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COMMUNICATION ARTS PHOTOGRAPHY ANNUAL 59

Red Urban FutureDeluxe Tommy Arnold Exhibit

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A PRINT IS PROOF OF THE PATH YOU’VE CHOSEN. PRINT YOUR LEGACY.

JOHN PAUL CAPONIGRO PHOTOGRAPHED BY TIM MANTOANI

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JULY/AUGUST 2018 VOLUME 60, NUMBER 3

COMMUNICATION ARTS ��

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PHOTOGRAPHY ANNUAL

30 FutureDeluxe

70 93 115 146 148 160 173 179 186

by Garrick Webster In London, United Kingdom, an intrepid motion and computer graphics studio conducts experiments in the name of art.

38 Fuzzco

by Stephanie Hunt A Charleston-based duo has honed their design studio’s own point of view.

COVER

Portrait of RuPaul’s Drag Race winner Sasha Velour by David Ayllon, p. 126.

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46 Red Urban

by Chris Daniels Its “we’re-in-it-together” attitude enables this boutique agency in Toronto to hoist up powerhouse brands.

54 Tommy Arnold

by Claire Sykes A Bellingham, Washington–based illustrator turns sci-fi and fantasy characters into flesh and blood.

62 Exhibit

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

Advertising Books Editorial For Sale Institutional Self-Promotion Multimedia Unpublished Student Work

FRESH Editor/Designer Patrick Coyne Executive Editor Jean A. Coyne Managing Editor MichaelOh Esther Coyne

188

Anaïs Boileau A photographer snaps images that reflect her roots in fashionable Paris and the sunny south of France.

190

Shreya Gupta This New York–based illustrator livens her artwork with meticulous details and vigorous lines.

Associate Editor Esther OhYee Michelle

192

ori.studio By decoding each client’s cultural context, this Beijing, China–based duo creates smart, modern designs.

COLUMNS 10

Advertising Ernie Schenck reminds us that “digital glitter” is no substitute for what really matters—understanding the human condition.

Design Details Susan Hodara discovers how art directors and illustrators are utilizing the animated GIF—or not.

Design Culture Venturing outside the walls of the traditional gallery, Wendy Richmond discovers new venues for art.

Emerging Media Four VR photography experts share their tales with Sam McMillan and offer some tips for shooting in 360 degrees.

Creativity Haniya Rae reports on how game and graphic designers are navigating the new rules of the hobby games market.

194

Insights In a Q&A, designers Amy and Jennifer Hood share what they’ve learned as small business owners.

Editor At Large Anne Telford Art Director/Designer Jessica Joni Rivas Reichard Production Director Manager/Competition Coordinator Lauren Coyne Lauren Coyne Print Producer Print Producer Daniel Sambrano Daniel Sambrano Design/Production Associate Design/Production Isabel Bagsik Associate Joni Rivas Production Assistant/Customer Production Service Representative Assistant/Customer Service Yanni Khader Representative Khader Yanni Competition Coordinator/ Archivist Administrative Assistant Nancy Clark Rachel Whitaker Lewis Archivist Engineers Software Jiping Hu Nancy Clark Lewis Srividhya Gopalakrishnan Software Engineers Technology Jiping Hu Administrator Michael Hoyt Srividhya Gopalakrishnan Technology Administrator Advertising Director Dirk Moeller Michael Hoyt Advertising Director Circulation Director PerryMoeller Dirk Fotos Circulation Director Accounting Lois Vega Perry Fotos

DEPARTMENTS 5 8 196 198 200 204

Accounting Editors Contributing Sam Vega Lois McMillan Wendy Richmond Contributing Ernie Schenck Editors Sam McMillan FounderRichmond Wendy Richard Ernie Schenck Coyne (1926–1990)

Contributors/Directory Editor’s Column Favorites Book Reviews Index to Photography Annual 59 Overheard

Volume 60, Number 3 commarts.com COMMUNICATION arts (ISSN 0010-3519) is published six times a year (January/February, March/April, May/June, July/August, September/October, November/ December) by Coyne & Blanchard, Inc., 110 Constitution Drive, Menlo Park, CA 94025-1107. Periodicals Postage Paid at Menlo Park, CA, and at additional mailing offices.

Copyright 2018 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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CONTRIBUTORS/DIRECTORY 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 Red Urban, a boutique Toronto agency creating smart campaigns for the world’s biggest brands. Stephanie Hunt (stephaniehuntwrites.com) is a Charleston, South Carolina–based writer and editor whose features, profiles and travel stories appear in numerous publications. In this issue, she meets the “design-based entrepreneurs” behind Charleston-based studio Fuzzco. Claire Sykes (sykeswrites.com) is a freelance writer based in Portland, Oregon, covering design, arts and culture, philanthropy, health and wellness, and business. In this issue, Sykes goes to Bellingham, Washington, to see how Tommy Arnold translates sci-fi and fantasy stories into lush artwork. 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, he finds that London studio FutureDeluxe stays current with ample experimentation.

Columns Susan Hodara (susanhodara.com) is a journalist, memoirist and teacher. She covers the arts for the New York Times, Harvard Magazine and other publications. In this issue’s Design Details column, Hodara discovers that just because you can turn an editorial illustration into an animated GIF doesn’t mean that you should. Sam McMillan (wordstrong.com) is a San Francisco Bay Area–based writer and brand strategist, and regular contributor to Communication Arts. In this issue’s Emerging Media column, he talks to four experts who are pushing the boundaries of virtual reality photography. Haniya Rae (haniyarae.com) is a Brooklyn-based freelance design and technology journalist who’s written for the Atlantic, Print and Popular Science, among other publications. In this issue’s Creativity column, Rae explores the challenges and the opportunities of the growing hobby games market. Wendy Richmond (wendyrichmond.com) is a visual artist, a writer and an educator. Richmond serves on BRIC’s Artists Advisory Council and the MacDowell Fellows Executive Committee. In this issue’s Design Culture column, she suggests that we reconsider where we might exhibit our work. Ernie Schenck (ernieschenck.myportfolio.com) is a freelance writer and creative director. 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. In this issue’s Advertising column, Schenck urges creatives to focus on understanding the human spirit.

Book Reviews Adam Bell is a photographer and writer based in New York. His books include Vision Anew: The Lens and Screen Arts and The Education of a Photographer. He recently received a 2018 Individual Artist Fellowship from the New Jersey State Council on the Arts and is on the staff and faculty at the MFA Photography, Video and Related Media Department at the School of Visual Arts. Rebecca Robertson is a freelance writer living in the Bay Area and a contributing editor—and former photo editor—of Photo District News.

Featured in this issue Tommy Arnold tommyarnoldart.com FutureDeluxe futuredeluxe.co.uk Fuzzco fuzzco.com Red Urban redurban.ca

Exhibit Barber Warren Advertising barberwarren.com Code Switch jansabach.myportfolio.com Here Design heredesign.co.uk Toke Blicher Møller tbmstudio.dk Parallax Design parallaxdesign.com.au Sarofsky sarofsky.com Superunion superunion.com J. Walter Thompson jwt.com/shanghai Traffik traffikgroup.com We Are Royale weareroyale.com

Fresh Anaïs Boileau anaisboileau.com Shreya Gupta shreyaillustrations.com ori.studio ori.studio

Advertiser’s Index Adobe MAX American Society of Media Photographers AtEdge Creative Hotlist Encore Epson JSR Professional Photographers of America Stocksy Workbook YUPO Zahara Reps

28 195 C4 15 27 C2 C3 24 6 18 19 12

Call for Entries Typography 2019

Corrections

In the 2018 May/June issue, on page 54, Toni Bashinelli of Lockbox Productions should have been listed as producer on the Jdate project. In the Here Be Dragons feature starting on page 36, “Tree, c/o New Reality Co. image by Jakob Kudsk Steensen” should have been included in the “Tree” project caption.

