, but, as almost everyone realizes, these images may not be used in a real brochure, book, ad, exhibit or film. “You can swipe as long as the image is only used for a comp,” warns Elizabeth Resnick, professor at Massachusetts College of Art and Design in Boston. For her recent book, Design for Communication, she didn’t allow reproduction of anything—even as part of a collage—that the designer couldn’t guarantee was her or his own original work. “Without signed permission, we can’t use it,” she asserts. “I’m ferocious about that.” 26

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Hire a professional researcher Getting sued by copyright owners is not on anyone’s to-do list. So for a project that requires many images—and for which there are no willing and ready staffers or interns—wouldn’t it be awesome to hire a professional to undertake the search and negotiate the rights? It would be, if you could find the right person. Several folks who formerly used the title “picture researcher” have changed career focus or shut down. The last holdout may be Richard Kroll. Born and raised in Hollywood and a University of California, Los Angeles, history major, Kroll got his first job from the Eames office, researching images for exhibitions. He worked on Richard Saul Wurman’s series Access Guides, then spent seventeen years as director of information services at brand consultancy firm Siegel+Gale, building an internal resource library, commissioning and searching for images, and negotiating permissions. He’s still at it. He opened his Nyack, New York, firm in 1978 and has built a client list that includes major brand identity firms and film studios. Among his notable projects was uncovering the footage and still images used in the title sequence chronicling the aftermath of the Khomeini regime for the feature film Argo. “I have access to intel and sources way beyond the Google radar screen, way beyond the usual archives and resources,” Kroll claims. “Why use me? I dig deeper. My clients work smart. Just because they’re connected to the Internet doesn’t mean they can do everything themselves.” “Richard’s research incorporates the written word, photography and film,” says cinematographer André Andreev, creative director at the New York–based animation and film studio Dress Code. Andreev calls on Kroll when he needs something particular to a time and place. “He’s got a holistic sense of the whole project. From him, we don’t only get an image, but deeper knowledge of where it came from, the context. He’ll get us everything ever written about someone.” Andreev has found this especially useful when making music videos and documentary shorts like “Emory Douglas: The Art of the Black Panthers,” created to honor the 2015 AIGA medalist, whose powerful images became icons in the struggle against racism and injustice.

Coveted: The new and original There are those who specialize in old images and those who search out the newest of the new. Based in San Francisco, Catch&Release is forging a whole new business model. Clients include the major ad agencies and brands that crave real-time authenticity that photo shoots can’t capture, according to Analisa Goodin, Catch&Release’s founder and chief executive officer. Previously a creative content manager at Goodby Silverstein & Partners and director of photographic research at a history museum, Goodin started the company because, in her words, “clients like Apple, Nike and Patagonia are sensitive to subtle shifts in culture.” What’s uploaded to YouTube today is more immediate than anything that could be set up in a photo shoot, and no models, sets or crews are required—or all that time, she explains. Goodin hires freelance curators to hunt down raw, youth-culture images and video clips on social media sites. Thus, clients get what

they covet, and amateurs and hobbyists are reborn as cinematographers. That’s the “catch” part of the firm’s name, which can be experienced in Twitter’s “See What’s Happening” spot, Lenovo’s “Anthem” and Advil’s “What Pain” commercial. The “release” part is, as usual, contacting the copyright owners and negotiating the rights.

Make it yourself Don’t have the budgets of major advertisers or film studios? I asked Sean Adams, former AIGA president and executive director of the graphic design graduate program at ArtCenter College of Design, where he’d recommend designers turn to in order to get images they can’t find at stock houses. He took me full circle: “The Library of Congress Prints and Photographs Division, the Los Angeles Public Library, the Metropolitan Museum of Art, the New York Public Library, historical societies and university archives,” he answered. “Of course, making your own images is always best.” And if you do that well and post them on Instagram or YouTube, who knows? Those images might end up as part of a history exhibit or in Nike’s next commercial. ca

WORKING WITH IMAGE RESEARCHERS

Suggestions by André Andreev of Dress Code NY

How do you present an assignment? We start with doing preliminary research ourselves to find out who and what we need. For example, we’re currently working on a short film about Bob Wilson, a soccer goalie who played for Arsenal in the early ’70s. We approached our researcher, Richard Kroll, with that information and the assets we need to source—in this case, photography, video clips and news articles. What is the process like? Researchers usually take one to three days to get back to us with a preliminary set of findings. At this stage, more is more. We like to see all the available assets to determine which are most fitting and the best quality. If we’re missing something, we ask for a secondary search. That’s rare, however. Sometimes, there isn’t much to find. That is a strong indicator on how to proceed on a project. If they can’t find anything that suits our needs, we have to shift the focus of the project. Beyond any use fees for the pictures, how much does it cost? Researchers usually have a day rate, and we base the budget on the project’s scope. If the subject matter is specific, it usually takes a few days. When the project stretches further than that, we negotiate a project fee.

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INSIGHTS Martin Stirling

Pulling Commercials Out of the Arse Martin Stirling swathes tender subjects in the tricks of filmmaking. Whether a short film or a PSA, the United Kingdom–based director’s work delivers today’s urgent stories in the form of an iron punch to your heart. A little girl shows you what it’s like to fearfully scramble from a war-torn home in “Most Shocking Second a Day Video.” In “Standard Operating Procedure,” you feel the burn of being forcefed, as Mos Def voluntarily was and as hunger-striking detainees at Guantanamo Bay are routinely. Corporations don’t escape the scrutiny of Stirling’s lens either. Greenpeace’s viral “LEGO: Everything Is NOT Awesome” parody—drowning an Arctic Lego set, plastic Santa and all, in oil—successfully pressured the toy brand to dump Shell. As the saying goes, you must walk a mile in other people’s shoes to truly know them. And although he can’t make you take the last step, Stirling has astutely drawn many into the first. —Esther Oh

How did you discover you wanted to be a director? Raised on movies, I was obsessed with being a stuntman—because what self-respecting child doesn’t throw himself or herself around with a false sense of invincibility? After a crippling accident, my stunt career was over— at age nine. As I was getting some ligaments © Linda Blacker reattached, I saw a behind-the-scenes featurette on Terminator 2: Judgment Day, where they were shooting a scene involving motorbikes, robots, helicopters and lots of stuff getting blown up. Some bloke called James was orchestrating it all, and that is when I thought that being a director could be a halfdecent consolation prize.

How does your background in directing shorts like “Future.Inc” and “Automate” inform your approach to commercials? Both of those films were shot very quickly and without money, so I became well versed in pulling rabbits out of my arse.

Emotion lies at the heart of many of your commercials, like the sadness of a young refugee whose life has been upended in “Most Shocking Second a Day Video” or the regret of an old woman who drove distracted in “Don’t Look Back.” 28

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As a storyteller, how do you create commercials that tug at the heartstrings without feeling melodramatic? This is the mystical part of directing for me and is why it is so important to hire the right director for the right project. For me, directing is about taste and experience. That’s not something you can prep; you embody your own work and leave part of yourself in them. I hate those ads that tug at the heart with saccharine music—it’s like someone vomiting in your face. Nobody wants that. The real art is when you can affect people with the slightest touch.

Your video “Silent Generation” builds tension and anger to rally young voters to the polls—without resorting to dialogue. How do you use sound to enhance a commercial? Sound is massively undervalued. It is seen as a tool to enhance, when it is, in reality, absolutely vital. We’ve fallen into this idea that we work in a visual medium, but it is really the sonic level that moves us. “Silent Generation” used sound—or more importantly, the absence of sound—to make a point. If you look at “Most Shocking Second a Day,” that story is told completely with sound; the voices in the background slowly build a sense of impending

doom. We designed the video around sound, then visually composed and captured it later. The sonic landscape is the foundation for great cinematic storytelling.

As video content—ranging from cute animal videos to cover songs— competes for the attention of young people today, have advertisers kept up? I think that very few advertisers are making anything of interest or value to young audiences. The industry lives in its own bubble; the sooner we realize most people couldn’t give a shit about what we’re doing, then we can really start working. Audiences are very capricious, so advertisers need to be on their toes or be struck down by irrelevancy.

You’ve created commercials for social justice organizations tackling issues like food wastage and insolvency. Why are you drawn to creating ads that sell more than products and brand narratives? Because the phrase “brand narrative” sounds so unappealing! In all seriousness, briefs from social justice organizations tend to offer more creative freedom and some actual value to the audience. Ultimately, I want to make things I’d want to watch or think was cool. It’s a bonus when you’re trying to do things that make our world a better, more interesting place to live—instead of trying to sell shit that people don’t need or want.

More brands today are churning out socially conscious advertising. What clichés have some brands failed to avoid? I see public service announcement and charity work as what music videos used to be in the 1980s: a place where you could run free and be reckless. Now that it’s becoming “the thing to do,” it’s losing its punk. I’m all for seeing brands spending money to make the world a better place to live, but you can’t kid the audience—they’re much smarter than we are and way more discerning.

The viral Greenpeace video you directed, “LEGO: Everything Is NOT Awesome,” pressured Lego to discontinue its long-standing relationship with Shell because of the oil company’s Arctic drilling operations. What was your reaction when Lego finally ended its partnership with Shell following the campaign? We are constantly seeking to make things creatively effective. It’s easy to see it as a result—it made history and global news, not bad for something that was thrown together in two weeks with a pocket of loose change. I was happy it made global news because it was further proof that advertising can be a genuine creative force for good. It opened the conversation about good brands making responsible partnerships. And I hope that it put a few nails in the coffin of the advertising phrase “cradle-to-grave brand loyalty.”

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What does such success say about where advertising is headed? It proves that you don’t need millions of dollars and a massive team of people beavering away. You just need a solid idea, good execution and some decent mates who can help you put it together. Make it good enough, and the world will see it. ca

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EMERGING MEDIA

Yolanda Zappaterra

Generative design: Redefining the designer

Caption As part of the United Kingdom’s GREAT Festival of Creativity, FIELD created a dynamic art installation. Abstract animations—representing the creative process across different disciplines—announced the festival’s upcoming events in real time. FIELD, design firm; GREAT Festival of Creativity, client.

here’s a scene in the movie Hidden Figures in which Octavia Spencer’s character Dorothy Vaughan looks thoughtfully at the machine that will make her and her colleagues’ jobs as human “computers” redundant. The IBM 7090 computer had been purchased by NASA to help it beat the Russians in the race to space, but rather than feel threatened or cowed by the machine, Vaughan takes a book from the Whites Only section of the local library to teach herself—and her colleagues—Fortran, the programming language needed to work with the machine. It feels like communication designers are in a similar position to Vaughan’s. As algorithms, artificial intelligence and cloud computing become more powerful, designers face “a paradigm shift in design,” as Cedric Kiefer, cofounder of Berlin-based experimental art, design and technology studio onformative, puts it. “The possibilities of programming languages as well as using algorithms will eventually change the role of the designer.” The big question is how. The answer lies in the growing field of generative design. Unlike machines, humans have preconceived notions about how things should look and perform. Yet more designers are realizing thousands of design directions and solutions that we would almost certainly never envision on our own. Creatives with the right programming skills can produce extravagant, detailed structures and patterns that can form the basis of everything from typography, films and logos to products, textiles and interactive installations. In this sense,

Photography Annual 2017

generative design bridges the gap between the sciences and the humanities, and a growing number of creative agencies and studios are arming themselves with the technological literacy needed to make the most of this new potential with some fascinating projects. One of the most experienced and innovative is FIELD, a Londonbased studio that has created a range of generative design projects for global brands such as adidas, Deutsche Bank, paper manufacturer GF Smith, Maserati, Microsoft and the UK government. As the creative director of the studio, Marcus Wendt believes that FIELD’s strength “links to the idea of using tools versus building tools, which gives the possibility of something more creative, more interesting.” He identifies a shift in working process toward the more conceptual because this is where differentiation and originality ultimately lie in digital design. “One [designer] figures out a new look, and as soon as it’s on Behance or Instagram, if it’s interesting enough, a sixteen-year-old with a gaming computer can figure it out much better on OctaneRender,” Wendt explains. “You can’t really rely on being technically better. It becomes a matter of ideas and concept, in the end. Whatever you do, there will be ten people out there who do it better. But getting the right message, concept, visual? Getting that together, that takes time.” For this reason, generative work has been accused of visual homogeneity. “It’s quite hard to design your own algorithm, so it’s easier to replicate someone else’s,” says Wendt. “Creating your

EMERGING MEDIA own is about crafting a mixture of made-up audio-visual systems, and it’s generally hard to come up with new ideas, especially because it’s quite an abstract space. But as more people become experienced with and aware of it, [more will] develop their own ideas. There’s a bunch of exciting new designers who are doing that, who are fluidly developing new aesthetics and approaches, and that’s where the exciting work comes from.” In Berlin, onformative is also crafting a broad range of creative projects for such far-sighted clients as Facebook, Google, Montblanc and Porsche. Like FIELD, the studio is excited by using more than existing technology and possibly developing its own tools. “By writing our own software, enhancing given tools or simply combining them in unusual ways, we create new ways of working with the design process,” Kiefer explains. “One important skill here is to understand the possibilities of certain algorithms and their uses in different contexts. Let’s take a simple example like noise, generating random values between zero and one. This alone doesn’t give you any visual output—or any output at all—besides random numbers. It’s up to you as a designer to interpret those values. This could happen as black-and-white pixels generating an image, but it could also be interpreted as height or used to generate landscapes as 3-D models. Or even as sound, motion or the input for another algorithm. So an algorithm itself doesn’t give you anything concrete as long as you don’t define it.” The studio’s fluid design solutions make clear the opportunities presented by collaborative generative design: the true sense of the word collaborative. onformative and FIELD show us how generative design is changing and will continue to change the role of the designer into something far more fluid: a combination of designer, programmer, producer and curator. And as the field develops, who knows what else? Italian product design studio MHOX uses algorithms and 3-D printing to create prosthetics that look less like a medical aid and more like couture designed by Alexander McQueen. Filippo Nassetti, MHOX partner and lead designer, says, “Traditionally, designers operate creating a limited number of options, analyzing them ex-post to understand their fitness. With generative design, the performance criteria are embedded in the process itself, which produces a wide population of informed possible solutions. A shift from building to growing, sculpting to breeding. In this sense, generative designers become closer to scientists on the one hand, gardeners on the other.” Wendt expands on this: “It’s not just pressing a button and choosing one of the generated options; that doesn’t really do it justice

MHOX’s Vidiam mask (above) represents a possible prosthetic mask for people without sight, inspired by the structure of exoskeletons and digitally grown through generative design. MHOX, design firm. onformative’s Porsche BlackBox (below) uses racing data to generate an abstract WebGL visual ization of a Porsche 911. As the racing data becomes more intense, the car’s outline becomes clearer. onformative, design firm; Porsche, client. 32

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In Dolby Laboratories’ San Francisco headquarters sits Collide, a 62-foot-long installation by onformative that interprets recorded motion data into abstract visuals and sound. onformative drew inspiration for Collide from chromesthesia—the experience of sound as color. onformative, design firm; Dolby Laboratories, client.

because you do tend to think a lot about structure, architecture, systems, processes, behavior—all these things need to be consid ered. In the end, it comes down to needing to know as much as possible about pretty much everything. And as a designer, you can’t say, ‘I’m just a visual person, I’m not doing maths.’ That won’t help you if you want to do animation, generative or interactive design. You need solid foundations in algebra, geometry, as well as being able to compose a picture.” A curatorial aspect is inherent in this new way of designing, says Kiefer. “You start off with an idea and define your visual system before translating it into a set of rules and later code,” he says. “This means you shape the design process itself, resulting in a wide range of fascinating new visual worlds and possibilities, which puts you in the position of the curator who evaluates and selects the output.” Wendt echoes this new aspect of the designer’s role. “We thought of generative design in the beginning as more of a technical process, literally working with code to make visual designs,” he says. “Now it’s more a way of thinking. In a way, I think I would compare it to photography: anything you make in a computer is additive creativity. You start from nothing, add stuff to it and keep tweaking until it’s what you want. The interesting thing in photography and generative design is that you start from a lot and it’s about curating what you see. That’s your input.”

Nassetti identifies another aspect of generative design that is a new experience for the designer who previously may have held all the cards: “Often you are surprised by some of the outputs being generated,” he says. “These elements of uncertainty and unexpectedness feed and enrich the design process, creating scenarios you could never have predicted at earlier stages.” Understandably, there’s a lot to be excited by in this future of generative design, but as Wendt sees it, “Not everyone needs to be an algorithmic computational designer. It’s just one out of several possibilities.” He suggests we just embrace the plurality of what we have. But Kiefer is more focused on the possibilities offered by designers as programmers of their own digital toolboxes. “It opens up new visual vistas and fundamentally alters the design process,” he says. “We believe this design process will establish itself as a new design discipline in the long term, in which more emphasis is put on the methodology than the visual quality.” And Nassetti foresees interesting issues around traditional notions of authenticity and authorship, which will be severely challenged by the generative approach. “Opensource culture, 3D models’ circulation over the web and generative applications that allow for the automatic customization of designs are faced by oldschool copyright regu lations unable to keep up to the new culture. I find fascination in this uncertainty.” ca Communication Arts | commarts.com

TYPOGRAPHY

Allan Haley

Custom Fonts: From Gutenberg to AT&T

Designed by Dalton Maag and developed in collaboration with Cincinnati-based Interbrand Design Forum, AT&T’s custom slab serif font imparts a bold tone to the copy of an AT&T DIRECTV ad (left). The font family extends to a condensed font as well as a sans serif, which works well with the slab serif font in AT&T’s ad for the Carolina Panthers vs. Washington Redskins game (right).

here is nothing new about custom-designed fonts. The first, Gutenberg’s, was created for a special edition of the Bible. Custom fonts have been around for a very long time, but they have been the exclusive domain of only the biggest multinational corporations and world-class publications—until recently. Today, they are almost commonplace branding tools. Although not an impulse buy, with prices starting somewhere around the cost of a good used car, custom fonts are playing into many company’s business plans. Scores of typeface designers are creating more custom-design typefaces for clients than they are for mass distribution.

What’s a custom font? A custom font is one that is created for a client’s specific needs. Usually, they are completely original designs. These faces are fresh additions to the typographic spectrum or are new designs based on historical models. In either case, they are not typefaces that have any relationship with those you can get from your friendly web store. There are also times when custom fonts are modifications on existing type designs. Traditional typefaces have basic shapes and proportions that ensure a high level of legibility and make it easier to produce quality typographic communication. Careful modeling of this design foundation can produce a new typeface that is distinctive and is also a strong and reliable communications tool. An important caveat regarding custom typefaces made from existing designs is that proper licensing is still required. With an original design, the client can own the design outright, although some opt not to for financial reasons. 34

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Why custom fonts? Although he does not make fonts, Rodney Abbot has led some of the biggest custom-font design projects in recent years. A senior design partner at Lippincott, where he has more than 20 years of experience creating identity programs that translate brand strategy into expression and experience, Abbot’s clients have included Dell, IBM, Infiniti, Nissan, Sprint and Southwest Airlines. “The companies that really engage with their customers connect to them at eye level, person to person,” he explains. “They understand who their customers are and create inspiring and intuitive experiences for them. The voice of the brand plays one of the most important roles in this—and the most common mediator of the brand’s voice is type. As a result, we’re seeing brands paying much greater attention to the typeface they use and showing much greater recognition of the power of type to shape their customer experience.” One of the world’s leading typeface designers, Tobias Frere-Jones has created some of the most widely used typefaces, including Gotham, Interstate, Retina, Surveyor, Tungsten and Whitney—and more recently, custom fonts for a variety of clients. “Understand what fonts can and can’t do for you,” he cautions. “They can focus a brand, they can simplify workflow, ease licensing burdens and lay the groundwork to access new markets. They can’t, however, clarify a company’s mission. And they can’t take the place of a marketing plan.”

Getting started “Start with an open conversation with the designer or design firm that will do the work,” Abbot explains. “Make sure you are clear on the business and the technical and aesthetic criteria that will

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Designed by Monotype Studio, Citrix’s custom font unifies the software company’s online presence and printed material. Citrix’s willingness to participate in design reviews enabled Monotype Studio to meet the project’s fast deadline.

define the scope of the work. What’s the development timeline? What’s the licensing agreement? Who will own the IP? Where will the typeface be used? What level of language support is needed? How extensively will the typeface appear in digital form? What’s the process for creative approvals? Do other groups need to be involved—agencies, IT, legal, etc.? And if so, when? What range of weights is needed? Are any special glyphs required? Only after you’ve sorted out these and other related issues should you start talking about the qualities you want to express in the new design.” Frere-Jones agrees. “I start at the end, with the result and its use. I ask about expectations, workflow, media, audience—everything but the shapes. The outward appearance is last, being derived from these discussions.”

When to bring in the cavalry One of the most important parts of custom font development is to meet with the design team early in the process. Frere-Jones provides a universal guideline. “We’re brought in at different stages, either by the client or by outside consultants. But in any arrangement, earlier is always better. If someone calls us one month before launch, there’s very little we can do to help.” “We try to engage with our clients as early as possible to ensure that we can create awareness to not only think of the brand expression in the typeface, but also to consider the practical and logistical requirements that the client may have,” says Bruno Maag, founder and manager of the 40-person studio team at London-based font foundry Dalton Maag. “This ranges from evaluating language needs to determining what hardware and software is used within the client’s organization—and even the current and future needs of the client’s customers.” Steve Matteson, one of Monotype’s type directors, helps manage Monotype Studio, the company’s team of creative type designers. 36

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Having drawn scores of typefaces for major corporations and branding firms, Matteson explains just how complicated a custom typeface design project can be and how important it is to begin working with the client early on. “Last year, Citrix Systems—the makers of [software] GoToMeeting and NetScaler—completed a full rollout of its typeface branding,” he says. “Depending on the extent of the character set support and number of weights, a custom font can be several months of creative and production work. In many cases, our clients are targeting a rollout of some kind, featuring new brand elements, and that can put an extraordinary amount of pressure on the creative process. With Citrix, we had a very smooth process of design reviews and were able to meet their demanding schedule. From apps to its entire web experience and in print, [the typeface] made its brand voice consistent and unique.”