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EDITOR’S COLUMN

Patrick Coyne

he entries that won in this year’s Photography Annual moved even further away from the desaturated still lifes with high-contrast shadows that dominated the competition just two years ago. In fact, several winning entries feature complex patterns on both the subject and the background, creating a unique visual flatness. The big surprise this year was the book category, which registered six times more winning entries than it yielded last year. “I was pleasantly surprised by how strong the book category was,” says juror Todd James. “Making a successful book requires a singular vision, an immense amount of dedication and the ability to be ruthlessly self-critical. These are important qualities for making memorable images in any genre.” “Overall, I was very impressed by the quality of the concepts and the execution of the entries,” juror Sarah Wilmer says. “I was surprised by how moved I was by some of the short films.” Several judges commented on the visual trends they saw across this year’s competition.

interesting, stories about makers who create small-batch, carefully curated items have almost become parodies of themselves.” “I was disappointed to see how similar the food photography looked,” Mayes says. “This made the images that tried something different really amazing.” “My biggest disappointment was the repetition—or, rather, redundancy—of the entries,” says Wilmer. “Like any trending technological development, the use of drones was present and accounted for,” Takigawa says. “Finding a meaningful reason to use this tool was, seemingly, less evident.” “I was sorry not to see more original work from the student category,” James says. “I expect the creative ideas that shape our culture to come disproportionately from young photographers, musicians, authors and filmmakers who are eager to challenge orthodox thinking. “I would also like to have seen more classic reportage entries this year. Having people on the front lines of change, recording the visual history of our planet, also has cultural importance. I am concerned

“Widespread uses of saturated color and color gels seem to be popular,” says juror Jerry Takigawa. “There was a blur between art, editorial and commercial photography that isn’t exactly new, but is evolving in interesting ways,” juror Erin Mayes says. “I appreciate that the folks who commission photography might be expanding their horizons; published work is becoming more and more thoughtful.” “I have seen a lot of trends come and go,” says juror Noah Dasho. “It seemed to me that the photographers who excelled stuck to what they do best rather than chasing a style.” Not all the trends noted in this year’s competition were viewed positively by the jurors. “There was a large focus on stories about makers,” says Dasho. “Although 8

Photography Annual 2018

NOAH DASHO is a senior art producer at Goodby Silverstein & Partners in San Francisco. With more than fifteen years of art buying experience, he has helped execute memorable campaigns for AT&T Wireless, Chevrolet, Comcast, Frito-Lay, Hewlett-Packard, Saturn and TD Ameritrade. As a printmaker and painter, Dasho brings an artistic eye to all of the projects he produces. This creative mind-set has been essential to his ability to produce out-of-the-box, experiential and breakthrough programs in an ever-changing production environment. Outside of work, he loves spending time with his wife and two kids, creating and collecting art, and skateboarding and traveling.

TODD JAMES is a senior photo editor for National Geographic magazine, which is published in 33 languages, reaching print subscribers in 75 countries. It has the largest social media following of any magazine. In the two decades since joining the magazine, he has produced and edited numerous award-winning stories spanning the globe from the Galápagos Islands to the Saudi Arabian desert. His work has received recognition from Communication Arts, the National Magazine Awards, Pictures of the Year International, the Society for News Design, the Society of Publication Designers and World Press Photo. Frequently, the science stories he edits inform ongoing debate over public policy, such as his recent cover stories on addiction and forensic science.

Photographs by Steve Castillo

that the decline of news magazines has led to an equal decline in assignment work.”

the last century and how modern photographers are doing the same as they face this changed industry.”

I asked the jurors about current trends in the photography industry as a whole.

And what about the impact of technology?

“The big shift is the desire to capture as much content as possible with every shoot,” says Dasho. “If we are capturing motion, we are expected to have stills as well. If we are capturing stills, we are often shooting behind-the-scenes or some additional elements to round out the content.” “I’ve been spending a lot of time recently with older images—Nathan Lyons, Garry Winogrand, all the New Deal photographers—and maybe it’s just where my head is right now, but I see recent photographers starting to go back and embrace the chaos of capturing a moment while still managing well-crafted images,” Mayes says. “Maybe there is some correlation between the way those older photographers changed photography by exploring outside the established rules of

ERIN MAYES received a BS in journalism from the University of Texas at Austin and has worked as an art director and designer for more than twenty years. In 2006, she founded EmDash, a graphic design firm in Austin, Texas. Her clients include many colleges, universities and alumni associations. Her work has received awards from AIGA, American Illustration, American Photography, Communication Arts, the Council for Advancement and Support of Education, Print, the Society of Illustrators and the Society of Publication Designers, and was nominated in 2013 for a Grammy award. Mayes has also taught editorial design at the School of Visual Arts in New York and at the University of Texas at Austin.

“Photography’s rapidly shifting technological evolution invites endless experimentation, but I still credit the artist—not technology—for making art,” says Takigawa. “Advancing technology has made it much easier to produce good photographs, but I still believe the difference between good and great is not a matter of technology but of personal vision,” says James. “I hope we will always value that both intrinsically and monetarily.” A minimum of four 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 like to extend our grateful appreciation to our jurors for their conscientious efforts in selecting our 59th Photography Annual. ca

JERRY TAKIGAWA is a designer and photographer based on the Monterey Peninsula in California. His work has been recognized by AIGA, the American Advertising Federation, Communication Arts, 50 Books | 50 Covers, Graphis, the Independent Publisher Book Awards and the Summit International Awards. His work is included in the Brooklyn Museum, the Crocker Art Museum, the Hiroshima Museum of Art, and in the permanent collections of the Library of Congress, the Oakland Museum of California and the San Francisco Museum of Modern Art. He previously served as president of the board for the Center for Photographic Art and as a trustee for the Monterey Museum of Art.

SARAH WILMER was born and raised in Missouri and now lives and works in New York City. Her photography explores the strangeness, beauty and impossibility of this natural world that surrounds and supports us. Her clients and the publications that have profiled her work include Artforum, BB Dakota, Billboard, BUST, Communication Arts, Lea DeLaria, EMI, Esquire, GEO, Gilt Groupe, the Guardian, Hemispheres, Inc., Look, Los Angeles, Marie Claire, New York, the Observer, PDN, Rolling Stone, Spin, Surface, TENNIS, TIME, Virgin Records, Vogue Korea and the Whitney Museum of American Art. Wilmer has exhibited in Helsinki; Japan; Los Angeles; New York; Portland, Oregon; Skagaströnd, Iceland; Warsaw, Poland; and Washington DC.

Communication Arts | commarts.com

ADVERTISING

Ernie Schenck

You’re a Good Man, Charlie Brown. But You’re a Terrible Creative.

arry Moss is arguably the most sought-after acting coach in the world. If he’s not at the top of the heap, he’s awfully close. Larry has worked with some of the biggest names on Broadway and in Hollywood. Leonardo DiCaprio. Helen Hunt. Jennifer Garner. Tobey Maguire. The list is long. I had the pleasure to get a glimpse of Larry in action recently. He was holding one of his scene study workshops in New York. Scene

push and prod and pull work out of the oven before it’s ready, how could we expect otherwise. There are those in acting who will tell you that scene study has outlived its usefulness. That it’s unrealistic. Rehearse a scene for weeks? Please. You’re lucky to rehearse at all. Better to spend your time learning to audition. To cold read. Skills you need if you want to succeed. If this sounds familiar, it should. Understanding the human condition? Taking the time to explore the vagaries of why we’re moved by this and not by that? It’s unrealistic. What’s realistic are tools. What’s realistic are toys. Digital glitter. These are skills, my friend, and you damn well better have them if you want to make it in advertising. This is what you will hear. And it is, all of it, misguided at best and self-destructive at worst.