It’s about process Creating a custom typeface is never a slam dunk. If someone tells you she or he can turn out a custom typeface in short order, beware. Good custom typeface design is always a detailed and, at times, complicated process. “By the time we start developing a custom typeface, we’ve already settled on the core elements of the visual identity system and know the overall tone we want the typeface to express,” Abbot explains. “We also understand what our client needs from the typeface. We’ll establish the technical and aesthetic parameters and then sit down and have a discussion with the type designer. This is the most important part of the process because establishing an open and frank dialogue is paramount to the success of the project.” Maag has developed a tiered process for developing custom typeface designs. “Having worked with many large organizations over the years, we have developed a five-stage process to develop font families. It starts with research, where we learn about the client’s

The company Tableau Software commissioned a custom font from Tobias Frere-Jones that would need to be legible on data visualizations and spreadsheets. Frere-Jones’s design solution was to create a fine set of easily readable letterforms, in order to minimize confusion caused by line breaks.

needs—emotional and functional. Our findings inform a set of ideations with which we try to capture the brand expression. A small choice of ideations eventually becomes design concepts, with larger character sets and a range of weights to give the client the opportunity to evaluate the designs in collateral and make informed and confident decisions. Client feedback on the design concepts leads to refinement and, of course, execution to the required specifications.” Process was key to the development of the custom typeface for Tableau Software, a company that is dedicated to making databases and spreadsheets understandable to ordinary people. “One challenge was the terrain of data visualization, which is often crowded and intricate,” explains Frere-Jones. “The Tableau family of typefaces anticipates that condition by making word shapes that are hard to ‘break,’ or mistakenly separate. This also helps when orientation changes from horizontal to vertical or wraps around a feature on a map.” Frere-Jones organized the suite of designs within fine steps of weight in order to respond to the subtle hierarchies that data visualization often requires. These weights are also drawn within a common set of widths, ensuring that layout and line breaks will not shift.

tools to reflect its recent expansion into different markets and its acquisition of DIRECTV. The development of the new custom brand fonts was a very close collaboration among all three parties and resulted in a large, distinct type family of sans, condensed and slab serif designs that can support clear corporate messages and customer information with personality—and a clear AT&T voice.

Trends and styles Custom typefaces are part of the total brand statement, and this is not a place to be trendy or stylized. Fashionable designs can make a strong statement for a brief time—but they wear thin easily. “The sans serif style is being pushed further than ever,” says Matteson. “Just in the last eighteen months, I’ve seen a spike in requests for designs with a solid sense of geometry. Fewer contemporary humanist designs, like Frutiger, and fewer traditional grotesques, like Helvetica, are showing up. There has been a pull-away from gimmicky designs, which fall out of fashion faster than brands like to see. If brands are willing to invest in a bespoke typeface, they want a sense of timelessness that will outlast short-term fads.”

Collaboration is key

Frere-Jones echoes this thinking. “I’ve seen a lot of pretty generic designs, either from the Helvetica/Univers part of the spectrum or something around Futura. Before long, they just blur into each other and fail to establish any clear distinction or identity.”

The process of developing a custom font is also undoubtedly collaborative. Dalton Maag was brought into a custom design project for AT&T by Cincinnati-based Interbrand Design Forum, which had already been working with the brand team at AT&T on key elements of its new identity. The goal was to give AT&T the necessary brand

The keys to the best custom font development are starting early in the brand development process, having open conversations with all those involved, adhering to proven processes, being prepared to collaborate, and avoiding fashionable or trendy solutions. Success is sweet—but rarely easy. ca Communication Arts | commarts.com

MANUAL BY RUTH HAGOPIAN

isitors look twice when they pass by the Fort Point Beer Company at the Ferry Building Marketplace in San Francisco. The colorful mosaic of beer cans, stacked wall-to-ceiling, fascinates viewers and inspires comments from all ages. Conceived by San Francisco–based design firm Manual, the wall speaks the language of Fort Point’s brand: spirited and welcoming with an imaginative appeal that draws you in for a second look.

“We’re the fastest-growing local brewery, and one of the fastest in the country,” says co-owner Justin Catalana, who started Fort Point with his brother, Tyler. He credits Manual for helping them develop their company into a timeless brand. “Our customers enthusiastically love the packaging,” he adds. “Almost more than the beer.” Catalana’s sense of humor is not lost on Manual, which found just the right expression of playfulness in the brand’s identity to balance the rigor and simplicity that runs throughout its work. By including San Francisco’s architecture, placemaking and landmarks as icons, Fort Point’s design works as a modular system, providing endless color variations and illustrative combinations that adapt to different materials and packaging. In the seven years since Manual began at a rented desk in a friend’s studio, it has become a successful design and branding agency, producing design systems, communications and packaging for Google, Nike and the Yerba Buena Center for the Arts (YBCA). Having recently moved into a massive industrial building on San Francisco’s southern waterfront, the full-time staff of seven and a year-round intern work together with owners Patricia Callaway and Tom Crabtree in a large workspace filled with natural light.

The company has attracted big projects while retaining its small size by developing an extended family of collaborators— developers, photographers, writers and brand strategists— whom Manual values and trusts. “We’re interested in helping our clients consider many touchpoints, from copywriting to photography, image making, motion and interaction,” says Crabtree, 41. “We want to do it all, not just because we are control freaks—it really does help a brand feel more coherent and integrated.” Language and messaging are an important part of its work with the YBCA. The arts center wanted to rebrand as a unique arts organization deeply committed to civic engagement. “We needed a strong visual language that’s not strident or elitist and could work across the vast array of the things we do,” says Jennifer Martindale, chief of marketing at the YBCA. “And we needed a design framework that we could eventually execute ourselves with limited internal resources.” Manual designed a vibrant identity within a flexible graphic system and a logo that can be both anchor and point to content. It also created messaging for a language-based awareness campaign with phrases such as “Center for the Art of Doing Something About It” and “Center for the Art of Transporting Hearts and Minds.” Written by regular collaborator David Begler, it launched with bus sides, billboards and banners all over San Francisco. “From the graphic design to the language, Manual captured the punk rock, progressive spirit of YBCA while also giving us some much-needed gravitas,” says Martindale. According to Crabtree, Manual is obsessive about detail and design craft. “Yes, it’s simple,” he says. “But there can be a level of complexity in the detail, especially when it comes to print and packaging production.” Crabtree’s fascination with packaging goes back to his collections, from old Graphis packaging books from the 1970s to Japanese teas to industrial graphics. “Packaging can surprise you, intrigue you and seduce you,” he says. “The way that you lift the lid off, the suction it might have from that, the way something could snap closed and reveal slowly—or lift—and surprise all at once. There’s always some anticipation and excitement in that last moment when you reaffirm you’ve made the right choice and you say, ‘I feel good about this.’ That’s user experience.” Growing up in Yorkshire, in northern England, Crabtree was obsessed with music and the expressions of image making on book and album covers, but it wasn’t until he attended the University of Leeds in Yorkshire and discovered the work of Piet Zwart that he understood what graphic design could be and the simplicity it could have. “I absolutely fell

Captions by Manual. Right: “The Yerba Buena Center for the Arts (YBCA) in San Francisco extends what an art center can be, showing work that spans the realms of art, civic engagement and public life. To transform all aspects of the YBCA’s visual and verbal identity, expand its reach, and broaden its relevance for people everywhere, we created an ad campaign, posters, print materials, stationery and a website designed in collaboration with the London-based digital studio Bureau for Visual Affairs.” Yerba Buena Center for the Arts, client. 38

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MANUAL

in love with Josef Müller-Brockmann and the Swiss, Dutch and German designers of Swiss style in the postwar period,” he says. After graduating, Crabtree moved to London and worked at several design studios with underlying modernist sensibilities. Within eight years, he had developed a prolific portfolio of design and packaging projects. It was here that he and Patricia Callaway, an American working in marketing and communications, were married. And, in 2006, the couple left London for an opportunity in California with Apple. Crabtree joined Apple specifically to work in its packaging design group. “It was a really exciting time to be there, working for a great team on this secret new product called the iPhone,” he says. The Apple process involved looking at all aspects of a design to consider how each could be elevated in a small incremental step. And then do it again and again. “That’s what gets inside you at Apple,” he says. “This pursuit of perfection.” Working for Apple required a different pace and workflow and a new level of focus—all valuable lessons. After a few years, however, Crabtree missed the variety of working with different clients and solving problems in different industries. He was excited by the prospect of starting the kind of design studio he had experienced in London: boutique and multidisciplinary, with a focus on identity. “I have a more European design sensibility and experience in building identities for clients in food, drink, fashion, and arts and culture, and I wanted to bring that experience to San Francisco,” he says. Meanwhile, Callaway was expecting their first child. When she later joined him as a partner running the business side of Manual, she discovered “the appeal of having a role in a company where the days are never the same and the challenges are never the same”—her favorite part of the business.

“We work with so many different types of people, and that’s something that I love.” she says. One of those people is Jonathan Lee, creative director, Material Design at Google. Lee and his New York team designed Google’s new user interface under Matías Duarte, Google’s vice president of design. Known as Material Design, the interface is a design language extended to all of Google’s desktop, tablet and mobile products. To help celebrate Material Design’s launch in 2014, Google turned to Manual. “It was the first time Google really put a flag in the ground as an investment in good design,” says Crabtree. Google wanted a takeaway to give to designers and developers who attended its annual I/O conference in San Francisco. Manual created a sketchpad and a set of abstract graphics that expressed Material Design’s principles through a limited edition set of tactile, lavishly printed postcards. After the conference, hundreds of e-mails were sent to Manual requesting the printed pieces. “It was fun to watch [attendees] passively collect a postcard kit and walk away, only to return and ask for multiple copies for their design teams,” says Lee. The next year, Manual designed the award Google presented to the six best apps applying Material Design to create engaging user experiences. The team produced a 3-D object made of painted layers of Corian that Crabtree describes as “an ode to Josef Albers,” the artist best known for his series of abstract colors nesting in squares. “We were looking back at minimalist art and sculpture as something that excited us,” he says. “Manual has a talent for presenting work that appears simple in mocks or comps and for surprising you with a sensitivity to material and careful attention to finishing details,” Lee says. “You can see this in both projects. For example, the die-cut

This page: From left to right: Caroline Reece, Eileen Lee, Jenna Boulé, Jerod Rivera, Patricia Callaway, Tanner Irwin, Tom Crabtree. Right: “An award-winning small-batch coffee roaster in Sydney, Australia, Pablo & Rusty’s has a strong company culture and commitment to sustainable practices. To better reflect the values it had developed, Pablo & Rusty’s approached us to help it rebrand after a decade of business. We created a complete brand identity and applied it to key retail and packaging elements, putting a modern spin on the core of the roastery business’s design elements—the humble coffee sacks and the stencil typography often found printed on them.” Pablo & Rusty’s, client. “As the fastest-growing craft brewery in San Francisco, Fort Point Beer Company creates balanced beers that reference traditional styles, but aren’t bound to them. Its iconic location—close to both the Golden Gate Bridge and the Fort Point National Historic Site—provided inspiration for a modular, illustrative brand identity. Our packaging system incorporates elements of San Francisco’s landmarks and culture to create an authentic sense of place.” Fort Point Beer Company, client. 40

Photography Annual 2017

Communication Arts | commarts.com

Photography Annual 2017

MANUAL and glued paper in the postcards, the hidden perforation in the sketchbook, the cool heft of Corian for the awards.” Inside Manual’s office, the team sits at a central table, collectively engaged and working independently. There is a familial ambience, except for one distinct difference: unlike a real family, they appreciate each other’s eclectic musical tastes. Electronic, ambient, African, classical, post-punk, dub and hip-hop music plays constantly throughout the day. The diversity in the studio is also evident in the works in progress. Photos of a new luxury coffee are pinned up on one wall, next to images of a Waymo, Google’s self-driving car. Crabtree loves the mix and keeps an eye out for projects with tech, arts and culture, environmental, nonprofit, and health organizations. He is particularly intrigued by brands seen by millions of people every day. “It’s a cliché,” he says, “but [designing] a transportation system identity, such as a city’s metro or an airline, would be fantastic.” As for his dream project? “SpaceX,” he says decisively. “[Its] brand identity and overall design language looks dated and seems squarely aimed at teenage boys. I would like to shift the notion that space travel should adopt a visual language that was defined in sci-fi movies from the ’70s and ’80s and move it toward something simpler, more contemporary, more human.” Sounds like an ambitious goal. And Manual is ready. SpaceX is developing its Dragon spacecraft to colonize Mars and will need a flexible design system. As Crabtree declares, “Who doesn’t want to design a logo that floats about in space?” ca Left: “Nike Pro Services offers elite runners access to a team of experts and exclusive services usually reserved for professional athletes. To invite these runners to Nike’s program, we created a special direct-mail welcome kit. It contained a membership card and laces in various colors to mark runners’ achievements, all designed to feel premium, rewarding and personalized.” Nike, client. “For its new visual language Material Design, Google drew inspiration from the material world—paper, layering, space and light—to create an interface that feels tangible and grounded in reality. To celebrate Material Design’s launch at the Google I/O 2014 conference, Google’s User Experience Alliance team challenged us to interpret its philosophy in a limited edition printed takeaway. Our solution contained nine graphic cards and one sketchbook.” Google, client. This page: “Situated at the center of San Francisco’s Mission District, Charles Phan’s restaurant Wo Hing General Store was named for a small grocery store that Phan’s uncle and father owned in Vietnam after fleeing from China in the 1960s. For the restaurant, we created a rich, colorful visual language that plays with the delicate nature of noodles. Our designers experimented with raw and cooked noodles and used a scanner to create flowing, abstract images reminiscent of cyanotype photograms. After noticing a similarity to the structure of tubular neon signs often associated with Chinese street food, we also designed a lightweight transparent window sign, which we screen-printed with electroluminescent ink.” Wo Hing General Store, client.

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MANUAL This page: “Based in Northern California, Kitsbow creates high-quality mountain bike apparel with a minimal aesthetic and tailored details. We created a brand identity that references the tailored aspect of Kitsbow’s products and the winding mountain trails on which bikers will enjoy wearing them.” Kitsbow, client. Right: “Water filtration brand Soma combines sophisticated design with sustainability and charity by selling a glass water carafe whose filter is 100 percent compostable and by donating a portion of all sales to the nonprofit organization charity: water. We encapsulated Soma’s personality in this brand identity and direct-to-consumer packaging.” Soma, client. “Loveland Aleworks is an independent microbrewery based in Loveland, Colorado. Our identity takes cues from Loveland’s past as a railroad town, especially evident in the custom-designed tap handles we based on 19th-century railway signal levers. A central part of the identity is a custom-designed display typeface that we created in two styles.” Loveland Aleworks, client.

Photography Annual 2017

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SHINE UNITED BY KATIE GINDER-VOGEL

ven in the winter, Madison, Wisconsin, is full of warmth. Visitors tell tales of being lost downtown, only to have multiple friendly passersby greet them and offer directions. That salt-of-the-earth kindness and decency enables creativity to flourish. It’s no wonder, then, that professionals lured to the coasts from Wisconsin often settle back home. Mike Kriefski and Curt Hanke, two of Shine United’s three cofounders, both left the state early in their careers. After leaving the Midwest to join Young & Rubicam in Raleigh, North Carolina, Kriefski returned to Wisconsin four years later to work as associate creative director at one Madison agency and vice president/creative director at a second. There he met Hanke, who had landed back in Madison after stints in Los Angeles and Minneapolis. The two, along with designer and third cofounder Chad Bollenbach, hit it off, thanks to a shared mindset about what an ad agency could be.

“Mike’s a creative who gets business, and I’m a business guy who gets creative,” explains Hanke. “We wanted to create an agency with a combined reverence for both science and art.” Tired of traditional agency approaches, the two set out to create an agency that honors both the consumer and the brand. Declaring, “We hate advertising,” Shine’s first website outlined the new agency’s disdain for the status quo. “The idea is king,” the copy concluded. Sixteen years later, Shine continues to train its focus on big, unconventional ideas. Shine’s client list includes quintessential Wisconsin clients like Harley-Davidson Motorcycles, University of Wisconsin Health and the Wisconsin Milk Marketing Board, as well as large national consumer brands like GORE-TEX apparel and LaCrosse Footwear. “We wanted to start a national agency in a place with a wonderful quality of life,” says Kriefski. “The Midwestern work ethic is real. There’s an honest desire to roll up your sleeves and do great work.”

A reverence for science and art

“We feel we have a fiduciary responsibility to our clients, and we’re on a never-ending quest to help them unlock the potential of their businesses and brands,” says Hanke, who frequently writes about marketing for Inc. and Advertising Age and is authoring a book titled How to Shine. “We see ourselves as a brand consultancy, and at our best, our planning, creative and client teams are all charging down the path together.” Shine approaches each client relationship holistically, delving into clients’ financials, market size and dynamics to develop effective campaigns for them. Working in partnership with each client, Shine maps out a holistic marketing, brand and communications strategy, tying those efforts to the client’s overall business goals. “Our focus is on making beautiful art and what it does,” explains Hanke. “It’s in the doing, the outcomes.” As marketing teams are increasingly expected to improve both short-term sales and long-term brand equity, Shine’s clients have never needed more help, and the agency has never been more committed to transparency. “Everything we create has a story behind it, and that story is rooted in asking hard questions—finding an inherent truth about the consumer, the brand and the relationship between them; identifying a desired outcome; and [making] 1,000 little decisions along the way toward building high-impact, high-octane communications,” says Hanke. “We make thoughtful, engaging art that amplifies the meaning of the brand and its relationship with its consumer.” The agency constantly reports back to its clients, providing mobile dashboards for real-time reporting, monthly reports on digital campaign results, quarterly reports for other types of media, and annual reports that offer insight on sales and brand performance over the course of a year. “If our clients let us, we’ll track everything,” says Kriefski.

Captions by Shine United. Right: “When the Wisconsin Milk Marketing Board decided that it needed an agency with fresh perspective for the Wisconsin Cheese brand, it turned to us. Our team members spent a fair share of their time at local fromageries, getting to know cheesemongers and their wares. With concept and copy in hand and amazing typography, photography and food styling, the result was not only a powerful concept, but also a voice and personality that brought various artisanal cheeses to life to truly engage with foodies.” John Krull, art director/creative director; James Breen, writer; Michael Kriefski, executive creative director; Ashton Worthington, photographer; Nir Adar, food stylist; Holly Dickens, typography; Chad Bollenbach, retoucher; Wisconsin Milk Marketing Board, client. “When your competitor is outspending you by 1,000 percent in any given media—let’s say broadcast TV—your agency’s job is to find a battlefield where you can win. For the Wisconsin Milk Marketing Board, that battlefield was digital. We created straight-up food porn in the form of a digital Rolodex of sorts, a microsite including 40 of the most amazing cheeseburgers your taste buds can imagine. The result: more than 7.5 million visitors since its launch. A true game-changer.” John Krull, art director/designer/creative director; James Breen, writer; Michael Kriefski, executive creative director; Scott Lanza, photographer; Vanessa Dubiel, food stylist; Chad Bollenbach, retoucher; Nick Newlin, interactive producer; Wisconsin Milk Marketing Board, client. 46

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SHINE UNITED “starting with the end in mind”—a popular saying at the agency.

“The planning team defines true north,” explains Krull. “Then the creative team looks north, northwest and northeast,” bringing back concepts that reflect focus and breadth. For example, Shine created the Cheese & Burger Society microsite for the Wisconsin Milk Marketing Board (cheese andburger.com)—it draws more than a million new visitors every year. “While concepting ideas for [the Wisconsin Milk Marketing Board], we pushed far and wide, looking for new ways for consumers to interact with its Wisconsin cheese brand,” explains Krull. “Smart insights lead to amazing creative.”

“We don’t just create beautiful art; we create beautiful art that actually works.”

Krull notes that Shine’s small size means they know their clients personally and want to do right by them. “The Midwest work ethic is how you excel,” says Krull. “Caring more and working harder makes a difference.”

It’s in the doing Inside the office door, it’s clear that Shine values its employees’ happiness. From the lockers in the front vestibule for employees’ bikes and winter boots to the salvaged 1950s-era mahogany bar, the space—originally built in 1906 as the Hudson Car Dealership and remodeled in 2011—is designed to make people feel at home. “We believe great work comes from a true balance of individual ideation and team collaboration,” explains Kriefski. “As such, we put all of our individual offices around central common areas, allowing for both quiet workspaces and easy collaboration. We’re committed to this idea of an expanding and contracting work process.” The workweek is designed to give employees large blocks of unstructured time in which to create. Monday staff meetings, held on the reclaimed high school bleachers in the common area, cover the highlights of the week’s calendar. Every Thursday afternoon at 4:30, a.k.a. “Beer Thirty,” everyone gets together to mingle. “Creative not only has a seat at the table here, it has a voice,” says partner and creative director John Krull, who after nine years at Shine was offered the opportunity to buy in and join the ownership group. Krull began his career in Iowa and worked at several Des Moines agencies before joining Shine in 2005. “Creatives have input on everything, from creative briefs and job orders to budgets and timelines.” Shine’s planning team identifies each project’s end goal

The founders have deliberately kept Shine small, finding that 40 to 60 employees helps the agency stay nimble and flexible. “Our size allows us to hire only tier-one talent,” says Kriefski. “Clients always get our A-team.” In addition to receiving profit sharing and fully paid medical coverage, Shine’s employees can spend $400 each year through its arts initiative to learn a musical instrument or take an art class, have summer Fridays off, and receive a $10,000 gift to take a vacation on their ten-year anniversaries. It’s no wonder Outside magazine has ranked Shine as one of America’s best places to work four years running. “Agencies and design firms are only as good as the teams they have,” says Kriefski. “At the end of the day, all we have are our people, so attracting and keeping a talented team is so important.”

The idea is king

Most people don’t know that the Wisconsin Milk Marketing Board, a Shine client since April 2007, typically wins more cheese-tasting awards than any state or country combined. To elevate the client’s brand image, Shine hired Nir Adar, a food stylist who studied sculpture, and photographer Ashton Worthington, who specializes in shooting cosmetics and jewelry. “They made the cheese look like art,” says Krull.

Bold and smart “We’ve engaged with Shine in a variety of areas, and [its]

This page: Left to right: Curt Hanke, Michael Kriefski and John Krull. Right: “When you want to grow a brand with the hope of one day selling it, it’s critical to, well, have a marketable brand. As such, the new owners of Cybros the Sprouted Bakehouse turned to Shine for a complete brand overhaul. From a new name—Angelic Bakehouse—and identity to packaging, in-store displays and advertising, Shine worked hand in hand with the ownership group to create a brand worthy of the amazing products it was baking—culminating in new distribution points across the country, from Costco to Meijer to Whole Foods to Target. In November 2016, a regional specialty food distributor bought Angelic Bakehouse, demonstrating the power of a well-built brand.” John Krull, art director/creative director; James Breen, writer; Chad Bollenbach/John Krull/Audelino Moreno, designers; Michael Kriefski, executive creative director; Shawn Harper, photographer; Angelic Bakehouse, client. 48

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Photography Annual 2017

SHINE UNITED thought-provoking approach to strategic development is one reason the engagements we’ve had with them have yielded highly measurable positive outcomes,” says Brian Gallagher, head of Footwear, Gloves & Accessories Global Marketing for the GORE-TEX brand at W. L. Gore & Associates, Inc., in Elkton, Maryland. “We’ve traditionally approached the running category from an ingredient perspective. We decided a few years ago to change that approach, and Shine was instrumental in helping us change the strategy and the messaging.” The resulting campaign aimed to embody the tenacity of winter runners, with print ads declaring: “Winter is a thief. Rain is a tyrant.” Digital banner ads ran when the seasons changed. “[Shine’s team members] asked us a lot of really hard questions that helped us frame our thinking,” says Gallagher. “They came to the table very prepared, with great background info on the category and consumer, and drove us to think about the category in a different way. We ended up with great creative that was well received, not only by consumers, but also by our licensee base and retailers.”

Dream bigger When Park Bank, based in Madison, embarked upon an awareness campaign to target executives, professionals and small business owners who dream big, Shine crafted the tagline “Make someday today.” Related TV, radio and print ads pushed prospective and existing customers to ask themselves why they hadn’t pursued their dreams yet and showed how Park Bank and its experts could help make them a reality.

Left: “At Shine, we believe in digging deep and finding those stories that truly resonate with the intended target market—you know, real people. This ad/poster campaign for Lake Louie Brewing features a roll-up-yoursleeves story of a man of simple means following his dream and starting a brewing company.” Audelino Moreno, art director; Brianna Delphey, writer; John Krull, creative director; Michael Kriefski, executive creative director; Chris Hynes, photographer; Chad Bollenbach, retoucher; Lake Louie Brewing, client. “Our deep dive into apparel brand GORE-TEX helped us truly understand the challenges that hardcore runners face in keeping their feet warm and dry in the winter months. Shine’s creative team included a competitive runner and two-time Boston Marathoner, so we knew a thing or two about runners who need to take back the run.” Eric Cook, art director; James Breen, writer; John Krull, creative director; Michael Kriefski, executive creative director; Scott Lanza/Mike Tittel, photographers; Chad Bollenbach, retoucher; W.L. Gore & Associates, client. This page: “Park Bank, a Shine client since 2012, has trusted us to push its advertising outside its comfort zone. Part of a broader campaign that included print and digital, this TV campaign stopped talking about bankers and started talking about consumer dreams lost in the fray of life—the business we could have started or the home we would have built. The campaign reminds people that it’s never too late.” James Breen/Michael Kriefski, writers; James Breen, associate creative director; Michael Kriefski, executive creative director; Chris Dabner, editor; Jack Whaley, photography director; Michael Kriefski, director; Justin Johnson, senior producer; Park Bank, client. Communication Arts | commarts.com

SHINE UNITED “Shine’s staff challenges us,” says James Hegenbarth, Park Bank’s president and chief executive officer. “They approach the problem by doing research, data collection and analytics to show us where we are and where we want to be. The creative team then creates a masterful story to make the reader, listener and viewer feel good about the possibility. I don’t know how they could do it any better.”

Start with the end in mind

Shine’s name was inspired by Frank Lloyd Wright’s nearby home, Taliesin, whose name is Welsh for “shining brow.” In 2012, the agency changed its name from Shine Advertising to Shine United to reflect its expansion beyond conventional advertising to brand consulting, digital marketing and design. “From the beginning, we wanted to position ourselves as a full-service agency that could be a brand’s AOR [agency of record], handling all their work,” explains Kriefski. “Once we felt like we had good awareness and were turning away more work than we took on, we evolved from ‘Advertising’ to ‘United’ because we felt that was one of our key points of difference—to unite a brand’s voice and messaging across all media.” The agency’s logo features a red-winged lion, an alchemist’s symbol of the transformation of objects into gold. For brands that are ready to embark on a metamorphosis, Shine will be here, in its beautiful corner of the Midwest, to guide them. “Our Midwestern ethos is part of what makes us different,” says Hanke. “We keep our promises and tell the truth. Having focus and a culture of fearlessness means anything is possible.” ca

This page: “At its core, going to a baseball game is just plain fun. This was our starting point when Big Top Baseball tasked us with creating a marketing program for its new Northwoods League team. In addition to the featured ad and posters, Shine was involved in naming the team— the Kenosha Kingfish—and designing the logo and identity. The new mark and marketing materials helped the Kingfish exceed all sales goals for its opening season.” James Breen, writer; John Krull, designer/creative director; Michael Kriefski, executive creative director; Chad Bollenbach, retoucher; Big Top Baseball, client. Right: “After working on a few smaller engagements for Harley-Davidson, we were asked to work on one of its largest projects to date—the construction of the Harley-Davidson Museum. We documented the construction of the museum to completely write and design a book worthy of this bold new structure. We were there when Harley-Davidson first broke ground, when it raised the last piece of steel and when it opened the doors to the public for the very first time.” James Breen/Michael Kriefski, writers; John Krull, designer/associate creative director; Michael Kriefski, executive creative director; Jeff Lendrum, Image Studios/John Von Dorn, photographers; Harley-Davidson Motorcycles, client. “Guns Are Hungry is one of a series of ads that helped relaunch the ammunition brand Aguila in North America. In addition to the ad campaign, which included a 30-second TV spot, Shine redesigned Aguila’s packaging, annual catalog, website and digital marketing and also gave its trade show booth a new look.” John Krull/Audelino Moreno, art directors; John Krull, writer/creative director; Michael Kriefski, executive creative director; Andy Mahr, photographer; Chad Bollenbach, retoucher; Aguila Ammunition, client. 52

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HELIOS DESIGN LABS BY CHRIS DANIELS

aterializing you forfor a face chat aterializingononthe thescreen screenbefore before you a face ischat you.isOr, at least, the image of yourself that you. Or, at least, the image of yourselfyou that put out universe on social media. you putinto out the intodigital the digital universe on social Over theOver course your chat on chat Digital thisMe, digital media. theof course of your onMe, Digital this version of yourself may inform you, “I change my profile digital version of yourself may inform you, “I change my picture a lot—I’m obsessed with my self-image!” or “I’m profile picture a lot—I’m obsessed with my self-image!” or really interested in nothing in particular…” or “I have more “I’m really interested in nothing in particular…” or “I have than an average number of friends.” These are just some more than an average number of friends.” These are some of the deep truths you might see illuminated by the of the deep truths illuminated by the Digital Me chat, Digital Me chat, hosted by the BBC on its Taster website, hosted by the BBC on its Taster website, where the United where the United Kingdom’s public broadcaster posts new Kingdom’s public broadcaster posts new ideas and ideas and concepts for audience testing. concepts for audience testing. Digital Me was built by Helios Design Labs, a studio headIt was built by Helios Design Labs, a studio headquartered quartered in Toronto, Ontario, but with a principal who in Toronto, Ontario, but with a principal who relocated to relocated to Berlin. Using a webcam, facial recognition Berlin. Using a webcam, facial recognition analysis and data analysis and data mining tools, it turns the otherwise mining tools, Digital Me turns the otherwise mundane mundane format of an online chat into a reflective exercise format of an online chat into a reflective exercise when after users agree to share their Facebook or Twitter users agree to share their Facebook or Twitter information. information. “Digital Me has had [an] impact in terms of “Digital Me has had [an] impact in terms of our approach to our approach to public responsibility around data gathering,” public responsibility around data gathering,” says innovation says innovation producer Jenny Chapman, who researches producer Jenny Chapman, who researches new technology new technology and social behaviors at the BBC and commisand social behaviors at the BBC and commissions sions independent creative companies to produce tools, independent creative companies to produce tools, prototypes and demonstrators. “Data gathering tends to be prototypes and demonstrators. “Data gathering tends to be seen only as a marketing tool, but Digital Me expresses the seenthat onlyitascan a marketing tool, Digital Me expresses the idea also be seen as but a tool for self-reflection.” idea that it can also be seen as a tool for self-reflection.” By holding up a digital mirror, it asks users whether they By holding up a digital mirror, it asks users whether they

recognize—and recognize—andare arecomfortable comfortablewith—the with—theperson personthey theysee see represented back at them. represented back at them. AtAtthe MeMe contrasted with other thetime timeofofitsitsrelease, release,Digital Digital contrasted with other online onlineprojects projectsthat thatexplored exploredthe thedark darkand andscary scaryside sideofof Internet and security. TheThe website TakeTake ThisThis Lollipop, Internetprivacy privacy and security. website for example, people’s images andimages personal Lollipop, for embedded example, embedded people’s and information from Facebook a videointo of aa creepy personal information frominto Facebook video ofman a creepy stalking them. them. But Digital Me explored web identity from man stalking But Digital Me explored web identity a from mucha more and introspective vantage. muchphilosophical more philosophical and introspective vantage. Such Suchdigital digitalexperimentation experimentationand andweb webinnovation innovationisistypical typical fare farefor forHelios, Helios,which whichprefers prefersthe theopen openweb webtotoapps appsand and interfaces require additional hardware, likelike 3-D 3-D headsets. interfacesthat that require additional hardware,

headsets. Recently, in another innovative project, the studio constructed a site Copenhagen Philharmonic Orchestra Recently,for in the another innovative project, the studio that enables people to deconstruct a piece of classical music and constructed a site for the Copenhagen Philharmonic then take part in putting it back together. Helios is nowof Orchestra that enables people to deconstruct a piece developing the experience for schools in Denmark. And this classical music and then take part in putting it back year, on its home turf, the studio was hired by the Canadian together. Helios is now developing the experience for government to help it And celebrate the on 150th of schools in Denmark. this year, its anniversary home turf, the the Canadian Confederation. Helios created a 3-D mobile studio was hired by the Canadian government to help it web experience that lets Canadians their identity celebrate the 150th anniversary of discover the Canadian via a Sasquatch that becomes personalized to themexperience based Confederation. Helios created a 3-D mobile web on how they answer a series of questions. (Another selfthat lets Canadians discover their identity via a Sasquatch reflection exercise!) that becomes personalized to them based on how they answer a series of questions. (Another self-reflection The ahead-of-its-time feel of some of Helios’s work makes exercise!) you think this is a next-generation agency—and it is—but Helios has been on the Toronto design for work moremakes than The ahead-of-its-time feel of some ofscene Helios’s 25you years. How has it arrived at doing ambitious, challenging think this is a next-generation agency—and it is—but and experimental work? going design one way when Helios has been on the By Toronto scene foreveryone more than else goes another. 25 years. How has it arrived at doing ambitious, challenging and experimental work? By going one way when everyone Masters of reinvention

else goes another. Helios’s identity can be hard to define because its website boasts an archive of work that reflects its various iterations Masters of reinvention throughout the decades. hastomade websites Helios’s identity can be It hard define becausefor itsTVwebsite shows, consumer brands and universities; it has created boasts an archive of work that reflects its various iterations logos, labels and packaging for a streetwear designer; and it throughout the decades. It has created websites for TV has done hand-drawn illustration and animation work for shows, consumer brands and universities; it has created the likeslabels of Blackberry, the Dairy of Canada and and logos, and packaging for aFarmers street wear designer; Stella Artois. it has done hand-drawn illustration and animation work for The whenthe AlexDairy Wittholz, now thestudio likes ofstarted Blackberry, Farmers of partner Canada and and creative director, graduated from OCAD (formerly the Ontario Stella Artois. College of Art and Design), Toronto’s prestigious art school, First working primarily in print and graphic design, the and found himself staring straight into the 1989 recession. studio started when Alex Wittholz, now partner and He was joined by his youngerfrom brother, a budding creative director, graduated OCADFelix, (formerly the art

Captions by Helios Design Labs. Right: “On the afternoon of April 27, 2011, a mile-and-a-half-wide tornado plowed through Tuscaloosa, Alabama. It killed 64 people and injured more than “On the of Aprilhomes 27, 2011, mile-and-a-half-wide tornado plowed through Tuscaloosa, killedtells 64 people andofinjured more thanafter 1,500; 1,500; it afternoon destroyed 4,700 andadamaged thousands more. The interactive documentary essayAlabama. After theItStorm the story what happened it destroyed 4,700 homes and damaged thousands more. The interactive documentary essay ‘After the Storm’ tells the story of what happened after the storm passed, after the media left town and after the adrenaline subsided. Written as a letter to future disaster survivors, the film is not so much the stormthe passed, afterwhy theof media left townbut and afterthe thecentral adrenaline subsided. Written as a lived letterthrough to future disaster survivors, theface: film is notdo sowe much about about how and the tornado, about question all of us who have something so traumatic How make the how and why of the tornado, but about the central question all of us who have lived through something so traumatic face: How do we make sense of sense of it all?” Felix Wittholz, graphic designer; Alex Wittholz, creative director; Daniel Sundy, senior developer; Iain Campbell/Adrian Davila-Zuniga, it all?” FelixMike Wittholz, graphic designer; Alex Wittholz, creative director; Daniel senior developer; Campbell/Adrian Davila-Zuniga, developers; Robbins, technology director; Andrew Beck Grace, director; MattSundy, Brushett, animation; JeffIain Byrd, sound design/music; Heather developers; Grieve, Mike Robbins, Andrew Grace, director; Matt Brushett, animation; Jeff Byrd, soundexecutive design/music; Heather Grieve, producer; producer; Cathytechnology R. Fischer, director; Independent Lens,Beck senior producer; Sally Jo Fifer, Independent Television Service, producer; Helios Design Labs/ CathyWinx R. Fischer, Lens, senior producer; Sally Joclient. Fifer, Independent Television Service, executive producer; Helios Design Labs/Moon Winx Moon Films, Independent production companies; Moon Winx Films, Films, production companies; Moon Winx Films, client. 54 2

Photography Annual 2017 Photography Annual 2017

HELIOS DESIGN LABS director who was looking for a gig after earning a general BA from the University of Toronto. Bored with commercial work, they strummed over to the music industry. “We sort of talked our way into doing album art,” says Alex. But they weren’t exactly fans of the mostly Canadian indie artists they were collaborating with or of the low pay. “The thing that made us quit was having to retouch an Anne Murray cover,” he says. The brothers reinvented their firm yet again when they met Mike Robbins—former guitarist with the Canadian alternative rock band The Ikons, now based in Berlin for Helios. This was in the late 1990s, when computing was increasingly becoming a part of daily life and access to the Internet was expanding. Robbins started doing websites for production companies, including Universal Pictures, and for future superstar directors, such as Quentin Tarantino. It proved easy work for Helios to get, despite its being headquartered in Toronto. “Back then, it was, whoever could do it was hired,” says Felix. “People sought you out just for being at the forefront of tech, rather than you having to go out and get clients. That became very interesting for us because we had a hand in defining the language, and not everything had been supercodified yet.” There were more shifts to come. Long before HTML was the buzzword of the day, when it had finally progressed to the point where the agency could start doing really interesting things with it, Helios began tackle more interactive and multimedia storytelling work. That included Highrise, a multiyear, multimedia documentary produced by the National Film Board of Canada that explores vertical living in

global suburbs. The project won a 2011 International Digital Emmy for nonfiction. More clients followed. Alabama filmmaker Andrew Beck Grace hired Helios after landing funding to produce After the Storm, an interactive documentary about a massive tornado that ripped through the city where he lived. “I was new to the interactive doc world,” he recalls. “So I just started voraciously consuming different interactive projects to try and figure out how they worked, what I liked, what I didn’t. And a couple of projects that caught my attention were produced by the same firm—called Helios.” Beck Grace says he was impressed with the studio’s ability to collaborate remotely. He was in Alabama. The project’s composer and sound designer was in New Orleans. “We met virtually about once a week during the main part of the production process, and we shared a robust set of files on Google Docs; the master document was basically a spreadsheet of the project’s entire layout,” he says. “To look at it now is to see how the project was essentially built and to see the entire story devoid of bells and whistles and pacing that we ultimately crafted. “It’s important to note that we never met in person until the project was released at South by Southwest in 2015,” Beck Grace adds. “We had worked collaboratively entirely online for [more than] a year at that point.” And when they finally did meet? “It was as though we were already close, intimate friends,” he says.

Small size, big ambition One thing that hasn’t changed about Helios in its 26 years in business: it has never employed more than eleven people. The staff currently numbers seven, and the brothers swear they never want to be larger than ten. Today, its two-floor studio is located west, well removed from the deal making of Toronto’s so-called innovation hub of digital, design and ad agencies focused around the King and Spadina intersection. Helios’s neighborhood, in Ossington Village, is better known for the influx of medical marijuana dispensaries that have opened in recent years. And the quaint coffee shop next to it is independently owned—there isn’t a Starbucks in sight.

This page: Helios Design Labs’ front door on Ossington Avenue in Toronto, Ontario. Right: “Open Orchestra’s goal is to make classical music accessible and fun for all audiences, regardless of age, location and skill level. [OO] PLAY, its online platform, enables all music makers to interpret, innovate and collaborate to become part of a collective symphony. The Copenhagen Philharmonic invites anyone who is interested in music to become part of the Open Orchestra symphony by recording themselves into the digital experience that is [OO] PLAY.” Uffe Savery, Copenhagen Phil/Alex Wittholz, creative directors; Iain Campbell/Adrian Davila-Zuniga, developers; Mike Robbins, technology director; Mads Damsbo, Makropol, director; Karl Bjerre Skibsted, Copenhagen Phil/Heather Grieve, producers; Sarah Arruda, associate producer; Copenhagen Phil/ Helios Design Labs/Makropol, executive producers; Copenhagen Phil, client. “Created by Brenda Longfellow, Glenn Richards and Helios Design Labs, OFFSHORE is an interactive documentary that explores the dark waters of the global offshore oil industry in the wake of the 2010 Deepwater Horizon explosion. OFFSHORE offers a vision of what happens when need and greed push this industry past the border of competence into a new world inhabited by questions: How far is too far? How deep is too deep? And how dangerous is too dangerous? We may not want to answer.” Mike Robbins, writer/technology director; Alex Wittholz/Felix Wittholz, creative directors; Iain Campbell/Daniel Sundy, developers; Brenda Longfellow/Mike Robbins, directors; Matt Brushett, animator; Marc Pannozzo, 3-D animator; Sarah Arruda/Glenn Richards, producers; Brenda Longfellow, client. 56

Photography Annual 2017

Communication Arts | commarts.com

Photography Annual 2017

HELIOS DESIGN LABS The Helios office is a clean white, but is littered with a mishmash of paraphernalia, from toy robots to Star Wars figures and a small record collection—“spoils of ten years living next to Goodwill” at the studio’s last location, says Alex. By keeping a low overhead and staff count, the brothers say, they’ve been able to seek out and do the kind of work they want to do, rather than having to follow the money trail. “We know we’ve been all over the place, but I think it speaks to our approach to things,” says Felix. “We try to do something other than the new, shiny thing. We say, ‘If everyone is doing this, then we should do something completely different because it will stand out.’” And Helios only wants to do work that is meaningful and imparts knowledge or new points of view to the end user in some way. For instance, Don’t Tell Me to Smile is its second collaboration with the BBC, an experiment in digital storytelling that curates content posted by women—often about how they’re portrayed in media. Left: “The interactive documentary My Millennial Life is part of a larger cross-platform project that includes a feature film. Working separately and in tandem, each project follows the honest, entertaining stories of a group of talented and resourceful millennials getting dumped on from all sides. We watch through the eyes and actions of five 20-somethings, trying to adapt and navigate their way into adulthood amid a dismal economy that creeps into all aspects of their lives.” Maureen Judge/Martin Waxman, writers; Alex Wittholz/Felix Wittholz, creative directors; Iain Campbell/Adrian Davila-Zuniga/Daniel Sundy, developers; Graeme Ring, editor; Maureen Judge, director; Jason Milligan, sound engineer; Jacob Waxman, music; Charlotte Engel/Linda Fong, TVOntario/Heather Grieve/ Maureen Judge, producers; Jane Jankovic, TVOntario, executive producer; Makin Movies, client. “Biology of Story is more than a collection of stories and larger than an online archive; the project explores story and its integral role in art and life through the insights of more than a hundred leading creators, practitioners and thinkers. This interactive documentary from filmmaker Amnon Buchbinder and producer Geneviève Appleton features more than 1,200 individual media items and 60 hours of video interviews accessible through a networked interface. Viewers chart their own paths through the infinite possibilities of 118 hierarchically sorted Principles and Practices, which define the human relationship to story.” Alex Wittholz, creative direction; Iain Campbell/Adrian Davila-Zuniga/Daniel Sundy, developers; Mike Robbins, technology director; Jeff Hamill/Alec McKay/Harrison Zozak, editors; Alec McKay, video director; Matt Brushett, animation; Geneviève Appleton, producer; Heather Grieve, interactive producer; Amnon Buchbinder, director/client. This page: “Having spent 40 years in solitary confinement for a murder he asserts he did not commit, Blank Panther Party activist Herman Wallace says he’s been buried deeper than almost anyone on Earth. In ‘The Deeper They Bury Me,’ Wallace tells you directly what it’s like to feel caged for one’s political beliefs and how he has been able to maintain his sanity. By putting visitors in Wallace’s shoes, ‘The Deeper They Bury Me’ paints a one-of-a-kind portrait of imagination’s power to defy even the most oppressive circumstance.” Angad Singh Bhalla/Ted Biggs, writers/project creators; Felix Wittholz, graphic designer; Alex Wittholz, creative director; Iain Campbell, developer; Mike Robbins, technology director; Nicolas Brault, animator; Aylwin Lo, National Film Board of Canada, associate producer; Heather Grieve, interactive producer; Anita Lee, National Film Board of Canada/National Film Board of Canada/Storyline Entertainment, executive producers; Stefanie Brantner, National Film Board of Canada, project manager; National Film Board of Canada, client. Communication Arts | commarts.com

HELIOS DESIGN LABS “Don’t get me wrong—we’ve worked with Nike, and we’ve worked with Coca-Cola, but we’ve just gotten to a place where more of our work is socially conscious,” says Felix. “I am looking for the right word that doesn’t make me sound pretentious, but work that hopes to make a difference, not just based on style or flashy visuals. It isn’t about selling crap that people don’t need. It is not work that will make us rich—but then, that was never the point.” ca This page: “Deloitte 360° is a Canada-wide business conference that challenges linear thinking and examines every angle between strategy and implementation. Deloitte Canada approached Helios to create an attentiongrabbing animated video to open the event. The project required the creation of eight city-specific end tags corresponding to the different cities hosting the conference.” Alex Wittholz, director; Matt Brushett, animator; Heather Grieve, producer; Deloitte Canada, client. Right: “Although a city’s present dominates our sense of its space, its past always endures under the surface, even when it has been socially, politically and economically concealed. Jerusalem, We Are Here is an interactive documentary that digitally brings Palestinians back into the Jerusalem neighborhoods from which they were expelled in 1948. With the film focusing primarily on the neighborhood of Katamon, Palestinian participants and their descendants probed their families’ pasts and engaged with their painful present.” Alex Wittholz, creative direction/ sound design; Daniel Sundy, senior developer; Iain Campbell, developer; Mike Robbins, technology director; Livia Alexander/Heather Grieve, producers; Marina Parisinou, associate producer; Anwar Ben Badis/Mona Hajjar Halaby, consultants; Dorit Naaman, director/client. “Digital Me is an experiment in personalized, interactive storytelling that illuminates people’s interactions with social media. Drawn from users’ social media content, digital personas start conversations with users about their online behavior and how that reflects on them as individuals. Digital Me then enables users to check how aligned their physical and digital personas are and asks them to reflect on their new hybrid presence.” Sandra Gaudenzi/Mike Robbins, writers/directors; Alex Wittholz, creative director; Iain Campbell, developer; Mike Robbins, technology director; Jenny Chapman, BBC Knowledge & Learning/Heather Grieve, producers; Chris Sizemore, BBC Knowledge & Learning, executive producer; BBC, client.