Just because you can shoot pretty pictures doesn’t mean you have a clue if those pictures are moving the emotional rivers of the human spirit. study. That’s when two actors spend weeks, sometimes months, working on a single scene, usually from a play, but now and then, a film. Dissecting it. Pushing it every which way. Understanding every line on a deeply human level. It’s exhausting. It’s draining. And it’s what separates the characters that make you feel from ones that leave you cold. I suspect that if Larry worked with advertising creatives, he’d be pretty irritated. Like so many actors, too many creatives have failed to grasp that just because you can string a bunch of words together doesn’t mean you can touch someone’s humanity. Just because you can shoot pretty pictures doesn’t mean you have a clue if those pictures are moving the emotional rivers of the human spirit.

Have you ever tried to learn a musical instrument? At first, it’s very rigid. You play this note, then this note, then this note. Slowly, you start to put the notes together. As the years go by, you get better at putting the notes together. You can play all kinds of songs. But for many, that’s the problem. You can play the songs, but you can’t feel them. You can play and you can play and you can play until you are blue in the face. But if you haven’t taken the time to feel the music, you will never be anything more than a technician. A human metronome. An automaton. Is that the kind of creative you aspire to be?

I know what Larry would tell actors: You will never get an audition. Broadway? Please. You’ll be lucky if you get a bit part in a community theater production of You’re a Good Man, Charlie Brown. If you want to succeed as an actor, you have to work your tail off every day to feel the heart of the audience.

It might seem that swimming in the digital end of the pool is your ticket to greatness. It might seem that taking the time to fully immerse yourself in the swirling eddies of the human soul is a professional folly beyond imagination. One that can only slow you down. But you must trust me on this: it only seems that way.

The problem, of course, is that there is no Larry Moss in advertising. No creative hard-ass who can’t wait to sink his fangs into young brains filled with mush. No Bobby Knight who’s going to throw chairs against the wall when he thinks you’re not paying attention. Tough love, yes. But how else to make such important lessons stick. Because, my friends, they haven’t and they don’t. In our rush to

For this is the authentic truth: Toys come and go. Today’s Tickle Me Elmo is tomorrow’s Hatchimal is yesterday’s lightsaber. Eventually, even the coolest of tools aren’t cool anymore. But the power to persuade, to turn no into yes, to invent desire—this is the strange alchemy that will forever decide whether advertising lives or dies. Whether creatives live or die. ca

Photography Annual 2018

TYPOGRAPHY COMPETITION

2019 CALL FOR ENTRIES

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DESIGN CULTURE

Wendy Richmond

Where Does Your Work Want to Live?

n 2007, I finalized a series of tiny cell phone videos—hundreds of low-resolution, fifteen-second, surreptitious snippets of urban life. The format consisted of grids of videos looping continuously on small digital monitors. When the series was shown in a museum and then a gallery, I was thrilled. The silent, dark rooms displayed the work with maximum clarity and minimal distraction. Fast-forward a few years: I’m in a taxi, stuck in traffic. No air conditioning, windows open, honking horns and food truck smells. I watch scenes that are near replicas of my videos: a man running down the stairs to the subway, a woman being pulled by her miniature poodle. Then I notice the little backseat TV monitor— the same size as the monitors in my exhibitions—and it hits me: this is where my videos want to live!

Yes, I want my work to be seen in pristine, controlled settings. But when I imagined the videos looping on the monitor in the taxi, they took on another, parallel life. There, the viewer could simultaneously be a witness and a participant in the frustration and gusto of everyday city life. What better home for my urban choreographies than the back of a taxicab, riding alongside their real-life counterparts? Since that cab ride, I’ve asked colleagues and students this question: Where does your artwork want to live? They usually assume that I’m asking which galleries, museums or publishers they want to contact. Then I repeat the question and add clarification: Where will your work have the most impact? Are there surroundings that will convey its meaning more clearly? Does it want interaction with its viewers? Does it seek an audience outside of the art world? I’m not suggesting that you should pass up a gallery or any other conventional venue. But your artwork’s life is long, and an exhibition at a particular location is brief. Over time, your work can live in multiple dwellings. You can honor your art by thinking outside the (white cube) box. I’m a museum lover, and that’s usually where I see the work of artists I admire. But I’ve also found their art in different, unusual locations, and these experiences have deepened or altered my connection with their work. A new setting could sharpen your awareness of, say, a diverse population, as in Vik Muniz’s Perfect Strangers series at the 72nd Street subway station in Manhattan. Or it might induce levity—quite literally—as William Wegman’s video 14

Photography Annual 2018

“Up Down Up” does in the elevator in Denver’s the ART, a hotel. A random roadside billboard displaying an image by Felix GonzalezTorres of an empty, unmade bed will stop you in your tracks. For me, Anthony McCall is a good example of an artist whose work has different effects depending on the environment. My first encounter with his 3-D light sculptures was during a visit to Governors Island in New York. Between You and I was part of an exhibition of public artworks presented by the nonprofit arts organization Creative Time. McCall’s installation was in the St. Cornelius Chapel, a soaring space designed by Charles C. Haight. The chapel’s windows were covered, so the interior was pitchblack—except for two cones of intense light shining down from the high ceiling. Nothing else was visible until a fellow viewer (worshipper?) glided into a cone. I’ve seen versions of McCall’s work in two other locations: Fundació Gaspar, in Barcelona, and Pioneer Works, in Brooklyn. The Barcelona show, Solid Light, Performance and Public Works, was a survey of the artist’s work—McCall began his series of solid light works in 1973. I was immersed in the art, but unlike my almost spiritual experience in the chapel, this visit was cerebral. Because of the curator’s excellent presentation of McCall’s trajectory, I was more inclined to think than to feel. Pioneer Works is a cultural center whose huge brick building houses residencies, exhibitions, performances and workshops. Like the St. Cornelius Chapel, the space was completely dark except for the light works. But here, it was crowded with families, couples and individuals, all noisily interacting with the works, interrupting the hazy light with their hands, bodies and, of course, smartphones. The high-energy atmosphere was the opposite of the chapel; it was about community, not solitude. One venue was not “better” than the other; instead, each provided a unique experience that expanded my relationship with McCall’s art. As artists, we’re grateful for the opportunity to exhibit in a gallery or museum. But your art—which receives such a huge dose of your creative effort—deserves one more leap of the imagination. So consider finding other homes for it. You may be surprised when you venture out of the neighborhood. Which reminds me of that taxi TV… ca © 2018 W. Richmond

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Haniya Rae

Rebranding the Board Game

Three board games published by Stonemaier Games. For Charterstone (left), the box artist, Mr. Cuddington, used large swatches of white to show that there are many unknown elements for players to discover. Dystopian-themed game Euphoria (middle) has tongue-in-cheek humor, so instead of making a dismal box, the artist, Jacqui Davis, used bold colors inspired by propaganda posters. On the box for Scythe (right), which is set in an alternate history during a time of farming and war, the artist, Jakub Rozalski, featured farmers and giant mechs.

n 2009, Marco Agosta, a Bremen, Germany–based graphic designer, struggled to find attractive board games in stores. “You could see that these boards had bad colors, stock illustration and, most importantly, impossible-to-read instructions,” Agosta says. So he designed a board game himself. Agosta went about developing a game as part of his graphic design master’s thesis that would be emblematic of being stranded on a desert island. By designing weathered “social convention” cards and aging and texturing hexagon pieces symbolizing actions players could take, he conveyed how it feels to architect a new society out of one that’s crumbling. He called his board game Sopravvissuti (Survivors). Agosta only made a prototype to satisfy his graduation requirements because the costs of producing the full board game were prohibitive. But if he wants to further develop it, he has options— and a growing audience.