Photography Annual 2017

Communication Arts | commarts.com

JANINE REWELL

BY GARRICK WEBSTER

would really like to design rides for amusement parks, like teacups or carousels,” says Finnish illustrator Janine Rewell.

And that ambition doesn’t seem too unreasonable at all. We sit in the converted church where Rewell and eleven other creatives work, in Helsinki’s Kallio district. She has been going through her portfolio, showing me large-scale projects she has designed for shopping malls in the Far East. For instance, at the Lotte World Mall in Seoul, South Korea, Rewell’s charming illustrations representing spring, summer and autumn were turned into life-sized 3-D window displays across three seasonal campaigns during 2016. So a Janine Rewell–style theme park experience seems the next logical step. For her project with Lotte, Rewell watched the company’s creative team bring her illustrations to life. “I did some key illustrations for them, and then they had their 3-D rendering team turn the elements into three-dimensional objects,” she says. “It was really fun to see how they interpreted my forms in 3-D, and I think they did a good job.” All done in the artist’s colorful, modern Finnish style, it’s fascinating to see the setting spring from the 2-D page into a diorama that people can walk around in and explore. Tulips, trees, cats, rabbits, bees and hummingbirds—areas of the shopping mall, coming to life in a way Rewell could hardly have thought possible when she began her career ten years ago.

“I want to give experiences to people, like everybody in this field,” she says. “But it would be great if they could go inside the illustrations, where the experience is more whole.” This explosion into three dimensions is the latest phase in Rewell’s career, and it hasn’t come about by accident. A few years ago, she decided to take a course to learn how to make dollhouses. Courses like this are very inexpensive in

Finland, where ongoing education is well funded. The result was Rewell’s NOOKS Dollhouse Collection, a self-initiated project she released in 2015. Cut, built and hand-painted by Rewell and her assistant, the elegant little structures come complete with furnishings and animal inhabitants. The project didn’t just inspire Rewell; it brought in clients who are just as ambitious and inspired as she is. “In China, [clients] saw the monkey house–themed dollhouse, and they wanted to build it at human size for Chinese New Year last year,” says Rewell. “So they contacted me and said, ‘Could we buy the usage rights for the monkey house for the Year of the Monkey?’ They wanted to build it inside a shopping mall where people could go inside it. They changed the color palette, but they did an exact life-sized replica.” Rewell often does self-initiated projects with a view to landing boundary-breaking commissions. When she was a speaker at the 2013 Beyonderground festival in Hasselt, Belgium, the organizers invited her to paint a mural in a window space on the main square. She designed a pink, blue, beige and white setting featuring animals, umbrellas, sailboats and more—then painted it by hand. Meanwhile, her friend Sami Salmenkivi captured the process to produce a time-lapse video, which was then shared on Vimeo. “A year later, Samsung got in touch,” says Rewell. Its creative team wanted to do something similar for Samsung’s Galaxy tablet. “The original video got barely 3,000 views, but somehow the right people in Samsung headquarters saw it,” she says. The next thing she knew, she was in Barcelona, on set with 50 people, ready to be featured in two advertising films. “I thought they would film my hands drawing, and then all of a sudden I’m being given direction on how to act, like an actor. I didn’t know my face would be in it.”

Right: “I illustrated three seasonal campaigns for Lotte World Mall, the biggest shopping center in Seoul, South Korea. For the summer campaign, which had a tropical theme with jungle animals and a fresh sea breeze, the Korean design agency DESIGNTIST made my illustrations into 3-D shapes that bloomed in beautiful window displays and mall installations. My illustrations were also used in animations, wall sheets and banners.” DESIGNTIST, production designer/design firm; Lotte World Mall, client. 62

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JANINE REWELL

In the films, shown at Christmastime on outdoor video screens in Amsterdam, London, Milan, New York, Singapore and Toronto, as well as in Samsung’s online campaign, Rewell creates one of her illustrations on the Galaxy and then paints it onto a window by hand. “This sounds like a commercial, but it was a really handy device. I had it for a year before it was stolen, but I really enjoyed using it,” she adds. Attending Beyonderground also inspired her to push her personal work in other directions. While there, she listened to a lecture by Paul Jenkins, who talked about his idea to create a glass running shoe, which could also be a goldfish bowl. He took the idea to Nike, Japan, which commissioned a campaign around it. “I talked with him afterwards and told him I had an idea about using my illustrations and body paint, but I didn’t have a client for it,” Rewell says. “Body paint existed only in this weird, fantasy, sexy, tacky world. Nobody did body paint in a classy way. He encouraged me to just pick a client and pitch the idea,” she says. She went to Minna Parikka, a high-end shoe designer in Helsinki, who loved the idea. Rewell created some artworks that were painted onto models; the painted models danced in the front window of the Minna Parikka shop in the city. In addition, four prints were made of the models, photographed in body paint on backgrounds that Rewell designed. In a twist of fate, the first client the body paint project attracted was Nike. The company asked her to create a pattern similar to one of the prints, which was used for a shirt in its LeBron James collection. But the body paint effect didn’t end there. Color authority Pantone also saw the prints Rewell created and licensed two of them to go on the covers of its swatch books. “The body paints weren’t Pantone colors, but the company thought it was an exciting project,” Rewell recalls. “This project that I did in 2014 is still making me more visible and bringing more opportunities, and now these Pantone charts are going to be in the hands of a bunch of art directors. And my name is on the front page, so… ”

Rewell’s latest self-initiated work is set to bring her further exposure in the Far East. In 2016, she was invited to judge the China Illustration Biennale in Shenzhen, China, an honor that included a solo exhibition at the Guan Shanuye Art Museum. At the same time, a museum in Visavuori, Finland, also asked her to exhibit. She decided to create a series to span the two exhibitions. “Again, I wanted to try a new medium,” Rewell explains. “When I created the dollhouses, I fell in love with water cutting. When you cut [material] with water, it doesn’t leave any burn marks like laser cutting does, so it’s much more handy when you build stuff. I did these water-cut wooden artworks, which are three-dimensional and went on display in Finland. In China, I showed prints of the artworks.” The artworks’ vector shapes and flowing curves play with nature and human forms in a strong, but limited color palette. They tell personal stories about Rewell and her sister as children, playing in the Visavuori area, where their family has a summer cottage. They can be seen selling flowers they picked, saving ladybirds, rowing on the water and playing with a dollhouse. Nature, memories and the imagination are all themes in Rewell’s work, and development of her style is ongoing. Early on, she drew everything by hand, but decided to pursue vector graphics when studying graphic design at the University of Art and Design Helsinki and later at Rhode Island School of Design. Using geometric shapes gave her Nordic and Slavic folklore influences a new twist, and the clean vector style helped her break through, partly because so many others at the time were using Photoshop to mix digital photography and effects. Rewell sees her Mac as a tool, not a means. “I normally do my sketching with just a pencil,” she says. “I create each character and element separately, then I start the composition in Photoshop because it’s faster. Then, when the client has approved the identity, I move into Illustrator and make it into vector shapes. Sometimes, I bring it back to Photoshop to put some textures in.” She’s brought variety into her work by using vector gradient fills, as in, for example, H&M’s 2015 global Christmas campaign. Depending on the job, she has used wood grain, stone and, for a subtler and more artsy feel, handmade watercolor textures. Graphic design history, art deco posters and the work of Swedish artist Hilma af Klint are Rewell’s biggest influences. Klint created radical abstract, geometric art in secret, before the likes of Wassily Kandinsky came onto the scene in the

Right: “An illustrated coffee tin can for Finnish coffee brand Paulig’s one-year anniversary. The visuals are inspired by Finland’s endless summer nights and lake landscapes. Papercraft artist Owen Gildersleeve created a set for the coffee can in print advertising.” Anna-Mia Myllykangas, art director; Owen Gildersleeve, associate designer; SEK & GREY, ad agency; Paulig Group, client. “For Vogue Eyewear’s website, where visitors earn illustrated badges as a reward for being active in the Style Miles online community. Made in collaboration with ad agency R/GA Sweden.” R/GA Sweden, ad agency; Vogue Eyewear, client. 64

Photography Annual 2017

Communication Arts | commarts.com

Photography Annual 2017

JANINE REWELL early 20th century. “So she never got the credit for it, but she did amazing work,” says Rewell. “She’s the artist whose posters I have on the wall at home. Not only do I respect and sympathize with her through my gender, but abstract art [like hers] is definitely the foundation of my illustration.” When Rewell creates an illustration, she looks for the perfect core idea of whatever it is she’s drawing—whether it’s a tree, a deer, a boat or a building. She studies the shape of everything as she works, using Google to find images. Yet as simple as each form is, together they make rich, expansive compositions. Her work often looks complicated and detailed, but every shape is a beautifully simple ideal. It’s a compelling juxtaposition, and it engages the viewer both emotionally and intellectually. “Plato talks about his world of ideas, and I see abstract and geometrical art in the same way. I’m somehow trying to grasp the core of things; this is something that continues to interest me,” she says. “Sometimes my friends say, ‘You’ve been doing the same stuff for ten years. Don’t you get tired? Don’t you want to change styles?’ I say: ‘No, I’m still far from creating what I can see in my head.’ I feel like I’m still learning, and I’m still perfecting the visualization of different characters, but that said, I don’t feel like I’m that tied to geometry anymore. My style has become much more fluid and softer, and there’s more variation. That’s something I do very consciously. I have a core style and then have a lot of variations of it— flat pictures, the three-dimensional approach, plain vectors, gradients, more geometrical, more fluid—but they are all strongly in my own style.” ca Left: “For the packaging of the Fika Christmas cookie sold in the Japanese department store Isetan. The Swedish word fika literally means “to have coffee,” but implies taking a break with your loved ones.” Isetan, client. “A collection of patterns for silk scarves, illustrated for my touring solo exhibition shown in the Guan Shanyue Art Museum and the Yantai City Museum and Art Gallery, both in China, and the Visavuori museum in Finland.”

This page: “I created the NOOKS collection to visualize the vivid shapes and color palette of a child’s imagination. These dollhouses display the exciting complexity of play worlds and encourage exploring adventures that might be just around the corner while remaining gender neutral. They are made entirely out of wood. I illustrated each of the seven dollhouses around a different visual theme to inspire the imagination to go on to new adventures. Furthermore, NOOKS dollhouses can connect, enabling play to extend from dollhouse to dollhouse.”

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JANINE REWELL This page: “I teamed up with shoe designer Minna Parikka to combine the world of body painting with Minna Parikka’s Spring/Summer 2014 line. To launch the body paint campaign, Minna Parikka’s flagship store windows featured a live dance performance from body-painted dancers, who presented first glimpses of the collection. Geometric patterns and strong attention to detail play on the supple curves of the painted female body. Two years later, in 2016, this project was featured on the covers of Pantone PLUS Color Tools, Formula Guides and Solid Chips.” Riina Laine/Saara Sarvas, studio artists; Minna Parikka, client. “Helsinki-themed postcard design for fashion store My o My.” My o My, client. Right: “Advertising the airline company Finnair’s various travel routes to Asia, Europe and the Americas.” SEK & GREY, ad agency; Finnair, client.

“I made this series visualizing my childhood summer memories for my solo exhibition tour, which went to the Guan Shanyue Art Museum, in Shenzen, China; the Yantai City Museum and Art Gallery, in Yantai, China; and the Songjiang Art Museum, in Shanghai, China. In addition, a satellite exhibition was held at the Visavuori museum, in Finland. The exhibition was part of the China Illustration Biennale, where I gave lectures and acted as the final review judge.” Shenzhen Illustration Association, project manager; China Illustration Biennale, exhibition developer.

Photography Annual 2017

Communication Arts | commarts.com

Photography Annual 2017

Kirsh Bakery and Kitchen identity “A bistro and bakery in one, Kirsh Bakery and Kitchen is the kind of place where New Yorkers can flock for scrumptious fare day and night. When Mucca Design was tasked with branding Kirsh Bakery and Kitchen, this dual personality and familiar, yet forward-thinking feeling informed the New York–based branding studio’s design. Working with chef Dan Kirsh enabled Mucca to perfect the item central to the eatery’s dining experience: the menu. It would be the one opportunity the eatery had to capture patrons’ full attention and let them know what to expect, so Mucca approached the menu as if it were a user interface, creating something brief that can still guide bright-eyed early birds and latenight revelers alike. Every detail of the menu was carefully crafted, from its custom gothic typeface to a modular system that’s flexible enough to work on both large-scale signage and delicate endpapers.” Erica Heitman-Ford, art director; Amber Case/Rachael Miller/ Alexis Reid, designers; Matteo Bologna, creative director; Mucca Design (New York, NY), design firm; Dan Kirsh, Kirsh Bakery and Kitchen, client.

Amnesty International Hong Kong pop-up bookstore “In Hong Kong, Article 27 protects residents from being unjustly censored by the state. But censorship still silences many, says Amnesty International Hong Kong. To shine a light on the recent disappearances of local booksellers in Hong Kong and the sweeping violations of residents’ freedom of expression, the nonprofit organization partnered with global design consultancy Brand Union and ad agency Ogilvy & Mather Hong Kong to launch a pop-up bookstore in central Hong Kong. As part of the nonprofit’s Every Freedom Needs a Fighter campaign, the bookstore featured more than 1,000 redacted books. The campaign also included a redacted website for the free nonprofit online newspaper Hong Kong Free Press, as well as a series of time-lapsed short films that show artists sketching controversial moments in history. Played in reverse, these moments are undrawn to emphasize the message that when rights vanish, so does the truth.” Stratos Efstathiou/Vivian Lam, art directors; Kitty Chan/Gianluca Crudele, senior designers; Mike Pearson/Andy Reynolds, creative directors; Reed Collins, chief creative officer; Lucy McNally, photographer; Vincent Wong, illustrator; Craig Mason, technology director; Karis Cheng/Angus Chow/Chloe Yung, strategy; Brand Union/Ogilvy & Mather (Hong Kong), ad agencies; Amnesty International Hong Kong, client.

We’re looking for new, outstanding collateral, packaging, print ads, television commercials, direct mail, books and exhibits. For submission details, visit: commarts.com/submissions.

Communication Arts | commarts.com

EXHIBIT 1

Real Time with Bill Maher titles “Bill Maher may be the first to tell you that the past often repeats itself in explosive ways. Having been a feature in the US political conversation for years with his HBO talk show Real Time with Bill Maher, the acerbic comedian is not shy about being subversive and provocative. Buster, the design studio of Los Angeles– based ad agency Stun Creative, created the show’s new main title sequence to plunge viewers into its hot discussions of current events. Running with the theme of contrasting history, Buster employed the neat trick of circular split-screen motifs to juxtapose historical struggles and taboos with modern realities. Designed to encourage repeat viewings, the sequence gets viewers to pick up on history’s circular patterns. Even though the same struggles may still be here, the sequence—and Maher— proclaim in defiance: we’re still here as well.” Gilbert Avila, art director; Joseph Kiely/Joel Lava, creative directors; Michael Vamosy, chief creative officer; Ryan Smith, designer; Maziar Majd, animator; Gramoscope Music, music; Debora Presburger, producer; Sharre Jacoby, executive producer; Mark Feldstein/Brad Roth, principals; Buster (Los Angeles, CA), production company; Scott Carter/Sheila Griffiths/Marc Gurvitz/Dean Johnsen/Bill Maher/Billy Martin, clients.

Internet.org by Facebook print ads “In 2011, the United Nations declared Internet access a basic human right, along with freedom of speech, gender equality, water and shelter. Yet half of the world still lacks online access. So in 2013, Facebook launched Internet.org, a global initiative to connect those 4.1 billion people to the Internet. To raise awareness of Internet.org, ad agency Sid Lee New York created a series of print ads featuring various cut-in-half objects created with a combination of photography by New York–based Francisco de Deus, 3-D graphics and retouching. Whether an electric guitar or a painting, each object tells the story of the Internet’s missing potential; because half the world is not connected to the Internet, the whole world misses out on half of what it could be discovering online, from art to music to stories to knowledge.” Ars Thanea (Warsaw, Poland), typographer/illustrator/retoucher/ animator; Francisco de Deus, photographer; Sid Lee New York, ad agency; Facebook, client.

Pendleton Whisky packaging “Part of the Pendleton Whisky portfolio, Directors’ Reserve embodies the lore and legacy of one of the world’s largest annual rodeos, the Pendleton Round-Up. Aged for 20 years, the whisky inside every bottle of Directors’ Reserve speaks to the same heritage as this iconic symbol of rodeo heritage. To showcase Directors’ Reserve in a manner befitting both rodeo and whisky, Cue, Inc., enlisted the help of third-generation saddle maker Randy Severe. The Minneapolis-based design studio wrapped each bottle of Directors’ Reserve in a leather sleeve whose tooling was crafted by Severe.” Matt Erickson, designer; Alan Colvin, creative director; Cue, Inc. (Minneapolis, MN), design firm; Pendleton Whisky, client.

Photography Annual 2017

Communication Arts | commarts.com

Photography Annual 2017

EXHIBIT

Presidio Visitor Center exhibit design “Once a military fort, the Presidio of San Francisco, situated on the northern tip of the San Francisco peninsula, knew it was time to open a new visitor center. The challenge was unifying the independent identities of its three distinct stakeholders— the National Park Service, the Presidio Trust and the Golden Gate National Parks Conservancy. To begin meeting this challenge, San Francisco–based design firm Macchiatto assisted with architectural programming and created exterior signage to entice those who are visiting the Main Post into the new visitor center. There, they can explore an ecosystem of experiences: interpretation and orientation displays and graphics, audio/video media presentations and interactives, retail fixtures, and a zone-based model. By crafting these retail, historical and geographic experiences in equal measure, Macchiatto helped fold the Presidio and its many stakeholders into one.” Michelle Regenbogen/Jeremy Regenbogen, creative directors; Matthew Millman, photographer; Bohlin Cywinski Jackson, architect; Macchiatto (San Francisco, CA), design firm; Golden Gate National Parks Conservancy/ National Park Service/Presidio Trust, clients.

Barbie TV commercial “Dads Who Play Barbie” 1:25 “Mattel, Inc., first teamed up with BBDO San Francisco for its You Can Be Anything campaign. Today, with ‘Dads Who Play Barbie,’ the ad agency and Mattel once again tell girls they can be anything. At the end of the spot, the screen reads, ‘Time Spent in Her Imaginary World Is an Investment in Her Real World.’ It’s an empirical truth backed by decades of research, explains Dr. Linda Nielsen of Wake Forest University. Her research has shown that girls who have loving, communicative, supportive relationships with their dads from early childhood on are less likely to suffer from a lack of self-confidence and self-reliance as they grow up.” Rachael Kelly/Christina Whalen, art directors; Taylor Garrett, writer; Andrew Shaffer, creative director; David Lubars/Matt Miller, chief creative officers; Andrea MacArthur, editor; Alexis Harte, music composer; Pollen Music Group, music company; Karen Cunningham, production manager; Alaina Crystal/Crystal Rix, strategists; Whitney Ferris, senior integrated producer; Slim Pictures Inc., post-production company; BBDO (San Francisco), ad agency; Mattel, Inc., client.

Qoñi identity “A small artisan community in Peru needed help turning its handmade knitted goods into a modern fashion brand. Canadian ad agency Leo Burnett Toronto dubbed the brand Qoñi—‘warmth’ in the region’s native language—and reflected the name in its identity, from a wordmark displayed on retail tags to a lookbook that details the brand’s apparel. With its fully branded story and new visuals, Qoñi is ready to beckon shoppers around the world to experience the warmth of its community’s offerings.” Marcelo Hong/Peter Lee/Laure Stromboni, art directors; Jessica Mori, writer; Marcelo Hong/Peter Lee, designers; Lisa Greenberg, creative director; Ryan Crouchman, group creative director; Judy John, chief creative officer; Saty + Pratha, photographer; Laurie Filgiano, producer; Tahir Ahmad, planner; Leo Burnett Toronto (Toronto, Canada), ad agency; BRAND[TRADE] Peru, client. Communication Arts | commarts.com

EXHIBIT 1

Westin print ad “Anyone who has ever traveled knows how hard it is to eat healthily, sleep restfully and stay active while on the road. Westin had been focusing on empowering its guests to maintain their wellness, having spent the last five years designing guest programs around six pillars of wellness and running ad campaigns to communicate these programs; however, its visitors were just not making the connection. San Francisco–based ad agency Venables Bell & Partners helped Westin stop talking about each individual amenity it offers and instead speak about why wellness as a whole should be important to travelers. Along with the integrated campaign’s commercials and other elements, print ads from the Let’s Rise campaign speak to the constant push and pull between travelers needing to maintain their well-being and the disruptions of travel that can throw off routines. The photography features women and men rising to the occasion, whether waking early for a run or reclaiming their wellness after the stress of air travel. More than a campaign or tagline, Let’s Rise is a call to action for travelers to not just get up, but rise.” Venables Bell & Partners (San Francisco, CA), ad agency; Westin Hotels & Resorts, client.

Progressive print ad “How does a brand illustrate its leadership in the outdoor vehicle insurance category while still delighting its audience? Evoke the nostalgic style of 1970s and 1980s action movie posters. In partnership with Boston-based ad agency Arnold Worldwide, Progressive created a print campaign depicting its fictional salesperson Flo riding epic creatures—from a wolf to a mallard duck—into the wilderness. Behind her, boats, RVs, dirt bikes and other vehicles follow. Illustrated by Brooklyn-based Sam Spratt and with typography by London -based illustration, animation and design studio Shotopop, the aptly named Beastmaster campaign captures the fun, free spirit of outdoor adventure. The designs will also be used on T-shirts and collateral at motorcycle rallies across the United States to further inspire Progressive customers to conquer the great outdoors with confidence.” Jennifer Fisher, art director; Bryce Isaacson, writer; Marc Sobier, group creative director; Sean McBride, executive creative director; Jim Elliott, chief creative officer; Casper Franken, Shotopop, typographer; Sam Spratt, illustrator; Kathy McMann, artist; Britney Drotleff, studio artist; Jim Spadafora, production manager; Val Bettini/Kate Browne/ Elliott Seaborn, producers; Erin Sullivan, project manager; Cordelia Fasoldt, strategy; Arnold Worldwide (Boston, MA), ad agency; Progressive Corporation, client.

Photography Annual 2017

“

The editorial images which got an ‘in’ vote were hands down just amazingly strong and masterfully crafted.” —Carol Chu

“

PHOTOGRAPHY 2017 ANNUAL

I loved the #nofilter series for UNICEF [p. 91]. The idea of using the polluted water to develop the pictures was incredibly clever and sent a powerful message.” —Coni Kennedy

ADVERTISING 1 (series) Gary Land, photographer Arturo Aranda/Dave Bourla, creative directors Jeff Weston, executive creative director Veronica Williams, art producer Trident Post Production, retoucher Publicis, ad agency Citibank, client “Olympic gold medalist Gabby Douglas was photographed for Publicis’s Citibank Summer Olympics campaign. Just like business owners, parents and retirees, Olympic athletes are Americans who constantly try to progress toward their larger goals. Citibank supports American progress wherever people compete for something better.”

Photography Annual 2017

Communication Arts | commarts.com

Photography Annual 2017

ADVERTISING 1 (series) Ale Burset, photographer Mike McKeever/Abigail Stellpflug/Zuzanna Zaloudek, associate creative directors Chris Bernesby/Joe Capanear, creative directors Tim Hawkey, executive creative director Sara Gold/Lorenzo Uras, producers Area 23, ad agency Michael Januszeski, Janssen, client “Shining a light on the long-ignored emotional burdens of rheumatoid arthritis (RA).” Headline: Are we seeing the whole story on RA?

2 Gabriel Nivera, photographer Visit Faroe Islands, client

“From a Visit Faroe Islands campaign focused on portraits of the daily lives of Faroe Islanders. Used in print, OOH and social media.”

3 Raphaël Ouellet, photographer Isabelle Cote, art director Montréal’s Orchestre Métropolitain, client Portrait of Yannick Nézet-Séguin, the new Métropolitan Opera director, for use in newspaper ads, posters and OOH.

Communication Arts | commarts.com

ADVERTISING 1 (series) Peter Schafrick, photographer Tim Schavitz, art director Motorola, client Used as wallpaper for Motorola smartphones.

Photography Annual 2017

Communication Arts | commarts.com

ADVERTISING 1 Justin Poulsen, photographer Spencer Dingle, art director Jordan Hamer, writer Carlos Moreno, creative director Kirsten White, Makers, producer Cossette, ad agency Banff Centre for Arts and Creativity, client “For a campaign for Banff Centre illustrating the absolutely unexpected. This image was used in print, outdoor and digital ads.” Headline: Things you can’t unthink. Subheadline: As Canada’s home for artistic training and creation, Banff Centre offers immersive programs that advance artistic practice and provides artists and thinkers with the freedom to create the unforgettable.

2 James Ransom, photographer Stefan Peters, art director Archie Sessions, writer Steven Funaro/Stefan Peters, creative directors RPF NYC, ad agency Elite Leather Company, client “Photographed in Elite Leather Company’s factory, as part of a brand repositioning effort for the 58-year-old family-owned business through advertising, online and social media campaigns.” Headline: Take Our Seat, We Still Make ’Em Like They Used To.

3 Jean-François Seguin, photographer/creative director Annabelle Soucy, assistant photographer Freja Claesson, art consultant Peter Asbjorn, retoucher Carmen Denis, project manager Louis-Éric Leblanc, model Le Club de Voile Deux-Montagnes, client From a Canadian sailing school’s campaign promoting sailing for kids.

4 Andy Anderson, photographer Debbie Christensen, art director Walt Burns, creative director Ann Skaja, producer Michael Perez, retoucher Broadhead, ad agency Firestone, client “Used in the Farm Hard print campaign for Firestone’s agricultural tires.”

Photography Annual 2017

Communication Arts | commarts.com

Photography Annual 2017

ADVERTISING 1 Chris Gordaneer, photographer Anand Gahlot, art director Beth Stewart, creative director Robin Scofidio, producer Discovery Communications, ad agency Animal Planet, client Used to promote Animal Planet’s program River Monsters in various media, including print ads, posters and online.

2 Randal Ford, photographer Dan Crumrine/Laura Jackson, writers Cat Albritton/Cedric Guerin, senior art directors Matt Rand, executive creative director Archer Malmo, ad agency KMFA, client “For a print and outdoor campaign that brought together Austin’s eclectic fans of classical music and the town’s equally eclectic classical radio station, KMFA, using well-known pieces of classical music as the thread that binds them.” Headline: Babes in Toyland, Victor Herbert. Austin Doll Collectors Society, KMFA Fans. KMFA 89.5. On Key, Offbeat.

3 Zachary Scott, photographer Curtis Caja, art director Ian Holmes, writer Russell Dodson/Tony Kalathara, creative directors Anselmo Ramos, chief creative officer Carlos Lange, design director Veronica Beach/Marina Rodrigues, art producers Megan Sluiter, producer Amy Dresser/Electric Art, digital artists Faeth Gruppe/Joanna Hadfield, stylists Isaac Prado, hair stylist Stephanie Daniel, makeup artist DAVID The Agency, ad agency The Kraft Heinz Company, Miracle Whip, client “Used in its latest print, digital media, poster and OOH campaign, Miracle Whip admits that it’s lost its way through years of formulation downgrades. So Miracle Whip listened and went back to the gold-standard formula we all grew up with.” Headline: Old Is New With Miracle Whip’s New, Old Recipe.

4 Nate Ryan, photographer Doomtree, client Portrait of Minneapolis rapper P.O.S to promote his new album.

Communication Arts | commarts.com

ADVERTISING 1 (series) Paul Giamou, photographer Maple Leaf Sports and Entertainment, Toronto Football Club, client “In-game images of Toronto Football Club players and fans were created for season ticket renewals.”

2 Erich Saide, photographer Aaron Aubrey, assistant photographer Gary Sylvester, art director Brian Krenzer, creative director Istvan (Steve) Pinter, retoucher Arrow Tyas, hair stylist/makeup artist Ryan Crane, Richard’s International Model Management, model Noise Digital, ad agency British Columbia Lottery Corporation, client “For display banners, print and restobar placements to promote betting on the National Hockey League playoffs through the British Columbia Lottery Corporation’s PlayNow platform.”

Photography Annual 2017

Communication Arts | commarts.com

Photography Annual 2017

ADVERTISING 1 Andy Mahr, photographer Karen Holland, art director Gayl Carlberg, creative director Richards/Carlberg, ad agency Blue Bell Ice Cream, client Still image used in a Blue Bell Creameries TV commercial.

2 (series) Teo Chai Guan, photographer Paul Busschau, creative director FCB Happiness Saigon, ad agency UNICEF, client “To raise awareness of water pollution in Vietnam, Vietnamese people living along polluted rivers were photographed on film, which was then developed using polluted water.”

Communication Arts | commarts.com

ADVERTISING 1 (series) Virginie Gosselin, Zetä Production, photographer Rachel Lecompte, ēthos, writer Gabriel Lefebvre, ēthos, creative director Visual Box, retoucher Steve Desmarais, production artist Mariane Stratis, prop stylist ēthos, design firm Piknic Électronik, client “An all-day summer electronic music festival. Piknic Électronik has an easygoing, family-friendly vibe. For its 2016 campaign, Served Fresh, we illustrated the festival with images of picnic fruit and electronic DJ equipment in bright, surprising colors. Used in subway stations, on the event site, in newspaper ads and on posters.”

2 Marcus Smith, photographer Mark-o Kennelly Ullman, art director Nike, client Used on in-store and window signage as part of the rebranding of the Nike Factory Store in Chicago.

Photography Annual 2017

Communication Arts | commarts.com

ADVERTISING 1 (series) David Bornfriend, photographer Steve Reeves, art director Kishan Muthucumaru/Jeff Wadley, creative directors InSync PLUS, design firm A24, client “David Bornfriend worked directly with A24 to create the PR unit production stills, the movie poster one sheet and the social media content for the Academy Award–winning film Moonlight. A24 collaborated with design firm InSync PLUS to design the movie poster and collateral.”

2 Matt Eich, photographer Matt Herrmann, art director Brian Ganther, creative director BVK, ad agency United Way Worldwide, client “This image from Ghost Park in Jackson, Mississippi, was part of United Way Worldwide’s Join the Fight print and digital campaign, designed to raise awareness of critical social issues and compel action.”

Photography Annual 2017

Communication Arts | commarts.com

Photography Annual 2017

ADVERTISING 1 (series) RJ Muna, photographer Brenda Way, art director ODC/Dance, client Marketing images for the 2017 repertory season of ODC/Dance.

Communication Arts | commarts.com

ADVERTISING 1 (series) Ryan Hayslip, photographer Adam Millman, associate creative director Chris Breen, chief creative officer Slip Visual, retoucher Tamara Connor, stylist Stephen Mancuso, hair stylist/makeup artist Chemistry, ad agency Dentistry for Children, client Campaign for Dentistry for Children. Headline: They aren’t adults, take them to a kid’s dentist.

Photography Annual 2017

Communication Arts | commarts.com

ADVERTISING 1 (series) Erik Almås, photographer Michelle Fliegauf, art director International Yoga, client “Shot in India for an International Yoga campaign.”

100

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101

ADVERTISING 1 (series) John Myers, photographer Paul Hill, art director Tim Downs, creative director Hac Job, retoucher Josselyn Scott, makeup artist Martino Flynn, ad agency NasalCrom, client “Images for digital advertising portraying seasonal, dust and pet allergies for the NasalCrom Nasal Allergy Symptom Controller.” Headlines: Prevent Allergies Before They Take Hold; Prevent Allergies Before They Attack.

2 Alex Telfer, photographer Harriet Ronn, art director Barney Spiro, writer Andy Jex/Rob Potts, executive creative directors Morag Jones, art buyer Simon Williams, retoucher Sharon Younger, stylist Saatchi & Saatchi London, ad agency Operation Black Vote, client “Operation Black Vote exists to ensure we have greater racial justice and equality throughout the United Kingdom.” Poster headline: A Vote Is A Vote.

3 Randal Ford, photographer Wes Dorsainvil/Sara Goldsmith, art directors Adam Cote/Melanie Simonich, writers Matthew McGowan/Melanie Simonich, associate creative directors James Clunie, group creative director David Register, executive creative director Ingrid Adamow, art producer Arnold Worldwide, ad agency CenturyLink, client Used on Prism in-store posters. Headline: Lose yourself in Prism TV’s 300+ HD channels.

102

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103

ADVERTISING 1 (series) Dan Burn-Forti, photographer Making Pictures, producer DDB & Tribal Amsterdam, ad agency Royal Canin, client “From a series of portraits of kittens, puppies, cats and dogs taken for the global campaign of specialty pet food manufacturer Royal Canin.”

104

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ADVERTISING 1 (series) Ryan Szulc, photographer Nina Abbott/Henrietta Poon, art directors David Wotherspoon, creative director Lindsey Rebeiro, producer Matt Gibson, retoucher Nicole Young, food stylist Laura Branson, prop stylist Loblaw Companies Limited, client Used for in-store signage, recipe cards and online.

Communication Arts | commarts.com

107

ADVERTISING 1 (series) Nikki Ormerod, photographer Craig McIntosh/Jaimes Zentil, art directors Cossette, ad agency The Hospital for Sick Children, client “The VS campaign for The Hospital for Sick Children depicts children with various illnesses as everyday warriors. Used across online, social media, transit, streetcar wraps and large-scale billboards.”

108

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109

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Photography Annual 2017

ADVERTISING 1 Jenn Ackerman/Tim Gruber, Ackerman + Gruber, photographers Tara Okerstrom-Bauer, art director Wisconsin Dells Tourism, client “Used to promote tourism in the Wisconsin Dells region, this shot taken from a helicopter highlights one of the many water parks in the ‘Waterpark Capital of the World.’”

2 Ian Coble, photographer Michael Gauthier, Mountain Hardwear, art director Seth Cortright, Mountain Hardwear, creative director Pauline Kim, stylist Mountain Hardwear, client “Used for a print ad in outdoor publications and on in-store wall murals to advertise Mountain Hardwear’s new waterproof backpack line.” Headline: This is no place for a leaky pack.

3 Zachary Scott, photographer

Curtis Caja, art director Ian Holmes, writer Russell Dodson/Tony Kalathara, creative directors Anselmo Ramos, chief creative officer Carlos Lange, design director Veronica Beach/Marina Rodrigues, art producers Megan Sluiter, producer Amy Dresser/Electric Art, digital artists Faeth Gruppe/Joanna Hadfield, stylists Isaac Prado, hair stylist Stephanie Daniel, makeup artist DAVID The Agency, ad agency The Kraft Heinz Company, Miracle Whip, client “Miracle Whip admits it has lost its way through years of formulation downgrades. Used in the condiment brand’s latest print, digital media, poster and OOH campaign, this image announces that Miracle Whip has gone back to the gold-standard formula we all grew up with.”

4 David Kelly, photographer Arthur Germer, art director Jeff Barton/Sam Panico, associate creative directors Jay Giesen, executive creative director Dave Kwasnick, chief creative officer Braden Mackey, designer Kelly Poorman, senior design editor Gatesman, ad agency Big Dog Coffee, client “For Big Dog Coffee’s poster campaign. One from a series of dogs shaking off their stresses, worries and groggy mornings by getting a fresh start at Big Dog Coffee.”

Communication Arts | commarts.com

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ADVERTISING 1 Patrick Molnar, photographer Ed Odyniec, creative director Lyndsay Gant, art producer Amanda Bertany, producer Leo Burnett, ad agency Allstate, client “From an Allstate campaign featuring real students from Historically Black Colleges and Universities as part of Allstate’s Annual Quotes For Education program.”

2 Jean Bérard, photographer/retoucher Eduardo Solis, assistant photographer Viridiana Rodríguez, art director David Marroquín, writer Francisco Hernández/Bernardo Rodríguez, creative directors Juan Pablo Osio/Maria Esther Palma, producers Grey Mexico, ad agency Casa Cuervo, S.A. de C.V., client “Used in print, outdoor and posters to promote a rum brand.” Headline: The genuine is evident (Lo genuino es evidente).

3 Robert Severi, photographer Derrick Chamlee, PBS, creative director Rachel Holmes, producer PBS, client Cast portrait of McKinley Belcher III as Samuel Diggs for the PBS TV series Mercy Street’s website.

BOOKS 4 Sandro, photographer Luke Galambos, designer Dance for Life Foundation, client Cover of Dance for Life, a collection of photographs Sandro took of dancers for the Dance for Life Foundation.

Communication Arts | commarts.com

113

BOOKS 1 (series) Robert Clark, photographer Rita Jules/Miko McGinty, Miko McGinty Inc., designers Parker Feierbach, bach.photo, picture editor Deb Aaronson, Phaidon, editor Phaidon, client “In Evolution: A Visual Record. Photographs from more than 30 countries and 20 different National Geographic stories lay out irrefutable evidence in support of evolution.”

114

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EDITORIAL 1 (series) Martin Schoeller, photographer Laura Brown, Harper’s Bazaar, executive creative director Cary Georges, Harper’s Bazaar, photography deputy director Nadine McCarthy, Harper’s Bazaar, photography director Harper’s Bazaar, client “For Harper’s Bazaar’s article ‘Masters of Disguise.’ Top designers cover up and bare all. Portraits of Diane von Furstenberg, Olivier Rousteing, Alber Elbaz, Alexander Wang and Michael Kors.”

2 Marcus Eriksson, photographer Chin Wang, creative director Karen Frank, photography director Kristen Geisler, photo editor Tim Rasmussen, director of photography ESPN the Magazine, client “Chicago Cubs pitcher Jake Arrieta poses for the 2016 Body Issue, an annual look at the best bodies in the world of sports.”

Communication Arts | commarts.com

117

EDITORIAL 1 YanTing Chen, photographer Next Magazine, client Media. “Sex and violence, which are common elements in media, influence the easily distorted behavior, perceptions and personalities of children and adolescents.”

2 Robert Gallagher, photographer Michele Hadlow, photo editor Forbes, client For a profile on Naughty America, innovators of virtual reality porn.

3 Nate Gowdy, photographer Paul Moakley, photo editor Kira Pollack, director of photography TIME, client Democratic presidential candidate Bernie Sanders photographed at a rally in Santa Monica, California, on May 23, 2016, for the June 6, 2016, cover of TIME magazine.

4 Yubin Yup, Xinhua, photographer Scott Mc Kiernan, DOUBLEtruck Magazine, director of photography Reportage Foundation, client Staff members, dressed up in panda costumes, give giant panda cub Xinnier a physical examination at the Hetaoping Wild Training Base, in southwestern China’s Sichuan province.

118

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119

EDITORIAL 1 Joe Pugliese, photographer Billy Sorrentino, design director Sarah Silberg, photo editor Anna Alexander, director of photography WIRED, client “‘Inside the Weird, Industry-Shaking World of Donald Glover,’ a WIRED profile of multitalented actor, producer, writer and rapper Donald Glover, aka Childish Gambino.”

2 (series) Daniella Zalcman, photographer Maria G. Keehan, art director Jeff Campagna, photo editor Smithsonian, client “‘For More Than 100 Years, the United States Forced Navajo Students Into Western Schools. The Damage Is Still Felt Today.’ iPhone-created double exposure photographs merge portraits of Native Americans with images of their former requisite schooling locations.”

120

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EDITORIAL 1 (series) Ben Depp, photographer Maria G. Keehan, art director Jeff Campagna, photo editor Smithsonian, client “Aerials of Isle de Jean Charles, Louisiana, reveal the land’s losing battle with water.”

Communication Arts | commarts.com

123

EDITORIAL 1 (series) Benedict Evans, photographer Chin Wang, creative director Karen Frank, photography director Nick Galac, senior photo editor ESPN the Magazine, client “‘Eugene Monroe Has a Football Problem,’ about how retired NFL lineman Eugene Monroe uses cannabis to heal the hurt from a lifetime of playing the game.”

2 Mahmoud Raslan, photographer James K. Colton/Julie Rogers/Ruaridh I. Stewart, picture editors Scott Mc Kiernan, ThePicturesOftheDay.com, director of photography Zuma Press, client “Omran Daqneesh, a wounded five-year-old Syrian boy, sits alone in the back of an ambulance after sustaining injuries during an alleged Russian Air Force strike on the rebel-held al-Qaterji neighborhood in Aleppo. Rescued with his parents and three siblings, aged one, six and ten, Omran is one of the thousands of Syrian children caught in an endless war.”

124

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Photography Annual 2017

EDITORIAL 1 Lucas Oleniuk, Toronto Star, photographer James K. Colton/Ruaridh I. Stewart, ThePicturesOftheDay.com, picture editors Scott Mc Kiernan, ThePicturesOftheDay.com, director of photography ZUMA Press, client “Canadian volleyball player Kristina Valjas smashes the ball past Egypt’s Doaa Elghobashy during their 2016 Summer Olympics game held on Copacabana Beach in Rio de Janeiro, Brazil.”