Beyond the classics Hobby games have taken off in recent years. In 2015, the estimated market for hobby games in the United States and Canada reached $1.2 billion, and then grew to $1.44 billion in 2016, according to geek culture business site ICv2. The rise has prompted large traditional game publisher Hasbro to set up a startup-like incubation lab to develop the next big hobby game. But if the wild success of Cards Against Humanity and Exploding Kittens are any indication, the next big physical game may be an indie board game. But where do graphic designers fit in this market puzzle? “When working directly with a game designer who will hire you, it’s because they are taking the game to Kickstarter themselves,” says 16

Photography Annual 2018

Christian Strain, a game and graphic designer at Kraken Games in Houston, Texas. “If [game designers] are hiring you and wanting to send the game to a publisher afterwards, that’s a red flag that the game designer doesn’t know the industry very well. Any publisher picking up the game will most likely replace your work with their own.” Once upon a time, traditional publishers might have only looked at the mechanics of the game before buying it and tasking their in-house illustration and design staff with creating the game’s pieces and parts. But the internet now enables game designers to easily find talent, mock up a game and a marketing campaign, and then test the game on a crowdfunding site, à la Kickstarter or Indiegogo. A clever idea can get enough money to publish and, with feedback, put the game out into the world in just a few months, like the recently funded Jellybean game Show + Tile, which netted $10,878 on Kickstarter, or Cards Against Humanity, which got roughly $15,570 before it became a runaway success. “Every year, there are hundreds of new board games, but what’s really interesting about being a graphic designer is that graphic design can prop up a game and draw in a bigger audience,” Agosta says. Graphic designers are working in tandem with board game designers to come up with games that feel more cohesive, engaging and unique, or are at least attempting to move beyond plastic and cardboard, a single static board, and generic stock illustrations or overpowering fantasy imagery. “When it comes to games, people are really coming to understand that board games are old-fashioned interactive design,” says Jenn Ellis, co-owner of Portland, Oregon–based game production company Twogether Studios, along with her husband, award-winning game

“For a game about telling stories based on retro Polaroid pictures, it felt natural to have one of the photos from Story on the cover, evoking the imagination of the user,” says Alexander Kandiloros of publisher Ninja Print. The box (left) was inspired by old shoe boxes full of memories, so its lid is shallower than its bottom, which is matte laminated in a nostalgic mint green Pantone color. The game includes a rule booklet (middle) and photo cards and colorful wooden pieces (right).

designer Keith Baker. “We think so much about user interface and experiences on the screen, but when people unplug, their realworld experiences don’t compare. We have all these well-developed, well-designed media experiences, and we want to bring that sense to the tactile. People are now embracing that.” She did when she was producing Illimat, a game for indie rock band The Decemberists that evolved out of an earlier game prop illustrator Carson Ellis had created for the band. The Decemberists hired Twogether Studios and Carson Ellis to flesh out Illimat over the next few years, with visuals borrowed from tarot cards and a design aesthetic that pays tribute to the Victorian era. Jenn Ellis looked to materials with more permanence—like cast metal, cloth and glass—for the customized game pieces. With the pieces, user experience and mechanics aligned, the game feels old, like a secret treasure to be shared by its players. “There are games that look nice, but [that] aren’t very interactive. There are lots of times when [a game’s graphic designer] didn’t think through how someone else might see it,” says Jenn Ellis. “With any interactive media, you need to ask what does the audience like; what’s important to them? You can’t just lay a theme on it,” says Ellis. By comparing games to user experience design, is it any wonder that Ellis’s first thought for would-be board game graphics creators is to consider the audience? Though, “many game designers start off a game with a specific goal in mind that doesn’t have anything to do with the user experience,” says Strain. Game designers, he explains, often have a specific game mechanic they want to employ throughout the game. Strain gives an example of a deck-building game, where each player is issued a set of pieces or cards that she or he then swaps out over the course of the game. Even if the game evolves into something that would be better off without a deck-building mechanic, a game designer might be adverse to letting that mechanic go—and a graphic designer is stuck designing for it. “As a graphic designer, reminding game designers that they are trying to create an experience—and that the player’s encounter with the game should be a positive one throughout—is your best bet towards convincing them to make a change,” says Strain.

Changing the path between concept and consumer “Monopoly has never changed. Trivial Pursuit tests knowledge, but about subjects that I’m not interested in at all,” says Alexander Kandiloros, who started his own game company, Ninja Print, in 2011 to challenge games in the market that were too heavy on rules or too reliant on one type of game knowledge. Kandiloros started working directly with game and graphic designers to create games with well-designed instructions, such as Story. The game’s board is a square spiral, the pawn pieces are colored like CMYK press marks, and the game’s instructions fit within a simple two-page, onecolumn pamphlet. In total, Kandiloros has published twelve games and has taken them to Swedish retailers to sell. Now Kandiloros is trying to take Ninja Print international. He knows his marketing strategy will have to change to reach a wider audience. Growing to the popularity of a publisher like Cards Against Humanity, LLC (the maker of the card game—and all its iterations) means taking on all the burdens of marketing that come with that. “One of the core reasons creators use a site like Kickstarter is to build buzz for a new game,” says Jamey Stegmaier, game designer of Charterstone, Euphoria, Scythe and Viticulture, which are published by his St. Louis, Missouri–based company, Stonemaier Games. Scythe successfully raised $1.8 million on Kickstarter in 2015. Stegmaier thinks the runaway success could have been due to the exciting stretch goals he was constantly coming up with, which kept fans engrossed in the campaign. Scythe has hundreds of custom wooden tokens and many elaborately cut miniatures representing the game’s five warring factions—there was plenty of room to add stretch-goal upgrades, such as cutting larger pieces. “It helps that Kickstarter has a number of built-in discovery systems, particularly the ability to ‘follow’ friends and other creators, which sends you alerts whenever they back or launch a project,” says Stegmaier. Connecting with friends and other creators helps spread news of the project far and wide quickly, which in turn helps the team developing the game see if its idea is resonating with potential customers. “Publishers used to depend on stores to take care of marketing for them, but with so many games available, stores can Communication Arts | commarts.com

CREATIVITY

only feature a limited number of games,” says Stegmaier. These games are usually from big companies like Hasbro, and with physical retail scrambling to compete with the internet, many stores are unwilling to take chances. For indie publishers, that often means online retail is your only option, and to stand out, especially where space is relatively infinite, graphic design is once again key— if the graphic design of a game is seductive, it’s likely to look more polished to the Kickstarter-surfer’s eye.

To promote Illimat, Ellis and Baker went on a seven-week road tour in a van to board game cafés around the United States—in part to have game players experience the more tactile aspects of the game and to see the game’s box, which Ellis intended to look like a piece of artwork that can be positioned as such on a living room bookshelf. “As popular as [board games] become, the more people expect. It’s not just the game design mechanic; it’s the visual design,” says Ellis. “You’re bringing all of this together.” ca

WORKBOOK

Photography Annual 2018

Jenn Ellis also mentions the importance of platforms like Twitch, and recalls how Max Temkin, cocreator of Cards Against Humanity, ran several livestreams on the platform to promote another game of his, Secret Hitler. “When you introduce something completely new into the marketplace, people have to learn a completely new skill,” says Ellis. “Either people have to already know it, hence all the Cards Against Humanity knock-offs, or you try to get it on a YouTube program like TableTop, where Wil Wheaton and other famous people play and discuss your game.” Either way, potential consumers need to visually experience enough of the game to get over the initial learning hurdle.

Illimat (top)—by The Decemberists, illustrator Carson Ellis and game production company Twogether Studios— was successfully crowdfunded through Kickstarter. Designed to feel like a relic of a long-lost secret society, the game includes heirloom-quality components, like a 24-by-24-inch cloth board and metal tokens (bottom).