2 Darren Calabrese, photographer Jason Potterton/Julianne Varacchi, photo editors Tim Rasmussen, director of photography ESPN the Magazine, client “The story ‘No Hands, No Problem’ follows a day in the life of CrossFit athlete and rugby player Lindsay Hilton, who was born without arms and legs—and without any limitations.”

3 Art Streiber, photographer Benjamen Purvis, design director Clare Lissaman, photography director Heidi Meek, stylist Juanita Lyon, hair stylist Anthony Altomare, prop stylist Runner’s World, publisher/client “‘A Run Through the Ages’ celebrates Runner’s World’s 50th anniversary.”

4 Robert Wilson, photographer Graham Wood, art director The Times Magazine, client “‘Look at me now,’ an article about British diver Tom Daley, charts his rise to Olympic stardom at fourteen, his coming out on YouTube, his relationship with American screenwriter Dustin Lance Black and his preparations for the then-upcoming 2016 Olympic Games.”

Communication Arts | commarts.com

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EDITORIAL 1 Dana Neibert, photographer Jaimey Easler, art director/creative director Gemma Price, writer Pace, ad agency Four Seasons Magazine, client “For ‘Ia Orana Bora Bora!’ a Four Seasons Magazine article about travel destination Bora Bora.”

2 Craig Cutler, photographer Beth Broadwater, art director Dudley M. Brooks, photo editor The Washington Post Magazine, client “Was a United States Department of Agriculture (USDA) scientist muzzled because of his bee research? ‘The Whistle Blowers’ is a story about a USDA scientist who says that his research on the decline of the global bee population got him suspended.”

3 Peter Hapak, photographer Chin Wang, creative director Karen Frank, photography director Kristen Geisler, photo editor Tim Rasmussen, director of photography ESPN the Magazine, client “Former Houston Texans nose tackle Vince Wilfork poses for the 2016 Body Issue, an annual look at the best bodies in the world of sports.”

4 Ryan Donnell, photographer Michele Taylor, Fortune, associate photo editor Mia Diehl, Fortune, photography director Fortune, client “For ‘Free Bird,’ a Fortune magazine story about McDonald’s decision to begin exclusively using cage-free eggs.”

5 Jimmy Chin, photographer Claire Eckstrom, art director Climbing, client “‘Getu,’ a Climbing magazine article about the North Face climbing team athletes Alex Honnold and Felipe Camargo climbing the Getu Arch in China.”

Communication Arts | commarts.com

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EDITORIAL 1 (series) Max Wanger, photographer Jamie Arendt, art director Camila Jimenez, stylist Prisca Wille, hair stylist Natalie Shriver, prop stylist Hooligans, client “‘Family Ties’ is a look at siblings and their relationships.

2 Jorg Badura, photographer Nadine McCarthy, photography director Glenda Bailey, editor in chief Harper’s Bazaar, client “Becca Dean and Jessica Swanson, performers with the BANDALOOP vertical dance company, are suspended on ropes off the side of a building for the Harper’s Bazaar article ‘Dancing on Air.’”

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EDITORIAL 1 (series) Brian Finke, photographer Sarah Kalagvano, photo editor Good Housekeeping, client “‘The Fabulous Little World of the Ms. Senior America Pageant,’ held in Atlantic City, New Jersey.”

2 David Zickl, photographer Matt Jaffe, writer Barbara Glynn Denney, creative director Jeff Kida, photo editor Robert Stieve, editor Win Holden, publisher Arizona Highways, client

“‘Out Of The Ordinary,’ an Arizona Highways article on Swiss immigrant Eric Gueissaz, who spent the last 40 years hiking every trail in the Grand Canyon.”

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EDITORIAL 1 Adam Voorhes, photographer Thomas O’Quinn, art director Sally Berman, photography deputy director Robin Finlay, prop stylist Men’s Health, client “The Men’s Health article ‘Why You Don’t Need to Take Fish Oil Supplements’ states that omega-3 fatty acid supplements may not deliver on their promise of life-extending health benefits.”

2 Philip Lee Harvey, photographer Hayley Ward, art director Lonely Planet Traveller, client “An elephant takes a dust bath to keep cool and protect itself from insects in Zambia’s South Luangwa National Park. For the Lonely Planet Traveller article ‘DIY safari: a drive on the wild side in Zambia.’”

3 Steven Lippman, photographer Chin Wang, creative director Karen Frank, photography director Kristen Geisler, photo editor Tim Rasmussen, director of photography ESPN the Magazine, client “Surfer Courtney Conlogue poses for the 2016 Body Issue, an annual look at the best bodies in the world of sports.”

4 Sam Kaplan, photographer Brenda Armendariz, photo editor Victoria Granof, food stylist Emily Mullin, prop stylist Women’s Health, client “Illustrating salt in the guise of landscapes for a Women’s Health article about salt.”

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EDITORIAL 1 (series) Michael Hanson, photographer Jeff Furticella, picture editor The New York Times, client “‘The Republic of Baseball,’ an article about young baseball players in the Dominican Republic vying for a chance at a professional contract.”

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EDITORIAL 1 (series) Michael Dorman, photographer Emily Trexler, art director Autoweek, client “Article about the inaugural West Coast running of the Race of Gentlemen, with racers battling the forces of Typhoon Songda to race down the sands of Pismo Beach, California.”

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EDITORIAL 1 (series) Xiaowei Xu, photographer Jack Gao, creative director Kun, design director Joe, hair stylist Greennie/Tree, makeup artists Outlook Magazine, client “For Outlook Magazine’s photo essay ‘The Portraits.’ Unexpected surprises, all in the weirdos’ photo studio.”

2 Landon Nordeman, photographer Maria G. Keehan, art director Molly Roberts, photo editor Smithsonian, client Portrait of Aziz Ansari for his 2016 Smithsonian American Ingenuity Award for Performing Arts.

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EDITORIAL 1 (series) James Day, photographer David Moretti, creative director Allie Fisher, design director Sarah Silberg, photo editor WIRED, client “‘The News in Crisis.’ Portraits of the senior management at the New York Times.”

2 Michael McElroy, photographer Julianne Varacchi, photo editor Tim Rasmussen, director of photography ESPN the Magazine, client “‘Rise Above’ follows Zion Shaver, an 88-pound high school senior who was born without legs and loves to wrestle, through a high school wrestling tournament in Ohio.”

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EDITORIAL 1 Mike Stocker, photographer Julianne Varacchi, photo editor Tim Rasmussen, director of photography ESPN the Magazine, client “‘No Cinderella Story’ tells the story of Lakatriona Brunson, the first female high school football coach in the state of Florida.”

2 Pete Souza, White House, photographer Scott Mc Kiernan, DOUBLEtruck Magazine, director of photography Reportage Foundation, client “For the article ‘Ninety days of the world, in pictures and stories.’ President Obama appears to feel the weight of the world during an Oval Office meeting.”

FOR SALE 3 Chris Gordaneer, photographer A Himba girl at Epupa Falls in Namibia. For an upcoming gallery show.

4 Le Chang/Rong Chang, photographers Gallery print of a traditional teahouse in Chengdu, China.

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FOR SALE 1 (series) joSon, photographer “Once home to an array of wildlife and plants, the San Francisco Bay Area salt ponds are now a world of blazing colors and patterns when viewed from above. Their dark past connected to the manufacture of napalm is part of the complicated story of a thriving land in transition—a healing landscape that unites many worlds as one.” Edition of seven 64 × 43 gallery prints.

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FOR SALE 1 Einar Örn, photographer Quiver, design firm Shutterstock, Rex Features, client “Group portrait of around 200 Icelandic sheep in the winter. Used as a stock image.”

2 Inti St. Clair, photographer For use as stock with Blend Images.

3 Andrew Caldwell, photographer “From a series exploring our complex relationships with our homes. Limited edition fine art prints and stock are available for purchase.”

4 (series) Peter Samuels, photographer “Portraits of Lusitano stallions, featuring the calm and engaging presence of the majestic, gentle beasts. Available as fine art prints and for licensing.”

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MULTIMEDIA 1 Steve Boyle, photographer Steve Boyle/Shawn Corrigan, directors Michael Wichita, director of photography Tracy Sacks, producer AARP, client “Grubby’s Last Stop” 3:30 “Women’s tackle football player Carol Grubb, known by her teammates as Grubby, locked down a starting middle linebacker job with the Philadelphia Firebirds after just two weeks of practice back in 2001, when women’s tackle football was in its infancy. Later that year, the Firebirds captured the Independent Women’s Football League inaugural championship, with Grubby spearheading the title run as Defensive Player of the Year. Nine seasons, hundreds of tackles and one brief retirement later, she’s back for one more season. This is a chronicle of her final season.”

2 Ted Kawalerski, photographer/director Matt Stanton, editor/video director Gene Mayer, producer Dean Wagg, music composer Cork Factory Films + Communications, production company Firefly Design + Communications, Inc., client “Video Portrait of Stephen Athineos” 2:30 “For 28 years, Steve Athineos sped through the streets of New York City as a member of the Pony Express, one of thousands of anonymous bike messengers that businesses rely on and pedestrians try to avoid while crossing the street. He’s been a legend in that community since leading protests in 1987 to stop a proposal that would ban cycling in Manhattan. This video portrait is a tribute to Steve’s dynamic personality and unstoppable commitment to riding in the city he loved.”

3 Eli Meir Kaplan, photographer/director Efrat Levush, designer John Cunha, editor Eric Roden, animator Eli Meir Kaplan Photography, client “Boombox Mike” 3:15 “‘Boombox Mike’ is a personal minidocumentary about an electronics repairman in a Washington, DC, suburb who brings broken vintage blasters back to life.”

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MULTIMEDIA 1 Kiliii Yuyan, photographer/director “Tuvaq—Edge of the Shorefast Ice” 3:30 “This film is about life on the tuvaq, the interface of sea and ice where everything happens, but a place few will ever see. The Iñupiat crew stands on the ice next to a skinboat. We wait for the return of the bowhead whales and give thanks to the gift of the whale for feeding an entire community. We watch, day and night, as starving polar bears try to catch us unawares and as the ice melts under our feet.”

2 Jason van Bruggen, photographer/director Michael Durst, editor Alter Ego, colorist Kiel Milligan, director of photography Blaine Pearson, executive producer DOT DOT DASH, production company/ad agency Married to Giants, editorial company Wingman VFX, visual effects company Freestyle Canada, client “Anthem” (director’s cut) :45 “Shot in Whistler, Saas-Fee and Zermatt, Switzerland, ‘Anthem’ features Canadian Olympic and X Games medal-winning skiers from all four freestyle disciplines. It follows the skiers through their extreme training programs as they work toward the ambition of taking flight. The photography progresses from off-season fitness on the ground to hurtling through the air at peak winter performance, getting more intense with each segment.”

3 Mark Zibert, photographer/director Jay Pooley, designer Craig McIntosh/Jaimes Zentil, creative directors Peter Ignazi/Carlos Moreno, chief creative officers Marka Rankovic, editor Ashley Wood, contributing artist a52, animation Jackson Parrell, director of photography Dena Thompson, agency producer Dan Ford, executive producer Joan Bell, line producer SNDWRx/Didier Tovel, sound designers Skin and Bones Film Company, production company The Vanity, visual effects company Cossette, ad agency The Hospital for Sick Children, client “SickKids VS: Undeniable” 2:00 “‘SickKids VS: Undeniable’ brings a multitude of forces together, metaphorically depicting the epic battles that go on every day at The Hospital for Sick Children. These children are courageous, and the doctors and nurses are tenacious, but the power of this spot lies in its compassion for the subject.”

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INSTITUTIONAL 1 David Ellis, photographer Ami Berger, art director St. Paul Academy and Summit School, client “Taken in the locker room after the St. Paul Academy Spartans lose the section championship in the Minnesota High School Boys Hockey playoffs, these two players—both seniors— react to the unexpected loss and the end of their high school hockey careers. For use on the school’s website and collateral.”

2 Karen Kasmauski, photographer Ann Lolordo, creative director Jhpiego, client “I was sent to Haiti for a series of stories, but due to a massive rain storm, flooding and landslides made leaving Cap-Haïtien impossible. After three days, we were told to leave the country if planes were able to land. Taken from the vehicle window on my way to the airport, this photo was used on Facebook to describe the storm.”

3 Lauren Randolph, photographer Drayton Benedict/Danielle Evenson/Mandy Maxwell, art directors Ford Oelman, creative director Academy of Motion Picture Arts and Sciences, design firm/client “This snapshot of the emotions felt backstage at the 89th Oscars was shared on the academy’s social channels.”

4 Robert Snow, photographer OCEARCH, client “A great white shark named Gotham swims off the platform after being tagged by the science team aboard the M/V OCEARCH in Montauk, New York. This photo is part of a scientific library that identifies all the sharks that have been satellite tagged by OCEARCH. Each shark has a profile photo displayed on the Global Shark Tracker, and its migration is open sourced for the public to follow in real time. The library’s images are also used for research papers, news and social media.”

5 Ron Haviv, photographer Boaz Paldi, creative director United Nations Development Programme, client “A teenage Haitian boy, displaced by Hurricane Matthew, lives in a classroom. Used by the United Nations Development Programme to highlight the need for more support after the disaster.”

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INSTITUTIONAL 1 (series) Natasha V., photographer Michelle Donnelly, creative director Daniel Onori, stylist Silvana Sacco, prop stylist Canada Goose, client “A few iconic Canada Goose jackets worn by the most prolific adventurers were re-created on set for this series for the company’s 60th anniversary.”

2 Nick Berard, photographer David Mathews, writer Richard Baron, designer Porsche Club of America, client “Cover image for a feature story about a 1967 Porsche 911 brought back to life for Porsche Club of America’s Panorama magazine.”

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INSTITUTIONAL 1 (series) Chris Shinn, photographer Doug Hebert, creative director/designer Savage Brands, design firm EB Research Partnership, client “Skin is the first line of defense to protect our bodies from trauma and infection, but an individual with epidermolysis bullosa (EB) lacks a critical protein that binds together the layers of skin. Without this protein, the skin tears apart, blisters and shears off, leading to severe pain, disfigurement and wounds that never heal. These photos for the EB Research Partnership document the daily struggle of Darren, a young child with EB, and his parents, who tirelessly love and support him.”

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INSTITUTIONAL 1 (series) Craig O’Brien, photographer Tracy Almeda-Singian/Sean MacCormac, creative directors Red Bull, client “Featured on numerous online media outlets and on social media, the article ‘Storm’s Edge’ covered Sean MacCormac’s skysurfing exploration of Florida’s infamous afternoon thunderstorms.”

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INSTITUTIONAL 1 (series) Dilip Vishwamitra Bhatia, photographer/creative director Jai Vakeel Foundation, client “A day in the life at the campus of the Jai Vakeel Foundation, a center serving children and older individuals with mental challenges and related disabilities.”

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INSTITUTIONAL 1 Dan Saelinger, photographer Nicole Dudka, art director University of Chicago, client “For a University of Chicago Magazine story about the overabundance of junk food consumed by Americans.”

2 Jon Warren, photographer Mike Ryan, senior design editor Elizabeth Hendley, senior editor Journey Group, Inc., design firm World Vision, client “Opening spread for the World Vision magazine feature ‘Weathering the Storm,’ which asks: Can children escape poverty?”

3 Jens Lucking, photographer

Lisa M. Lewis, Lisa Lewis Design Collective, art director/ photo editor Kathy Nenneker, editor Mitch Getz, project manager Los Angeles Magazine Custom Publishing, publisher Los Angeles Tourism & Convention Board, client “Published in the Los Angeles Official Visitor’s Guide 2017, ‘Design Your Stay’ is an itinerary builder that helps people plan how to ‘immerse [themselves] in glitz and glamour, cultural landmarks, musical performances, historical sites, and outdoor adventures.’”

4 Callie Shell, photographer Elizabeth Johnson, art director Ed O’Keefe, creative director CNN, client “US Senator Bernie Sanders waits backstage during a break in the CNN Democratic presidential debate in Flint, Michigan.”

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INSTITUTIONAL 1 (series) Jon Warren, photographer Selena Koosmann, art director Angelique Rothermel, creative director World Vision, client “Four miles is the average distance Cheru must walk daily for water in subSaharan Africa. World Vision, the leading nongovernmental provider of clean water in the developing world, is using Cheru’s story to raise the funds to bring clean water to her and millions of others. Featured in World Vision’s magazine and website, slideshows, and appeals to major donors and corporations and as part of a virtual reality experience.”

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INSTITUTIONAL 1 (series) Joel James Devlin, photographer Ryan Miller, art director David Recchia, creative director The Team, design firm NATS, client “Long exposures of departing aircraft in the United Kingdom for NATS, formerly National Air Traffic Services. Used on an industry trade show stand in Madrid; also used for reports and as wall art within the NATS headquarters in Fareham, United Kingdom.”

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SELF-PROMOTION 1 Matthew Roharik, photographer Used on a six-by-nine-inch direct mail postcard.

2 Tim Sirin, photographer “Sulk. Used on my website, my business cards and the cover of my portfolio book.”

3 Bryan Regan, photographer Promotion used for direct mail and website.

4 Richard Schultz, photographer Azur McHugh, designer “A boy and his pet llama in the mountains of Peru. Used in a direct mail piece.”

5 Chris Elfes, photographer Elfes Images, client

“I came across this woman on the balcony of the Museum of Contemporary Art Australia in Sydney and used the image for Internet marketing and on our website.”

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SELF-PROMOTION 1 Andy Goodwin, photographer “Adrian is from my ongoing series Dunk Tank, which explores portraiture through water.”

2 David Register, photographer Mark Doyle, production artist Arnold Worldwide, ad agency “Phoenix was part of a nonprofit art show hosted by Arnold Worldwide, featuring artwork by Arnold employees.”

3 (series) Toby Pederson, photographer “Personal series exploring still life photographs at a macro level. Used for e-mail promotions as well as prints given to clients.”

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SELF-PROMOTION 1 (series) Anne McIsaac, photographer/art director “Part of an ongoing series about regional Nordic architecture. These traditional houses in Gaspésie, Québec, stand alone and strong in the harsh climate. Published on my Instagram account.”

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SELF-PROMOTION 1 (series) Christian Schmidt, photographer “Cumulus, a series of cloud landscapes, was used for direct mail, portfolio shows and gallery work.”

2 Michael Nalley, photographer Used in direct mail and social media ads.

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SELF-PROMOTION 1 James Russell/Ann Rutherford, photographers Theil Morgan, art director Russell Rutherford Group, producer AtEdge, client “Used in a print and electronic co-op advertising campaign with AtEdge.”

2 (series) Kristina Varaksina, photographer Espen Gjertzen Oeydvin, designer “A psychological study of the relationship between twins, intertwined with surrealist props and metaphors. Used in direct mail postcards, promo booklets and e-mail blasts sent to potential clients and ad agencies.”

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SELF-PROMOTION 1 John-Francis Bourke, photographer “Vegan Life is from an ongoing series of north light portraits of women and men with graying and white hair. I have used the image series exclusively in online promotions for potential clients who have an interest in the subject matter of accepting our changing bodies as we age.”

UNPUBLISHED 2 Poul Lange, photographer Man taking a selfie in front of a burning warehouse in the Piñata District of downtown Los Angeles. © Poul Lange

4 Martin Klimek, photographer “A yak farmer displays the teeth of his mastiff at the foot of the Kambala Pass in Tibet, China.” © Martin Klimek

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UNPUBLISHED 1 (series) Alberto Oviedo, photographer Juan Munoz, creative director Nativo, design firm Miami City Ballet, client “A series of ballerinas’ feet after rehearsal.” © Alberto Oviedo

2 Nate Gowdy, photographer The Stranger, client “President Donald Trump waves at the conclusion of his inaugural address on January 20, 2017.” © Nate Gowdy

3 Kristy Bianchi, photographer Black Diamond Creative, design firm “Benny was taken indoors next to a window in natural light.” © Kristy Bianchi

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UNPUBLISHED 1 (series) Felix Sanchez, photographer Ellen Cregan, creative director Select Athletics, client Outtakes from a book titled The Sport of Cheer. © Felix Sanchez

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UNPUBLISHED 1 (series) Bill Pack, photographer “An exploration of the lines in automotive design presented as art.” © Bill Pack

2 Carmen Troesser, photographer “Lunch is part of a personal project about spaces from my childhood, dedicated to the women who raised the children in my hometown of Frankenstein, Missouri. At a time when gender roles were clearly defined, women occupied these kitchens and living spaces with care and grace. Lunch was between dinner and supper, with bread baked nearly every day and jelly made from the women’s own berries.” © Carmen Troesser

4 Matt Barnes, photographer Matt Howe, art director Canadian Armed Forces, client The diving unit of the Canadian Armed Forces. © Matt Barnes

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UNPUBLISHED 1 (series) Joan Allen, photographer “I lost my mother to Alzheimer’s disease every day. She passed away in May 2016 on her 81st birthday.” © Joan Allen

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UNPUBLISHED 1 (series) Jesse Rieser, photographer “Christmas in America: Happy Birthday, Jesus examines the ways that Arizonans and Texans mark the meaning of the holiday.” © Jesse Rieser

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UNPUBLISHED 1 Jim Henderson, photographer “Cuban Family, from a personal project I shot in Havana, Cuba.” © Jim Henderson

2 Scott Goldsmith, photographer Pamela Goldsmith, picture editor Brian Cohen, editor The Heinz Endowments, client

“Located on the Ohio River, 30 miles west of Pittsburgh, Pennsylvania, this power plant was photographed for ‘In the Air: Visualizing What We Breathe.’ Organized by Brian Cohen and funded by the Heinz Endowments, the ongoing collaborative project documents some of the worst air in the United States due to fracking, coal burning and steel production. Exacerbating the problem is the topography of the Ohio River Valley, which creates air inversions that trap polluted air. Fossil fuels are the leading contributors to climate change.” © Scott Goldsmith

3 Martin Klimek, photographer “A monkey rubs his eyes as cremation smoke rises from the ghats in Kathmandu, Nepal.” © Martin Klimek

4 (series) Shawna Gibbs, photographer Lee Coventry-Walsh, Gallery Stock, creative director Becci Manson, The Post Office, retoucher Nescafé, client “Unused images from the Richer Moments campaign for Nescafé’s Gold Blend Barista Style coffee.” Headline: Richer Moments: What Are We Like? © Shawna Gibbs

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STUDENT WORK 1 (series) Claire Hargis, photographer Ann Wilson Reich, model Dusty Crocker, instructor Texas Christian University (Fort Worth, TX), school Annie. © Claire Hargis

2 Lisa Preston, photographer Danny Featherstone, instructor Parsons School of Design (New York, NY), school The Procession. © Lisa Preston

3 Marcus Beretta, photographer Paul Eekhoff, instructor Humber College (Toronto, Ontario, Canada), school Raðljóst. © Marcus Beretta

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FRESH JVDAS BERRA

Models in fields of flowers, on mountains, in the jungle—a strong sense of adventure permeates the fashion photography of Jvdas Berra, who is always on the lookout for new places to shoot. “My work environment is chaos, improvisation and freedom, a creative world where my team and I can express ideas,” he says. Berra’s interest in photography began as a hobby, and his energetic style emerged solely from the practice of creating moments that can never be replicated. “My passion and craziness are the techniques I use to take bright, colorful photographs,” he explains. “I love to open windows to worlds of fantasy and perfection.” A staunch believer in the power of art to change the world, Berra has featured socially conscious messages in some of his favorite projects— Autumn for the Elephants, one of his personal series, was sold in galleries to raise funds for animal foundations. “I like to believe that creating art will end war and violence,” he says. “Art is the answer.” jvdasberra.net

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1. From “La Vendetta del Toro” (The Revenge of the Bull), a fashion editorial for loveFMD magazine. Alonso Rivero, art director; Donatella Fabio/Alonso Rivero, stylists; Gustavo Bortolotti, hair stylist; Gio Lozano, makeup artist; Kyra Nickel, model; loveFMD, client. 2. Autumn for the Elephants. Personal work. Susan Lafica, creative director; Stefania Rosini, production artist; Tyler McDaniel, stylist; Kalia White, hair stylist; Alexa Molinaro, assistant stylist; Chanel Bohn, makeup artist; Autumn Kendrick, model. 3. From “Colors of the Wind,” a fashion editorial for Neverland Magazine. Alonso Rivero, art director; Federico Laboureau/ Mazimilian Pizzi, FLatelier, stylists; Gio Lozano, hair stylist/makeup artist; Marcelle Mazzini, model; Neverland Magazine, client. 4. From La Petite Mort (The Little Death), a personal series. Federico Laboureau/Maximilian Pizzi, FLatelier, stylists; Gio Lozano, hair stylist/makeup artist; Kiia Waden, model. 5. Drowning Princess. Personal work. Kristabela Garza, stylist; Dan Rojas, hair stylist; Alvaro González/Alain Noguez, assistant stylists; Rodrigo Estrello, makeup artist; Valentina Lobeira, model. 6. From HUF Magazine’s fashion editorial “The Lost Geisha,” shot on location at the Jardines de México (Gardens of Mexico) in Tehuixtla, Mexico. Alonso Rivero, art director; Donatella Fabio, stylist; Gustavo Bortolotti, hair stylist; Mónica Godínez, makeup artist; Milla Niemi, model; HUF Magazine, client. 7. The Lion Queen. Personal work. Alonso Rivero, stylist; Aracely Zárate, hair stylist/makeup artist; Mae Anderson, model. Communication Arts | commarts.com

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There seem to be no boundaries for Pablo Delcan, the designer, animator and illustrator behind the New York City–based design firm Delcan & Company. Despite its small studio close to Herald Square—with, as Delcan describes it, “enough space for three people as we keep 75 percent of the space empty to get our hands dirty”—Delcan & Company has an extensive oeuvre, spanning everything from acrylic paintings to branding projects to book covers to music videos. “For me, what makes this studio special is the broad range of projects we tackle,” Delcan says. “The fact that we are able to jump from one place to the other keeps me on my toes and keeps the work feeling fresh.” This freshness has attracted clients like American Illustration, Atlantic Records, the New York Times, the New York Times Magazine and Penguin Random House. Delcan’s secret weapon? Engaging with the contemporary art world. “I’m always seeking to expand my visual vocabulary and keep it up to date,” he says. delcan.co

1. “For Delcan & Company’s two-year anniversary, we made limited edition hand sculptures.” 2. “For American Illustration’s 2016 Call for Entries.” American Illustration, client. 3. “Cover art for John Beckman’s American Fun: Four Centuries of Joyous Revolt, a book that describes the cultural history of America’s unruly past.” Pantheon Books, Knopf Doubleday Publishing Group, client. 4. “Cover for the New York Times Book Review’s education issue. The design represents the six core questions of education: why, where, who, when, what and how.” Nicholas Blechman, art director; The New York Times, client. 5. Still from a music video for musical duo Toyboy & Robin’s song “Save Me Now.” Adam Coleman, photographer; Pablo Delcan/Jocelyn Tsaih, illustrators; Anaïs La Rocca, director; Andrew Granelli, Flame artist; Atlantic Records, client. 6. Pencil sculpture for American Illustration’s Call for Entries promotional materials. Natalie Hein, 3-D designer; American Illustration, client. 7. “The Tragedy of Mister Morn is Vladimir Nabokov’s earliest major work, written when he was 24 in the style of a full-length Shakespearean tragedy.” Knopf, Knopf Doubleday, client. Communication Arts | commarts.com

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When asked about her interests, illustrator Mariana Rodrigues quotes Edward O. Wilson’s book Biophilia: “The Biophilia hypothesis says there is an instinctive bond between human beings and other living systems and an urge to affiliate with other forms of life,” she says. “This is how I feel about nature: an urge to always be around her.” Inspired by her love of nature and its surreal forms, Rodrigues creates intricate illustrations as a part of production agency Jelly London’s roster of artists, lending her talent to numerous projects, including ads, book covers and décor commissions. Her illustrations transport viewers into her imagination, shimmering with details layered on top of details. “I’m very attentive to detail,” she says. “Working with things so small that nobody else notices makes my illustrations much richer and more magical.” Her favorite project to date? “The botanical drawings of flowers, fruits and vegetables for How to Grow: A Guide for Gardeners Who Can’t Garden Yet,” she says. “It was my first time working on a book—a dream come true!” mariana.io

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1. Personal project. “This illustration celebrates the fauna and flora of a tropical place and my love for nature.” 2. “Twelve illustrations of the Zodiac signs. Used in the August 2015 issue of Vogue Japan.” Vogue Japan, client. 3. “A detail from an illustration for a personal project—a line of silk scarves.” 4. “Cover for Hollie Newton’s How to Grow: A Guide for Gardeners Who Can’t Garden Yet.” Orion Publishing Group, client. 5. “Two seasonally inspired wallpaper murals for wallpaper company Popwalls’s Pop Lifestyle collection.” Popwalls, client.

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Five Photographers Share Their Treasured Finds CHRISTINE HAHN New York, NY

Staying inspired: I’m constantly looking for old photo books, magazines, resources in libraries and bookstores, and independently published pieces, like zines—and I like what artbook seller Karma publishes. VFILES (vfiles.com) has a great source of archived images with its connection to V Magazine’s library and archive. Creative fuel: Music. Always music. I love strong, opinionated women who are relentlessly and unforgivingly themselves: Siouxsie Sioux, Lady Miss Kier of the band Deee-Lite, Exene Cervenka of the Los Angeles punk band X, the bands Hole and Sade, Janet Jackson, Teena Marie, and Sheila E.

Chicago, IL

Reliable lighting: Cheap work lamps from the hardware store never get old. When I don’t want to set up my large professional lights and just need to get an idea out of my head, I plug these in and light the subject. Sometimes the results are better than the professional lights and can surprise you. Go-to filing system: In this world of backing up digital files on digital, it can be hard and complicated to keep your files alive and well. To keep things organized and backed up, my go-to is a Drobo RAID system. Guilty pleasure: Survivor, the reality TV show. Trove of inspiration: The Metropolitan Museum of Art’s online archives (metmuseum.org/art/collection). The museum just released more than 400,000 high-resolution images of pieces from its collections. I like going through them, looking at color combinations and composition. Otherworldly talent: Kim Keever’s work always takes me into an unearthly dreamscape.

Favorite part of the job: The opportunity to work with talented artists from so many different backgrounds and cultures, for example, during last year’s last fashion weeks. For a shoot in Amsterdam, I had never met the stylist, makeup artist or hair stylist, but it ended up being such a lovely and memorable shoot. We shot one day at a photo studio that was a renovated fifteenthcentury monastery in the middle of the redlight district.

PAUL OCTAVIOUS

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JESSICA ZOLLMAN

PARI DUKOVIC

HELENA PRICE

Los Angeles, CA

New York, NY

San Francisco, CA

Workhorse: My Canon EF 40mm f/2.8 STM Pancake Lens is my favorite daily purse- and shoulder-friendly piece of gear. Considering how inexpensive it is, it’s an incredible lens. The majority of my personal photography has been shot on that lens.

Insightful read: The Logic of Images: Essays and Conversations, by Wim Wenders. For me, this book really opened a door to his process and how he thinks about filmmaking. One of my favorite movies is Paris, Texas. The color in that film has always inspired me. Some words that I’ve always found relatable from Wenders: “At first it’s not possible to describe anything beyond a wish or a desire. That’s how it begins, making a film, writing a book, painting a picture, composing a tune, generally creating something. You have a wish.”

Best deals: Rather than finding deals, I’ve always focused on getting the most out of as little gear as possible. That means knowing how to find and work with natural light, but also using lights and modifiers to easily wrangle the look you want. For instance, I use the Profoto B1s because they create professional-quality light, but are battery powered and fit in a backpack. Things like a simple diffusion or Photek Softlighter are super cheap, weigh almost nothing and add so much value to a gear collection.

Artistic muse: The 2013 Guggenheim exhibition James Turrell had a huge impact on how I view art, light and my personal photography. I’ll never forget lying in the rotunda, looking up at the multilayered, color-shifting installation Aten Reign and thinking that those bright colors in that space and the way they made me feel was what I wanted to convey with my art. Turrell is the reason I’m always chasing interesting light and bright colors. Comfy carryall: I should probably be using a proper camera bag, but I love my Everlane backpack too much to give it up! If I’ve got a lot of gear, I’ll use the Snap Backpack, and if I’m shooting more stripped down, I prefer the Mini Zip Backpack.

The next evolution: Virtual reality (VR) is like the modern-day take of a stereoscope; it will change things a lot once it is more accessible to everyone. The New York Times has been incorporating VR stories very well. I enjoyed “Seeking Pluto’s Frigid Heart.” Standing on mountains made of ice was pretty cool. Legend: When I discovered Daido Moriyama, I was blown away. It was about fourteen years ago, and what I loved about his work was his unapologetic approach. He stuck to his vision, and to this day, you see a lot of his influence coming across in other people’s work.

Putting subjects at ease: I enjoy the psychological challenge of portraiture. So often, you have only 30 seconds to help a stranger go from terrified to totally comfortable, to trust you with how they will be represented. My favorite thing is when they forget they’re even in a photo shoot. All of the little details matter, from reading people quickly to having the right Spotify playlist. Smart storage: I have a set of hard drives in California and another set with my mom in North Carolina, and I archive everything digitally on Dropbox. Better safe than sorry.

Smile-inducing photo: My grandmother’s hand holding a framed picture of my dad when he was a teenager. I shot this picture when I was fourteen. As I look at this shot over the years, my response to it grows because the two people who inspired me in so many ways are both in it.

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Design and National Identity

Told and Untold The Photo Stories of Kati Horna in the Illustrated Press

By Javier GimenoMartínez

By Miriam Margarita Basilio, Christina L. De León, Andrea Geyer, Ana María Norah Horna y Fernández, Cristóbal Andrés Jácome, Michel Otayek and Antonella Pelizzari; edited by Gabriela Rangel 188 pages, hardbound, $32 Published by Americas Society/Council of the Americas as-coa.org

Told and Untold: The Photo Stories of Kati Horna in the Illustrated Press is about a photographer whose uncompromising images both reflected and helped shape the tumultuous times in which she lived. The 188 pages of photographs, essays, contact sheets and periodicals have all been painstakingly curated in concert with an exhibition at the Americas Society Gallery. Kati Horna (née Deutsch) was born in May 1912 in Budapest, but spent most of her adult life in Mexico, where she died in October 2000. Her youthful travels in interwar Europe speak to the history she saw firsthand; she embraced leftist politics in Berlin, rubbing shoulders with Bertolt Brecht and Marxist theoretician Karl Korsch before leaving in 1933, the Reichstag smoldering behind her. Horna worked as a photographer in Paris and befriended Robert Capa before becoming an anarchist propagandist during the Spanish Civil War. Her cause lost, she returned to Paris briefly before fleeing to Mexico to escape the Nazis. Time has a way of narrowing narratives, like desert sands swallowing all but the highest point of ancient structures. So it is for the artist, especially for a woman employing a collaborative process in a male-dominated field. Thus, reading the 188 pages of this book feels like an archaeological dig where each shard of pottery is as important as the pyramid itself. Seven authors, including Horna’s daughter, Ana María Norah Horna y Fernández, weigh in on her extraordinary life and work and bring context, critical analysis and intimacy to this trove of archival materials. Although Horna is often more closely associated with the surrealist movement, Told and Untold explores her politics, her love of architecture and, perhaps most intriguingly, her protofeminist work. It’s a deep, yet rewarding excavation that includes many images never before published, alongside yellowed newspaper clippings and personal albums. Horna thought of herself as an “art worker,” and despite its intellectual heft, Told and Untold reflects that in its unpretentious, yet exacting approach to her considerable legacy. —Dzana Tsomondo

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What characteristics shape a nation’s output, and how does its identity reflect and inform its cultural production? Author Javier Gimeno-Martínez, a lecturer in design cultures at the Vrije Universiteit Amsterdam, introduces the key theories of national identity and relates them to the broad fields of product, graphic and fashion design. Although Design and National Identity is not an easy or a quick read—and it could have benefited from more visuals— the book presents fascinating case studies from Gimeno-Martínez that suggest that despite present politics, these identities are growing unsustainable in an age when cultural diversity and migration will continue to blur those identities. 240 pages, softbound, $29.95, Bloomsbury Academic. —Anne Telford

Cut That Out

Collage in Contemporary Design By DR.ME

Cut That Out: Collage in Contemporary Design is an exhaustive, exhilarating entry into the world of contemporary collage. Its 288 pages are packed with a kaleidoscope of images, such that a quick scan resembles a muster of peacocks. This is more than just a visual treat: curated by Manchester, United Kingdom–based creatives Ryan Doyle and Mark Edwards of design studio DR.ME, the book features interviews with 50 artists and design studios about their methods, their inspirations and the art form itself. Although collage may seem anachronistic in a post-digital world, Cut That Out shows a vibrant, thriving medium in the midst of a renaissance. 288 pages, softbound, $50, The Monacelli Press. —D.T.

Dronescapes The New Aerial Photography from Dronestagram Edited by Ayperi Karabuda Ecer 288 pages, hardbound, $40 Published by Thames & Hudson thamesandhudsonusa.com

was taken. A quarter of the pictures also include details about the photographer and the camera used to make the image. However, Dronescapes is not a user’s guide. Although there are detailed profiles of six leading Dronestagrammers who talk about their methods, additional user tips are limited to general bullets on the last page—for example, enroll in training courses, join drone communities and familiarize yourself with drones. More helpful is the image index, which shares websites for all the included Dronestagrammers. —Monica Kass Rogers

Drawings in the snow shot from 1,562 feet above Stone Quarry Hill Art Park in Cazenovia, New York. The view from within the peak of the 275-foot-high steeple of St. Joseph’s Church in Le Havre, France. Hundreds of red-and-white striped “Where’s Wally?” paraders at the Limassol Carnival Festival in Cyprus. Edited by Ayperi Karabuda Ecer, formerly vice president of pictures at Reuters and editor-in-chief at Magnum Photos Paris, Dronescapes: The New Aerial Photography from Dronestagram features 250 of the best images from the thousands that have appeared on Dronestagram, a site launched by aerial photographer Eric Dupin in July 2013 for photographers who shoot with the aid of these now-ubiquitous lightweight quadcopters. Divided into nine categories, the photos in Dronescapes range from humorous “Drones Are Us” images to artistic expressions of “Pattern/ Shadow” to explorations of the drone’s exceptional ability to capture breathtaking urban and natural landscape imagery from space. Each shot includes the latitude, longitude and height from which it

Capturing Fashion: Derujinsky By Andrea Derujinsky 220 pages, hardbound, $80 Published by Flammarion Distributed by Rizzoli New York rizzoliusa.com

No less than fashion luminary and founder of the Ford Modeling Agency Eileen Ford penned the foreword to this first monograph celebrating the career of fashion photographer Gleb Derujinsky (1925–2011). And what a career it was! Derujinsky’s photographs graced the pages of lifestyle magazines from 1950 to 1970. Imagine a fashion world before the invention of supermodels, when Cristóbal Balenciaga and Pierre Balmain were still creating haute couture and the names Yves Saint Laurent and Karl Lagerfeld were just emerging as being synonymous with high fashion. It was a time when air travel was still seen as glamorous and unobtainable for the masses —yet Derujinsky convinced his editors to send him around the world. Using the streets and architecture of Paris and New York as a dynamic backdrop, Derujinsky had his models climb ladders so he could pose them against city skylines and rough brick walls; often, he would also place them in familiar settings of cafés and

nature, turning a glamorously coiffed and gowned woman into a surreal element. Considering the unpredictable conditions in which he worked, these gorgeous photographs are even more astonishing. His career was forged at Harper’s Bazaar—a publication that brought together the dream team of editor-in-chief Carmel Snow, fashion editor Diana Vreeland and art director Alexey Brodovitch. Derujinsky not only married four models, but he also married the world of fashion to the world of photography to create compelling stories that helped elevate fashion into an art form. —A.T.

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INDEX TO PHOTOGRAPHERS

Chang, Le 145 Leochang99991314@gmail.com

Ackerman, Jenn 111 mail@ackermangruber.com ackermangruber.com

Chang, Rong 145 Leochang99991314@gmail.com

Allen, Joan 189 joan@joanallenphoto.com joanallenphoto.com

Chen, YanTing 118 tony14752000@gmail.com yantingchen.com

Almås, Erik 100, 195 erik@erikalmas.com erickalmas.com

Chin, Jimmy 129 jimchin@gmail.com jimmychin.com Represented by Eric Rohr eric_rohr@hotmail.com

Anderson, Andy 84 andy@andyandersonphoto.com andyandersonphoto.com Represented by Heather Elder Represents heather@heatherelder.com heatherelder.com

Badura, Jorg 130 studioinfo@jorgbadura.com jorgbadura.com Barnes, Matt 186 matt@mattbarnesphotography .com mattbarnesphotography.com

Bhatia, Dilip Vishwamitra dilip@dilipbhatia.com dilipbhatia.com

162

Bianchi, Kristy 183 kristy@blackdiamondcreative.us blackdiamondcreative.us Bornfriend, David 94 david@davidbornfriend.com davidbornfriend.com Bourke, John-Francis 181 john-francis@jfbourke.com jfbourke.com Boyle, Steve 150 steve@steveboylephoto.com steveboylephoto.com Burn-Forti, Dan 104 dan@danburnforti.com danburnforti.com Represented by Making Pictures info@making-pictures.co.uk making-pictures.co.uk Burset, Ale 81 Represented by L&A Artist S.r.l. lorenzo@l-artist.com l-artist.com

Calabrese, Darren 127 darren@darrencalabrese.com darrencalabrese.com Caldwell, Andrew 149 caldwellag@appstate.edu andrewcaldwell.photography Chai Guan, Teo 91 teo@teostudio.com.sg teostudio.com.sg

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Kaplan, Eli Meir 150 Represented by Tugboat jackie@tugboatusa.com tugboatusa.com

Muna, RJ 97 studio@rjmuna.com rjmuna.com Represented by Marianne Campbell Associates marianne@mariannecampbell .com mariannecampbell.com Myers, John 102 john@myersci.com myersci.com Represented by Randy Cole Represents randy@randycole.com randycole.com

Cutler, Craig 129 studio@craigcutler.com craigcutler.com

Goldsmith, Scott 193 scott@scottgoldsmith.com scottgoldsmith.com

Kasmauski, Karen 154 kkasmauski7@gmail.com kasmauski.com

Goodwin, Andy 173 andy@agoodwinphoto.com agoodwinphoto.com

Kawalerski, Ted 150 ted@tedkawalerski.com info@corkfactoryfilms.com

Gordaneer, Chris 87, 145 chris@westsidestudio.com chrisgordaneer.com Represented by Randy Cole Represents info@randycole.com randycole.com

Kelly, David 111 davidkellyco@gmail.com davidkelly.co

Neibert, Dana 129 info@dananeibert.com dananeibert.com

Klimek, Martin 181, 193 martin@klimekphoto.com klimekphoto.com

Nivera, Gabriel 81 info@gabrielnivera.com gabrielnivera.com

Depp, Ben 123 deppben@gmail.com bendepp.com

Beretta, Marcus 197 marcusberettaphotography@ gmail.com marcusberettaphotography.com

Kafka, Evan 181 kafka@evankafka.com evankafka.com

Gibbs, Shawna 193 shawna@shawnagibbs.com shawnagibbs.com

Day, James 143 james@jamesdayphoto.com jamesdayphoto.com Represented by Levine/Leavitt liz@llreps.com levineleavitt.com

Berard, Nick 157 berardphoto@mac.com nickberard.com

Molnar, Patrick 113 patmolnar@mac.com Represented by Held & Associates cynthia@cynthiaheld.com cynthiaheld.com