DESIGN DETAILS

Susan Hodara

When to Give an Illustration Legs

With art direction from Françoise Mouly and inspiration from the inaugural cover of The New Yorker, Malika Favre created still and animated versions of The Butterfly Effect (left), her cover illustration for the magazine’s 2018 anniversary issue. In the animated version, the poised woman lowers her monocle as the butterfly flutters by. For a New York Times Sunday Review op-ed on the retail vacancies of Main Street, Rebecca Mock “used Google Street View to look at the actual street mentioned in the article, and directly referenced a lot of architectural and street details,” she writes on her blog. The crosswalk sign in the animated version of her illustration flashes red as the sign above the vacant storefront sways in the wind.

n February, The New Yorker marked its 93rd anniversary as it has most of its anniversaries—with a riff on its inaugural cover. Back in 1925, Rea Irvin, the magazine’s first art editor, introduced Eustace Tilley, a foppish, top-hatted gent examining a fluttering butterfly through a monocle. In illustrator Malika Favre’s latest iteration, The Butterfly Effect, it is a chic Black woman who observes a butterfly through a monocle. And this butterfly actually flutters. For its 2018 anniversary issue, The New Yorker’s digital cover was an animated GIF. Readers of the print edition saw a static illustration, the butterfly frozen midair. But online readers watched as, over the course of a few seconds, the illustrated creature entered the frame, beat its delicate wings and flew gracefully over the woman’s head as she nodded in debonair response. Over and over, the image looped, silent and mesmerizing. The Butterfly Effect is one of more than a dozen animated GIFs that have appeared on The New Yorker’s digital cover since 2014, and one of a growing number of animated GIFs that are delighting, surprising and stirring readers of all sorts of online editorial content. Just what is a GIF?

Technically, a GIF—the initials stand for Graphics Interchange Format—is an image file format. Popular on the web for its small size, it includes animation capabilities with a palette of up to 256 colors and plays and loops automatically. Historically, the GIF was released by CompuServe in 1987, when the internet was mostly text, to enable color images to load using low-bandwidth dial-up modems. Its pronunciation has since been debated: soft G, a play on the Jif peanut butter slogan, “Choosy developers choose GIF;” or the widely accepted hard G, for the G in “Graphics Interchange Format.” Culturally, the GIF has become a meme. GIFs made of snippets of found video clips—eye-rolling celebrities or cavorting stuffed animals—have flooded the web, used to express an array of sentiments, like gesticulating emojis. Editorially, the animated GIF brings illustration to a whole new level, incorporating time and motion to enhance what in print remains static. Consider the piece that accompanied “Main Street’s Landlord,” an op-ed in the New York Times’ Sunday Review back in 2012. In print, the image is a deserted streetscape by Rebecca Mock, a 29-year-old Communication Arts | commarts.com

Courtesy of Christoph Niemann and The New Yorker

In the animated version of Christoph Niemann’s cover illustration Rainy Day (left), raindrops roll down the glass. “The beauty of this image is that only at The New Yorker can one publish a cover where the main action is a raindrop—a raindrop slowly sliding down a windshield. And it really makes you feel what it’s like living here,” says Françoise Mouly. Stills from an animated GIF (right) by Max Litvinov show scientists swallowing birdsong as they toss to and fro in a nest; the piece accompanied an MIT Technology Review article on decoding “directly from neural activity” which song a finch will sing.

freelance illustrator based in Brooklyn. Online, a red “Don’t Walk” hand flashes on a traffic light, and a sign rocks slowly in the wind above a vacant storefront. The rest of the illustration is still, allowing the understated movements to deepen its moodiness. “The two signs heighten the feeling of desolation and abandonment in the scene,” says Erich Nagler, currently an art director on the Google Doodles team, who commissioned Mock’s piece when he was an art director at the Times. For Mock, the design reflected her experience: “Usually in life, only one or two things are moving,” she says. Jordan Awan deems Mock a GIF pioneer. Awan teaches illustration at the Massachusetts College of Art and Design, in Boston, and at Lesley University, in Cambridge; he previously worked as an art director at The New Yorker and then as the creative director at MIT Technology Review. “She pioneered the idea that GIFs can be subtle,” he says of Mock. “She made them her own: these compacted moments in time, with a quiet peacefulness about them. That was important in changing the way people approached GIFs. You could make them do anything you wanted. And you could develop a personal style.” Awan contrasts Mock’s style to that of Max Litvinov, a Russian illustrator whom Awan hired to produce GIFs for MIT Technology Review. While Mock’s animation is minimal, in Litvinov’s GIFs, Awan says, “everything is constantly in motion.” 22

Photography Annual 2018

In a dizzying example, which appeared alongside a 2017 story titled “Scientists Can Read a Bird’s Brain and Predict Its Next Song,” tree branches sway as notes spew from the beak of a flying bird into the mouths of three scientists lurching in a reeling nest. Unlike Mock’s streetscape, every element of Litvinov’s illustration shifts. “There’s so much happening,” Awan says, “but it creates this seamless, beautiful animated experience.” Regardless of aesthetic, the use of movement should not be gratuitous. Brian Stauffer, a 52-year-old illustrator living in Marin County, California, prefers to call GIFs “conceptual motion.” Stauffer’s hard-hitting visual commentaries on social issues have appeared in the New York Times, The New Yorker, Rolling Stone and TIME. “Calling it a GIF is like calling an illustration a JPG,” he says. “‘Conceptual motion’ is my way of telling an art director, ‘Let’s not make the arms wiggle unless that’s the point.’” Nagler concurs. “The time and motion of the GIF have to further the main concept, a central theme or a special detail in the illustration,” he says. “If it’s just motion for motion’s sake, it’s not worth the extra file size and the extra distraction for the reader.” Not to mention the extra considerations for the illustrator and art director. Financially, adding a GIF to an assignment increases the budget. Abbey Lossing, a 26-year-old freelance illustrator in Brooklyn whose assignments average about half static illustration and half animated GIF, says she tries to double her fee when a GIF is involved.

DESIGN DETAILS

A man sweeps a vacuum cleaner from room to room in this GIF that Abbey Lossing illustrated and animated for a New York Times home cleaning guide.

“It usually takes double the time to animate it after I’ve drawn it,” she says. Deadline-wise, Sarah Williamson, a freelance art director at the New York Times, rarely has the luxury of using GIFs. She works on the Opinion section, where artists have the option of submitting a GIF, but turnaround is tight. “I assign between 11 a.m. and 2 p.m.,” she says. “I need sketches in two or three hours, and the final by 6 p.m.” There are also technical concerns. “If the file size is too large, the GIF will take too long to load on computers, and especially on mobile devices,” says Monica Racic, the multimedia editor at The New Yorker. “If the file size is too small, you will see the degradation in image quality. It’s a delicate balance.” And a file has to run smoothly on different devices. “We have three major breakpoints: mobile, tablet and desktop,” Racic says. “We output different GIFs for those different platforms.” About a year ago, Lossing made a GIF for a home cleaning guide published in the New York Times. The website features a fourteensecond, looping horizontal pan following a man on a hoverboard pushing a vacuum cleaner from room to room—through the living room, where pillows straighten and crumbs are sucked up; past a spinning washer and dryer; into the kitchen, where a cabinet door closes and the hands of a wall clock spin. The smartphone version applies the same concept and artwork, but the loop is shorter—less than four seconds—and the action is limited to a single room, the kitchen. Along with the animation, Lossing delivered seven related still illustrations. Like Mock and Stauffer, Lossing uses Adobe Photoshop and After Effects to create animation. Like them, she taught herself to make GIFs. “Honestly, I just watched some YouTube videos,” she says. “It’s not super complicated if you know how to use Photoshop.” Perhaps. But Awan believes GIF-making should be a requirement in a contemporary illustration curriculum. “I think it’s the single most important thing a new illustrator graduating school should know how to do,” he says.

In a digital world where GIFs are proliferating, editors, art directors and illustrators agree that the use of GIFs in editorial should be judicious. “We don’t do them arbitrarily,” says Françoise Mouly, The New Yorker’s art editor since 1993. She recounted a recent decision not to add movement to a cover illustration. The issue was from February, referencing the PyeongChang Olympics, and the cover, Mark Ulriksen’s Slippery Slopes, was an image of a skier, seen from below, soaring over a narrow demilitarized zone as soldiers peer up at him. It isn’t hard to envision the composition in motion; indeed, the skier is midflight. But Mouly said no. Animating the skier, she explains, would mean establishing his trajectory. “In this instance, you are better off not knowing,” she says. “You have to figure out where he is coming from and where he might land.” “It is a precious moment when the reader is deciphering the image and investing it with meaning,” she continues. “Sometimes a GIF can interfere with that and leave less room for the imagination, which would be a shame.” Sometimes, though, the addition of motion can rouse the imagination. It can tantalize, entertain or enlighten; it can drive home a point, set a tone or underscore an emotion. It can present a brief but powerful visual narrative that would not be possible in a still illustration. “It can reveal an extra dimension,” Mouly says. Take The New Yorker’s very first animated cover, Christoph Niemann’s Rainy Day. The view is from the window of a car on a Manhattan street, framing the rear of a yellow taxi against the utter grayness of the day. There are raindrops on the car’s window, and here and there, one rolls down the glass, the way raindrops do. The static illustration captures the aura of the city in the rain. The animation—though spare—brings it to life. “It was a very poetic approach to making use of the new technology,” Mouly says, “The image was great when it was still and wonderful when you saw it move. Watching the rain fall—it’s a great pastime.” ca Communication Arts | commarts.com

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A DV E R T I S E M E N T

EMERGING MEDIA

Sam McMillan

Big Picture

Virtual Reality Photography Comes of Age

the cursor.” It was a 360-degree video—the first one Hayden had ever seen. The effect was so astounding that the next day, Hayden quit his job to work for the company that had made the video. That company, Immersive Media, went on to help launch Google Street View.

lose up… portrait… landscape… panoramic… You know where this is heading, right? Straight into head-spinning, whichend-is-up virtual reality (VR) photography. For photographers who want to expand their repertoire, this is a great time to try shooting in VR. Consumer-friendly high-definition VR-capable cameras are hitting the market, equipped with built-in software that makes taking a 360-degree photo, editing it and sharing it as simple as popping a camera on a tripod and pushing a button. The best way to break into the field, according to Marcelle Hopkins, the deputy editor of video and codirector of VR at the New York Times, is to simply “start doing it.” “Don’t worry about the quality,” she says. “Start practicing. Go make a 360-degree video about your neighborhood. Learn the storytelling part. The more you do it, the more you’ll learn. Eventually, you’ll have something you are proud of and want to share.”

Google Trusted Photographer (google.com/streetview/earn): Google is partnering with photographers to shoot 360-degree interiors of businesses that want a Street View–style virtual tour on their Google Maps listing. At its annual conference, the International Virtual Reality Photography Association (ivrpa .org) brings together pro shooters specializing in VR; 360-degree panoramas, video and virtual tours; and gigapixel panoramas.

In 2012, Hayden was one of the first photographers tapped by Google to join its program of panoramic photographers who would shoot local businesses. As Hayden recalls, “For six months, I was the only Google Trusted Photographer in Portland, Oregon. Then the competition arrived.” Seeing the writing on the wall, Hayden reached out to two other photographers; together, the three of them started 360 Labs in 2014, offering 360-degree photo virtual tours and 360-degree video.

Hopkins is just one of many leading the new medium. From traditional news media to purpose-built VR photography studios to film and advertising production studios working at the highest level of craft, there is a new generation of practitioners inventing what is possible in VR every time they pick up a camera.

Today, 360 Labs shoots VR films for outdoor outfitters, regional tourism agencies and the National Cattlemen’s Beef Association. Another client, the US Coast Guard, once tasked 360 Labs with enabling people to “picture themselves in the Coast Guard, as part of a helicopter rescue crew.” The project involved serious planning and “a lot of gaffer’s tape,” Hayden remembers. “We built our own GoPro camera rig. We cracked the lenses off, put on fisheye lenses, waterproofed it, stuck it in the ocean with the surfer we were rescuing, and hoped the silicone held.” The VR experience has become such an effective recruiting device that it is now standard issue in Coast Guard recruiting offices around the country.

Jumping out of a perfectly good helicopter: VR recruiting In 2004, Thomas Hayden saw a video playing on a laptop. He wasn’t impressed—until the guy showing it to him said, “Move

Wish you were here: VR Postcards

Thomas Hayden of 360 Labs positions a Z CAM S1 Pro camera during the filming of a 360-degree video for Go Coast Guard. Produced entirely in one long day of filming as part of a series, the video captures a live training exercise with members of the US Coast Guard’s Maritime Security Response Team. 26

Photography Annual 2018

When David Mellor, creative director at the Chicago office of visual effects company Framestore, hears that his clients want to make a VR film, the first thing he asks is, “Why?” “Live-action VR should be more than a gimmick. VR offers the potential to gain the full experience all around you,” he says. Mellor should know. Four years ago, he helped make the iconic Ascend the Wall VR experience to transport viewers to the world of Game of Thrones. Mellor also worked on “you-are-there” VR Postcards for Marriott Hotels & Resorts. When the Postcards

CANVAS EMBOSSED CANVAS CORK DRY ERASE CHALKBOARD MIXED METALS EXTREME WHITE

PRINT READY Marriott’s VR Postcards were shot in Chile (top), China (middle) and Rwanda (bottom). “Each image shows the final composite of the footage that was shot in three ‘slices’ at each location,” says director David Mellor.

Framestore experts conduct VR workshops (framestorevr .com/workshops-1) with agencies, brands and marketing directors to help them understand the potential of VR.

foam board

7 surfaces

launched in 2015, they invited travelers at select Marriott properties to explore an ice cream shop in Rwanda, a mountaintop in Chile or a street scene in Beijing—right from their hotel room.

To complete the project, Mellor and his Framestore team traveled more than 20,000 miles in thirteen days. On day one, they would scout the locations and prep the cameras. On day two, they would meet the talent and shoot. The next day, they would pack up and get on a plane. If the schedule wasn’t demanding enough, working with live talent in a 360-degree shoot added another degree of difficulty. “You can’t cut in these situations,” Mellor says. “We needed a continuous one-and-a-half to two-minute take. Because you have persistence of view, you can’t edit their performance.” Because audiences are free to look around in VR, Mellor was careful to build in focal points that captured his audience’s

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The New York Times’ article “Augmented Reality: Four of the Best Olympians, as You’ve Never Seen Them” offers a view of figure skater Nathan Chen mid–quadruple jump.

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interest. “The key thing is to anticipate where to place those points of interest,” Mellor says. “In Beijing, we decided to have three focal points: the primary one would be the person looking straight into the lens and talking to you. Second, we framed a wide view of the street so you could see all the activity of the market: people walking back and forth and a cook hammering away on a chopping block. Finally, directly behind our setup was a dumpling shop. So if you chose to look 180 degrees behind, you could see people making dumplings in their stand.”

You are there: VR at the New York Times On November 5, 2015, the New York Times didn’t deliver the news—it made it. The bastion of traditional print media launched a VR app, and that weekend, it distributed more than a million Google Cardboard VR viewers for free to home-delivery subscrib-

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Google News Lab, the John S. and James L. Knight Foundation and the Online News Association support VR journalism with a robust initiative called Journalism 360 (medium.com/ journalism360). Aimed at accelerating the use of immersive storytelling in the news, the initiative announced the winners of the inaugural Journalism 360 Challenge in 2017. Grants ranging from $15,000 to $30,000 were awarded to eleven projects to enable VR storytellers to push the boundaries of immersive journalism.