Coble, Ian 111 ian@iancoble.com iancoble.com

Bérard, Jean 113 info@jbfotografia.com jeanberardstudio.com

Gallagher, Robert 118 robert@gallagherphoto.com gallagherphoto.com

joSon 146 joson@josonstudio.com josonphoto.com

Kaplan, Sam 134 sam@samkaplan.com samkaplan.com Represented by Sarah Laird & Good Company joyce@sarahlaird.com sarahlaird.com

Clark, Robert 114 robert@robertclark.com robertclark.com

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Ford, Randal 87, 102 rford@randalford.com randalford.com Represented by Marianne Campbell Associates marianne@mariannecampbell .com mariannecampbell.com

Devlin, Joel James 168 joel@joeldevlin.com joeldevlin.com Donnell, Ryan 129 ryan@ryandonnell.com ryandonnell.com Dorman, Michael 138 michael@dormanstudios.com dormanstudios.com

Eich, Matt 94 studio@matteichphoto.com matteichphoto.com Elfes, Chris 170 elfesphoto@bigpond.com.au elfesimages.com

Giamou, Paul 88 info@paulgiamou.com paulgiamou.com

Gosselin, Virginie 92 virginiegosselin@me.com virginiegosselin.com Represented by Zetä Production patricia@zetaproduction.com zetaproduction.com Gowdy, Nate 118, 183 nate.gowdy@gmail.com nategowdy.com

Hanson, Michael 137 mhansonphotography@gmail .com michaelhansonphotography.com Hapak, Peter 129 mail@peterhapak.com peterhapak.com

Eriksson, Marcus 117 m@themarcus.com themarcus.com Represented by Art & Motion New York billy@artandmotion.com artandmotion.com

Hargis, Claire 197 b.c.hargis@tcu.edu

Evans, Benedict 124 benedictevens.com benedictevans.com

Finke, Brian 133 studio@brianfinke.com brianfinke.com

Harvey, Philip Lee 134 Represented by Peter Bailey Productions peter@peterbailey.co.uk peterbaileyproductions.com

Henderson, Jim 193 jim@jimhendersonphoto.com jimhendersonphoto.com

Nalley, Michael 177 michael@ michaelnalleyphotography.com michaelnalleyphotography.com

Nordeman, Landon 141 landon@landonordeman.com landonnordeman.com

O’Brien, Craig 161 teamfirestarter@email.com craigob.com Oleniuk, Lucas 127 Represented by ZUMA Press, Inc. licensing@zumapress.com zumapress.com Ormerod, Nikki 108 nikki@westsidestudio.com nikkiormerod.com

Lange, Poul 181 poullange@me.com poullange.com Lippman, Steven 134 steven@stevenlippman stevenlippman.com Represented by Stockland Martel bill@stocklandmartel.com stocklandmartel.com Lucking, Jens 165 info@jenslucking.com jenslucking.com

Haviv, Ron 154 haviv@viiphoto.com ronhaviv.com Represented by VII Photo Agency info@viiphoto.com viiphoto.com Hayslip, Ryan 98 ryan@ryanhayslip.com ryanhayslip.com

Laita, Mark 186 studio@marklaita.com marklaita.com Represented by Heather Elder Represents heather@heatherelder.com heatherelder.com Land, Gary 78 gary@glpcreative.com garyland.com Represented by JK& info@jkand.com jkand.com

Gruber, Tim 111 mail@ackermangruber.com ackermangruber.com

Ellis, David 154 david@davidellisphoto.com davidellisphoto.com

Mahr, Andy 91 Represented by Zahara Represents lesley@zaharareps.com zaharareps.com McElroy, Michael 143 momentaryglance@yahoo.com mmcelroy.com McIsaac, Anne 174 m.anne@videotron.ca yellowillow.com

Orn, Einar 149 einar@einarorn.com einaron.com Ouellet, Raphaël 81 info@raphaelouellet.com raphaelouellet.com Oviedo, Alberto 183 me@albertooviedo.com albertooviedo.com

Pack, Bill 186 bill@v12enterprises.com v12enterprises.com Pederson, Toby 173 mail@tobypederson.com Represented by SternRep andrea@sternrep.com sternrep.com Poulsen, Justin 84 j@justinpoulsen.com justinpoulsen.com Preston, Lisa 197 prestoli@me.com

Pugliese, Joe 120 studio@joepug.com joepug.com Represented by Bernstein & Andriulli ehrin@ba-reps.com ba-reps.com

Saelinger, Dan 165 studio@dansaelinger.com dansaelinger.com Represented by Apostrophe jenifer@apostrophereps.com apostrophereps.com

Samuels, Peter 149 peter@petersamuels.com petersamuels.com

Ransom, James 84 james@jamesransom.com jamesransom.com Represented by Artist Representation Inc. agents@artistrepinc.com artistrepinc.com

Sanchez, Felix 184 felix@felixsanchez.com felixsanchez.com

Raslan, Mahmoud 124 Represented by ZUMA Press, Inc. licensing@zumapress.com zumapress.com

Schafrick, Peter 82 Represented by Tim Mitchell Artist Representative info@tmar.com tmar.com

Register, David 173 dregphotos.com autumncolor.com Rieser, Jesse 190 Represented by Sunday Afternoon audrie@sundayafternoon.us sundayafternoon.us Roharik, Matthew 170 matthew@roharik.com roharik.com Russell, James 178 james@russellrutherford.com russellrutherfordphoto.com Rutherford, Ann 178 ann@russellrutherford.com russellrutherfordphoto.com

Severi, Robert 113 severi@robertseveri.com robertseveri.com

Saide, Erich 88 erich@erichsaide.com erichsaide.com

Randolph, Lauren 154 lauren@photolauren.com photolauren.com

Regan, Bryan 170 bryan@bryanreganphotography .com bryanreganphotography.com

Seguin, Jean-François 84 info@jeanfrancoisseguin.com jeanfrancoisseguin.com

Shell, Callie 165 callieshell@mac.com Shinn, Chris 158 chris@chrisshinnphotography .com chrisshinnphotography.com Sirin, Tim 170 tim@timsirin.com timsirin.com

Sandro 113, 195 sandro@sandrofilm.com sandrofilm.com

Smith, Marcus 92 marcus@marcussmithphoto.com marcussmithphoto.com Represented by Candace Gelman & Associates candace@candacegelman.com candacegelman.com

Schmidt, Christian 177 info@christianschmidt.com christianschmidt.com Represented by Brite Productions info@briteproductions.net briteproductions.net Schoeller, Martin 117 Represented by Art + Commerce artists@artandcommerce.com artandcommerce.com Schultz, Richard 170 Represented by beyond creative mgmt. amy@beyondcreativemgmt.com beyondcreativemgmt.com Scott, Zachary 87, 111 Represented by Sharpe + Associates john@sharpeonline.com sharpeonline.com

Snow, Robert 154 rob@robertsnowphoto.com robertsnowphoto.com Souza, Pete 145 pete@petesouza.com petesouza.com Represented by ZUMA Press, Inc. licensing@zumapress.com zumapress.com St. Clair, Inti 149 inti@intistclair.com intistclair.com Represented by Homestead Creatives shannon@homesteadcreatives .com homesteadcreatives.com Stocker, Mike 145 MStocker@sun-sentinel.com

Ryan, Nate 87 photography@nateryan.com nateryan.com

Streiber, Art 127 art@artstreiber.com artstreiber.com Represented by Stockland Martel reception@stocklandmartel.com stocklandmartel.com

Wanger, Max 130 hello@maxwanger.com maxwanger.com Warren, Jon 165, 166 jonc.warren@gmail.com Wilson, Robert 127 Represented by Tim Mitchell Artist Representative info@tmar.com tmar.com

Szulc, Ryan 107 ryan@ryanszulc.ca ryanszulc.com Represented by JK Reps jooli@jkreps.com jkreps.com

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Xu, Xiaowei 141 Represented by TGIMAGE tgimage01@163.com

Telfer, Alex 102 alex@alextelfer.com alextelfer.com Troesser, Carmen 186 Represented by BrumlConlon Artists Agents jean@jeanconlon.com brumlconlon.com

Yup, Yubin 118 Represented by ZUMA Press, Inc. licensing@zumapress.com zumapress.com Yüyan, Kiliii 153 kiliii.fish@gmail.com kiliii.com

V., Natasha 157 natasha@natashav.com natashav.com Represented by JK Reps jooli@jkreps.com jkreps.com van Bruggen, Jason 153 info@jasonvanbruggen.com jasonvanbruggen.com

Varaksina, Kristina 178 kristina@kristinavaraksina.com kristinavaraksina.com Represented by Peter Bailey Productions jonny@peterbaileyny.com peterbaileyproductions.com Voorhes, Adam 134 adam@voorhes.com voorhes.com Represented by Candace Gelman & Associates candace@candacegelman.com candacegelman.com

Zalcman, Daniella dani@dan.iella.net dan.iella.net

120

Zibert, Mark 153 mark@markzibert.com markzibert.com Represented by Skin and Bones Film Company skinandbonesfilm.com Zickl, David 133 dzickl@mac.com davidzickl.com

INDEX TO INDIVIDUALS AND FIRMS

Aaronson, Deb 114 AARP 150 Abbott, Nina 107 Academy of Motion Picture Arts and Sciences 154 Ackerman + Gruber 111 Adamow, Ingrid 102 a52 153 Albritton, Cat 87 Alexander, Anna 120 Allstate 113 Almeda-Singian, Tracy 161 Alter Ego 153 Altomare, Anthony 127 Animal Planet 87 Aranda, Arturo 78 Archer Malmo 87 Area 23 81 Arendt, Jamie 130 Arizona Highways 133 Armendariz, Brenda 134 Arnold Worldwide 102, 173 Asbjorn, Peter 84

Black Diamond Creative 183 Blue Bell Ice Cream 91 Bourla, Dave 78 Boyle, Steve 150 Branson, Laura 107 Breen, Chris 98 British Columbia Lottery Corporation 88 Broadhead 84 Broadwater, Beth 129 Brooks, Dudley M. 129 Brown, Laura 117 Leo Burnett 113 Burns, Walt 84 Busschau, Paul 91 BVK 94

AtEdge 178 A24 94 Aubrey, Aaron 88 Autoweek 138

bach.photo 114 Bailey, Glenda 130 Banff Centre for Arts and Creativity 84 Baron, Richard 157 Barton, Jeff 111 Beach, Veronica 87, 111 Bell, Joan 153 Benedict, Drayton 154 Bérard, Jean 113 Berger, Ami 154 Berman, Sally 134 Bernesby, Chris 81 Bertany, Amanda 113 Bhatia, Dilip Vishwamitra Big Dog Coffee 111

162

Caja, Curtis 87, 111 Campagna, Jeff 120, 123 Canada Goose 157 Canadian Armed Forces 186

Capanear, Joe 81 Carlberg, Gayl 91 Casa Cuervo, S.A. de C.V. 113 CenturyLink 102 Chamlee, Derrick 113 Chemistry 98 University of Chicago 165 Christensen, Debbie 84 Citibank 78 Claesson, Freja 84 Climbing 129 Clunie, James 102 CNN 165 Cohen, Brian 193 Colton, James K. 124, 127 Connor, Tamara 98 Cork Factory Films + Communications 150 Corrigan, Shawn 150 Cortright, Seth 111 Cossette 84, 108, 153 Cote, Adam 102 Cote, Isabelle 81

Coventry-Walsh, Lee Crane, Ryan 88 Cregan, Ellen 184 Crocker, Dusty 197 Crumrine, Dan 87 Cunha, John 150

193

Dance For Life Foundation 113 Daniel, Stephanie 87, 111 DAVID The Agency 87, 111 DDB & Tribal Amsterdam 104 Denis, Carmen 84 Denney, Barbara Glynn 133 Dentistry for Children 98 Desmarais, Steve 92 Diehl, Mia 129 Dingle, Spencer 84 Discovery Communications 87 Dodson, Russell 87, 111 Donnelly, Michelle 157 Doomtree 87

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INDEX TO INDIVIDUALS AND FIRMS Dorsainvil, Wes 102 DOT DOT DASH 153 DOUBLEtruck Magazine Downs, Tim 102 Doyle, Mark 173 Dresser, Amy 87, 111 Dudka, Nicole 165 Durst, Michael 153

118, 145

Easler, Jaimey 129 EB Research Partnership 158 Eckstrom, Claire 129 Eekhoff, Paul 197 Electric Art 87, 111 Elfes Images 170 Elite Leather Company 84 ESPN the Magazine 117, 124, 127, 129, 134, 143, 145 ēthos 92 Evenson, Danielle 154

Faeth Gruppe 87, 111 FCB Happiness Saigon 91 Featherstone, Danny 197 Feierbach, Parker 114 Finlay, Robin 134 Firefly Design + Communications, Inc. 150 Firestone 84 Fisher, Allie 143 Fliegauf, Michelle 100 Forbes 118 Ford, Dan 153 Fortune 129 Four Seasons Magazine 129 Frank, Karen 117, 124, 129, 134 Freestyle Canada 153 Funaro, Steven 84 Furticella, Jeff 137

Gahlot, Anand 87 Galac, Nick 124 Galambos, Luke 113 Gallery Stock 193 Gant, Lyndsay 113 Ganther, Brian 94 Gao, Jack 141 Gatesman 111 Gauthier, Michael 111 Geisler, Kristen 117, 129, 134 Georges, Cary 117 Germer, Arthur 111 Getz, Mitch 165 Gibson, Matt 107 Giesen, Jay 111 Gold, Sara 81 Goldsmith, Pamela 193 Goldsmith, Sara 102 Good Housekeeping 133 Granof, Victoria 134 Greennie 141 Grey Mexico 113 Guerin, Cedric 87

Photography Annual 2017

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Ignazi, Peter 153 InSync PLUS 94 International Yoga

Mathews, David 157 Maxwell, Mandy 154 Mayer, Gene 150 Mc Kiernan, Scott 118, 124, 127, 145 McCarthy, Nadine 117, 130 McGinty, Miko 114 McGowan, Matthew 102 McHugh, Azur 170 McIntosh, Craig 108, 153 McIsaac, Anne 174 McKeever, Mike 81 Meek, Heidi 127 Men’s Health 134 Miami City Ballet 183 Miko McGinty Inc. 114 Miller, Ryan 168 Milligan, Kiel 153 Millman, Adam 98 Moakley, Paul 118 Montréal’s Orchestre Métropolitain 81 Moreno, Carlos 84, 153 Moretti, David 143 Morgan, Theil 178 Motorola 82 Mountain Hardwear 111 Mullin, Emily 134 Munoz, Juan 183 Muthucumaru, Kishan 94

Jackson, Laura 87 Jaffe, Matt 133 Janssen 81 Januszeski, Michael 81 Jex, Andy 102 Jhpiego 154 Jimenez, Camila 130 Joe 141 Johnson, Elizabeth 165 Jones, Morag 102 Journey Group, Inc. 165 Jules, Rita 114

Kalagvano, Sarah 133 Kalathara, Tony 87, 111 Kaplan, Eli Meir 150 Eli Meir Kaplan Photography 150 Kawalerski, Ted 150 Keehan, Maria G. 120, 123, 141 Kennelly Ullman, Mark-o 92 Kida, Jeff 133 Kim, Pauline 111 KMFA 87 Koosmann, Selena 166 The Kraft Heinz Company, Miracle Whip 87, 111 Krenzer, Brian 88 Kun 141 Kwasnick, Dave 111

NasalCrom 102 Nativo 183 NATS 168 Nenneker, Kathy 165 Nescafé 193 The New York Times 137 Next Magazine 118 Nike 92 Noise Digital 88

Lange, Carlos 87, 111 Le Club de Voile DeuxMontagnes 84 Leblanc, Louis-Éric 84 Lecompte, Rachel 92 Lefebvre, Gabriel 92 Levush, Efrat 150 Lewis, Lisa M. 165 Lisa Lewis Design Collective 165 Lissaman, Clare 127 Loblaw Companies Limited 107 Lolordo, Ann 154 Lonely Planet Traveller 134 Los Angeles Magazine Custom Publishing 165 Los Angeles Tourism & Convention Board 165 Lyon, Juanita 127

OCEARCH 154 ODC/Dance 97 Odyniec, Ed 113 Oelman, Ford 154 Oeydvin, Espen Gjertzen 178 O’Keefe, Ed 165 Okerstrom-Bauer, Tara 111 Onori, Daniel 157 Operation Black Vote 102 O’Quinn, Thomas 134 Osio, Juan Pablo 113 Outlook Magazine 141

MacCormac, Sean 161 Mackey, Braden 111 Makers 84 Making Pictures 104 Mancuso, Stephen 98 Manson, Becci 193 Maple Leaf Sports and Entertainment 88 Married to Giants 153 Marroquín, David 113 Martino Flynn 102

Pace 129 Paldi, Boaz 154 Palma, Maria Esther 113 Panico, Sam 111 Parrell, Jackson 153 Parsons School of Design 197 PBS 113 Pearson, Blaine 153 Perez, Michael 84 Peters, Stefan 84 Phaidon 114 ThePicturesOftheDay.com 124, 127 Piknic Electronik 92 Pinter, Istvan (Steve) 88 Pollack, Kira 118 Pooley, Jay 153 Poon, Henrietta 107 Poorman, Kelly 111 Porsche Club of America 157 The Post Office 193 Potterton, Jason 127 Potts, Rob 102 Prado, Isaac 87, 111

Toronto Football Club 88 Toronto Star 127 Tovel, Didier 153 Tree 141 Trexler, Emily 138 Trident Post Production 78 Tyas, Arrow 88

Price, Gemma 129 Publicis 78 Purvis, Benjamen 127

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100

Hac Job 102 Hadfield, Joanna 87, 111 Hadlow, Michele 118 Hamer, Jordan 84 Harper’s Bazaar 117, 130 Hawkey, Tim 81 Hebert, Doug 158 The Heinz Endowments 193 Hendley, Elizabeth 165 Hernández, Francisco 113 Herrmann, Matt 94 Hill, Paul 102 Holden, Win 133

210

Holland, Karen 91 Holmes, Ian 87, 111 Holmes, Rachel 113 Hooligans 130 The Hospital for Sick Children 108, 153 Howe, Matt 186 Humber College 197

Quiver

149

Ramos, Anselmo 87, 111 Rand, Matt 87 Rankovic, Marka 153 Rasmussen, Tim 117, 127, 129, 134, 143, 145 Rebeiro, Lindsey 107 Recchia, David 168 Red Bull 161 Reeves, Steve 94 Register, David 102 Reich, Ann Wilson 197 Reportage Foundation 118, 145 Richard’s International Model Management 88 Richards/Carlberg 91 Roberts, Molly 141 Roden, Eric 150 Rodrigues, Marina 87, 111 Rodríguez, Bernardo 113 Rodríguez, Viridiana 113 Rogers, Julie 124 Ronn, Harriet 102 Rothermel, Angelique 166 Royal Canin 104 RPF NYC 84 Runner’s World 127 Russell Rutherford Group 178 Ryan, Mike 165

UNICEF 91 United Nations Development Programme 154 United Way Worldwide 94 Uras, Lorenzo 81

Jai Vakeel Foundation 162 van Bruggen, Jason 153 The Vanity 153 Varacchi, Julianne 127, 143, 145 Visit Faroe Islands 81 Visual Box 92

Saatchi & Saatchi London 102 Sacco, Silvana 157 Sacks, Tracy 150 Savage Brands 158 Schavitz, Tim 82 Scofidio, Robin 87 Scott, Josselyn 102 Seguin, Jean-François 84 Select Athletics 184 Sessions, Archie 84 Shriver, Natalie 130 Shutterstock, Rex Features 149 Silberg, Sarah 120, 143 Simonich, Melanie 102 Skaja, Ann 84 Skin and Bones Film Company 153 Slip Visual 98 Sluiter, Megan 87, 111 Smithsonian 120, 123, 141 SNDWRx 153 Solis, Eduardo 113 Sorrentino, Billy 120 Soucy, Annabelle 84 Spiro, Barney 102 St. Paul Academy and Summit School 154 Stanton, Matt 150 Stellpflug, Abigail 81 Stewart, Beth 87 Stewart, Ruaridh I. 124, 127 Stieve, Robert 133 The Stranger 183 Stratis, Mariane 92 Sylvester, Gary 88

Wadley, Jeff 94 Wagg, Dean 150 Wang, Chin 117, 124, 129, 134 Ward, Hayley 134 The Washington Post Magazine 129 Way, Brenda 97 Weston, Jeff 78 The White House 145 White, Kirsten 84 Wichita, Michael 150 Wille, Prisca 130 Williams, Simon 102 Williams, Veronica 78 Wingman VFX 153 WIRED 120, 143 Wisconsin Dells Tourism 111 Women’s Health 134 Wood, Ashley 153 Wood, Graham 127 World Vision 165, 166 Wotherspoon, David 107

x y z

Taylor, Michele 129 The Team 168 Texas Christian University Thompson, Dena 153 TIME 118 The Times Magazine 127

197

Xinhua

118

Young, Nicole 107 Younger, Sharon 102 Yüyan, Kiliii 153

Zaloudek, Zuzana 81 Zentil, Jaimes 108, 153 Zetä Production 92 Zibert, Mark 153 ZUMA Press 124, 127

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.

DIRECTORY Featured in this issue Helios Design Labs heliosdesignlabs.com Manual manualcreative.com Janine Rewell janinerewell.com Shine United shineunited.com Exhibit Arnold Worldwide arn.com Ars Thanea arsthanea.com BBDO bbdo.com Brand Union brandunion.com Leo Burnett Toronto leoburnett.ca Buster stuncreative.com/buster Cue, Inc. designcue.com Macchiatto macchiatto.com Mucca Design mucca.com Ogilvy & Mather Hong Kong ogilvy.com Venables Bell & Partners venablesbell.com Fresh Jvdas Berra jvdasberra.net Pablo Delcan delcan.co Mariana Rodrigues mariana.io

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