According to Hopkins, who is helping direct the Times’ efforts in 360-degree video, VR, augmented reality (AR) and mixed reality (MR), “The Displaced” was a great example of what journalistic VR can accomplish. “When the medium emerged, we recognized the potential for journalism to transport our audience to places that they couldn’t or wouldn’t go,” Hopkins says. “And we have the potential to give our audience an experience that’s different than just reading an article.” “The Displaced” checked the box for both objectives. The result won the Grand Prix at the Cannes Lions in 2016, and according to jury president Jae Goodman, catapulted the company “100 years forward.” Recent groundbreaking projects Hopkins mentions include a fourpart VR film series that takes viewers above and below the Antarctic ice, a 360-degree video of luge riders rocketing down a track, and an AR piece featuring figure skater Nathan Chen that “places him in your living room, so you could walk around him and observe his technique from all angles while he’s leaping 20 inches off the floor and spinning at 400 revolutions a minute.” The Advanced Imaging Society hosts Asked to speculate on what’s the Lumiere Awards every year coming next in the alphabet (uploadvr.com/lumiere-awards-2018vr-ar), which recognizes a dozen VR soup of AR, VR and MR, categories, including Best VR Brand Hopkins doesn’t hesitate. Experience, Best VR Documentary “We’re getting to the point and Best Sports VR Experience. where mixed reality will be built into reading glasses instead of a giant headset. Instead of a laptop screen or phone, the information we interact with will be in the world around us. The future is screenless,” she says.

Crossing the empathy chasm: VR filmmaking When Kate Wurzbacher isn’t wrangling gear for VR shoots with production company Here Be Dragons, she’s helping directors of photography transition from filming in the realm of flat screens to shooting in 360 degrees. As head of camera at Dragons, one of the first things Wurzbacher has to figure out is, “Who is the camera?” Wurzbacher explains: “In traditional film, the audience is passive. In VR, you are either a bodiless onlooker or you are a character.” In documentary VR, the audience is typically cast in the role of onlooker. In narrative VR, a character can look directly into the camera and address “you.”

ers. As part of a multimedia documentary project, the Times also debuted its first VR film, “The Displaced.” The eleven-minute VR story took readers on a journey to the places where three refugee children were living.

A behind-the-scenes look at the making of Look But With Love, a VR documentary series directed by Sharmeen Obaid-Chinoy, produced by Here Be Dragons and SOC Films, and presented by Within. Launched in 2017, the series follows remarkable people in Pakistan.

Deciding who the camera is, is step one. Step two is all about shot composition. Wurzbacher explains that in VR, “You can’t traditionally lens a shot. It will always be a fisheye lens or a 360-degree lens. So you have to learn how to direct the viewer’s eye.” For that, she has a bag full of tricks, like framing techniques, movement and sound cues.

A few years back, GoPro joined forces with Kolor, a French company specializing in video-stitching software. While Kolor recommends shooting with the GoPro Omni (shop .gopro.com/virtualreality) synchronized rig using six cameras, the company’s Autopano Video software (kolor .com/autopano-video) “also supports footage shot with other rigs and camera configurations.”

As the medium matures, Wurzbacher sees an explosion of creativity, especially in narrative VR. “In a documentary VR, you set up a camera with an interesting composition, then jump out of the way.” By contrast, she says, “In narrative VR, you can block the scene and place characters in the scene to draw your eye.” Camera moves now come into play, including push-ins, dollies and shots that play with eyeline. “Eye contact equals empathy in VR,” she says. The vocabulary of VR is expanding—along with the sophistication of production equipment. In the early days of VR, Wurzbacher screwed together modified GoPros in stereo pairs until they formed a rough circle. Software was equally rudimentary. “We would manually stitch everything together, bring it into a program like Autopano and sew it into a seamless panoramic.” A quick visit to B&H Photo Video (bhphotovideo .com) reveals four dozen cameras designed for VR filming, from the flagship Garmin VIRB 360 to the futuristic Vuza 3D 360 camera with its eight image sensors to an elegant Richoh Theta V.

Those days are long gone. Today, consumers have a choice of sensor size, software and affordable self-stitching cameras. As Wurzbacher says, “We’ve waited for this day.” ca Communication Arts | commarts.com

FUTUREDELUXE BY GARRICK WEBSTER

hope it’s going to involve smoke and big water tanks with cameras, and be a hybrid of digital and analog. That sweet spot of ‘How have they done that?’ is quite a nice place to be.” Andrew Jones is talking about one of the latest projects FutureDeluxe is working on. It’s for an American science fiction network, and the motion graphics and computer graphics (CG) studio has been given a budget to explore and experiment and see what it can come up with.

“Playing and testing; taking CG and then fucking with it, distorting it, creating something new—we enjoy that a lot,” says James Callahan, who joined as a partner a couple of years after Jones set up the company in Brighton in 2010. The studio, now based in London and 20-strong, has developed a certain look and feel across its body of work, which includes visuals for brands like Betfair, Disney, Intel, Nike and Wacom, as well as the edgy music groups Hockeysmith and Modeselektor. Flashes of light, vibrant colors, translucency, fluorescence, textures, smoke, reflections and fluids effortlessly blend and spin into motion throughout FutureDeluxe’s visual explorations. You’ll watch with a sense of weightlessness as forms morph, meld, merge, disappear and are reborn in the studio’s abstract universe. It’s a place where experimentation means everything, so FutureDeluxe tries to devote 30 percent of its time to development. With motion design as a starting point, the studio’s work has evolved to encompass visual effects, CG and even code-driven art. “I’m drawn to color, but I’m really drawn to detail, intricacy and the computational technology element of it,” explains Jones. “Pushing the tools to do things they almost can’t do delivers this intricate detail that I can’t get from real life. I push a computer to its max to find these layers and depth in things we can’t normally see.”

Setting up FutureDeluxe has enabled both Jones and Callahan to also cut free of the restraints set by corporate advertising accounts with tight deadlines and less scope for creativity. Jones worked as a graphic designer in the late ’90s and became fascinated with emerging technologies like Flash and Director. After the dot-com bubble popped, he ended up at digital agency AKQA, developing his talent for motion graphics through digital campaigns, installations and more. Callahan, similarly, worked for various agencies, including the London-based trendsetter Mother. With a background in conceptual filmmaking and with the advent of 3G—and later 4G—he was intrigued by the content possibilities that mobile video would offer. After escaping the agency life, the pair set out to try new things. The two met when Callahan, as a freelance art director, came to FutureDeluxe to help Jones with a pitch. They’ve since built FutureDeluxe into a studio that brands turn to when they want to create something their audiences haven’t seen before, and that other creatives turn to for inspiration. “It’s less that we have complementary skills or that the things he’s lacking I have, and more the chemistry between us,” says Callahan. “We have very similar references. We like similar styles and, yeah, there just seemed to be this ‘click.’” Having an experimental approach naturally entails risk. Behind FutureDeluxe’s stunning animations is a lot of testing, tweaking and repeating. Mistakes are made. “The Wacom piece is an example of where it can go wrong behind the scenes,” says Jones. Intrigued by some abstract feathers that FutureDeluxe had crafted as artwork for its packaging, Wacom and ad agency Iris London gave the studio an open brief to create a film inspired by feathers. FutureDeluxe came up with a concept that took in the themes of growth, display and flight. But when FutureDeluxe storyboarded the film, it felt too literal, so the studio worked on the idea and invited movement

Captions supplied by FutureDeluxe. Right: “OFFF London Titles 2017” 3:05 “We were approached by the great people at OFFF to create the titles for their recent London event. As a studio, we are always looking for a chance to produce something different and to challenge ourselves creatively, so we jumped at the chance. We set about creating detailed, stylized computer graphics (CG) characters mixed with a unique dynamic particle system that drove the design element of the titles itself. We teamed up once again with Zelig Sound to create something epic as the driving score of the film, an abstract journey through a futuristic tribal world of color and detail.” FutureDeluxe, design/director/ production company; Felix Wolf, 3-D modeling; Davy Evans, photography; Igor Gama, compositor; Jan Bohacek/Josef Sima, animators; Zelig Sound, sound design/music; OFFF, client. 30

Photography Annual 2018

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FUTUREDELUXE

“We found this technique where you can film and play footage through a code system that we tweaked and developed. It looks at the motion rather than the actual graphic, and tracks that motion while taking color references,” says Jones. “We started experimenting with filming macroliquids, and ran it through this system. Rather than having a 2-D plane of an image, it enables you to have a threedimensional plane, which you can put cameras into [via 3-D software], and you’re immersed in this image. We textured all the particles to feel like an apocalyptic desert.”

artist P A L E T A to improvise a series of bird poses, which were 3-D scanned. Procedural textures and layers of materials were then applied to the human and bird forms, along with the dance and flight dynamics the studio had envisioned. “We were so sick of it by the time it came out,” says Jones. “It doesn’t come across in the finished work, which has had a really, really good response, but we spent a lot of time just experimenting, and we blew all the budget. The making-of film is probably longer than the film itself. It’s one where we did way too much research and development rather than what was needed for the final film.” Although the experience nearly put the dampeners on what has become one of the studio’s most prestigious projects, FutureDeluxe learned from it and continued pushing its art forward. In 2017, the studio was invited by internationally renowned digital festival OFFF to create the main titles for its London event. “It’s about sharing knowledge that in our industry is regurgitated and reused and repackaged,” says Jones. In the piece, an ever-changing, organic mass of colored particles is passed from one character to the next. In between cuts, swirling granules spell out the names of the main participants at OFFF, like sand paintings made by an indigenous tribe. The passing of the knowledge becomes a surreal ceremony in ultrahigh definition, with a haunting, visceral feel to it.

The piece also pushed the studio in its use of 3-D characters. Real people were scanned to create finely detailed human forms, which were later animated to carry out the tribal ritual. It’s an intimate sequence, and shooting the live-action reference footage was part of the fun. “We filmed some of the guys in the studio licking each other’s ears or looking at each other in loving ways,” says Callahan. Héctor Ayuso, OFFF’s director, had been tracking FutureDeluxe’s work for a while before offering the studio the opportunity. “I knew from the start that they would blow people’s minds with their final piece. It wasn’t like anything people expected. That’s the beauty of an open brief— I made sure they were completely free to do whatever they wanted, and the result was breathtaking and out of the ordinary.” While the visuals will pull you in like quicksand, what really holds viewers is the audio. FutureDeluxe worked with London-based sound design studio Zelig Sound, run by Matthew Wilcock, to develop audio tracks that perfectly matched the atmosphere—and the editing—of the piece. “We truly believe that the audio on most of our pieces is easily 50 percent of it,” says Callahan. “What we’re making doesn’t exist, and it’s the audio that helps convince the viewer that this thing’s real, this thing was really there, and this thing moved past the object or landed on the ground.” “We usually get together and chat about the film: what it is, what they’re wanting to get across, what it’s for. Then we chat about references and moods,” says Wilcock, who regularly collaborates with FutureDeluxe. “Complementing their visuals is just conversation, and then collaboration. That’s the ideal.”

This page: Andrew Jones (left), founder and director, and James Callahan (right), director. Right: “Wacom Plume” :53 “We were approached by Wacom and ad agency Iris London to create a self-initiated arts film with a focus on FutureDeluxe as a studio, how we work and our experimental approach when given an open brief. The result was a surreal and experimental arts piece that combines woman and bird to tell a beautiful visual story within an imaginary world of intricate color and detail—Plume.” twistedpoly, art director; FutureDeluxe, design/director/production company; FBFX, 3-D modeling; P A L E T A, model/contributing artist; Simon Fiedler/Thom Haig/twistedpoly, digital imaging; Alex Bootz, animation; Resonate, sound design; Iris London, ad agency; Wacom, client. “Nike Magista 2” :60 “What might have happened if the foot had evolved to play soccer? Working with the Nike global soccer team, we were briefed to create a product superiority film and numerous retail assets for the launch of the new Magista 2 soccer cleat. Motion-captured data and 3-D body scans of professional soccer player Mario Götze combined to tell the story of the new sensory Magista upper, which gives instant ball-to-brain connectivity.” FutureDeluxe, design/director/ production company; Echoic, sound design; Nike Global Football, client. 32

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Photography Annual 2018

FUTUREDELUXE After eight years at the forefront of motion graphics, a new chapter has begun for FutureDeluxe. In September 2017, the studio signed a partnership with global visual effects house Moving Picture Company (MPC). FutureDeluxe is now on MPC’s roster of directors. Meanwhile, FutureDeluxe has MPC’s backing when big jobs come along, and can tap into the larger company’s know-how. “They can give us the skill sets that we don’t have in-house,” says Jones. “It could be anything from creature animation to working in virtual reality. It’s definitely a two-way arrangement, and they’ve opened us up globally to a whole new audience.” FutureDeluxe’s London studio, near Old Street, is as hectic as ever. On the day of our interview, three client projects are underway, and the boardroom is filled with children’s shoes of all shapes and sizes for a possible new campaign. The render farm, a high-performance computer system, is whirring in the kitchen, and all have their heads down, working. Jones and Callahan also have a studio in Brighton, and they work there two days a week. The London studio is set to expand, and they have just rented more space on the floor below to make room for meetings and calls. Going forward, FutureDeluxe hopes to create more work for US clients, in film, television and new formats. “I’m hugely into augmented reality and emerging technology and what’s going to happen in more experiential spaces,” says Jones. “We’re doing more outdoor work, installations, 360-degree dome projections—anywhere there’s a different type of screen. It’s going to be interesting telling stories in different places, rather than just on a computer screen or a mobile phone.” ca

Left: “Intel Experiments” 1:12 “Code through a lens. A series of experiments based on physical light and projection that were all shot in camera.” FutureDeluxe, design/director/ production company; Dom Jones, director of photography; Davy Evans, photographer; Intel, client. “Betfair – Game within the Game” :27 “For the launch of betting platform Betfair’s new campaign The Game within the Game, we were approached to visualize ever-changing sports data and statistics in a powerful and compelling way for fans who follow numbers as well as sports. Working with ad agency Saatchi & Saatchi Melbourne, we set about creating intricate data-visualized layers applied to multiple motion-captured athletes and sports sequences. The resulting films and key visuals depict an ever-changing data-driven world of sports.” FutureDeluxe, design/director/production company; Echolab, sound design; Saatchi & Saatchi Melbourne, ad agency; Betfair, client. This page: “Nervo – Live Tour Visuals” :25 “We were approached by Brighton, United Kingdom–based graphic design firm filthymedia with a motion brief for its client Nervo, Australia’s charismatic electronic dance music twins. Combining 3-D head scanning with new animation techniques, we created a set of tour visuals that continually changed, giving unlimited combinations of animated content.” FutureDeluxe, design/director/production company; Zelig Sound, sound design; filthymedia, agency; Nervo, client. Communication Arts | commarts.com

FUTUREDELUXE This page: “Two images from a collaboration between FutureDeluxe, photographer Philip Haynes and numerous visual artists.” FutureDeluxe, art direction; Philip Haynes, photographer; Caleigh Illerbrun, illustrator; FutureDeluxe/Philip Haynes, clients. Right: “Diadora Blushield” :49 “Diadora Blushield shoes bring a new balancing system that favors better running stability. The active cones ensure the total adhesion of your foot, while the ergonomic Morpho base and the zero-strain nucleo enhance comfort and running stability. For the launch of the Diadora Blushield shoe range, we created a hero product and lifestyle film, as well as online films, multiple retail key visuals and out-ofhome assets. Shot on location in Barcelona, the film combines CG and live action to tell the story of ‘the joy of a balanced run.’” FutureDeluxe, design/director/post-production producer; Luke Jacobs, director of photography; Chop Chop/tenthree, editorial companies; Resonate, sound design; Jonny Tully, colorist; Archer’s Mark, production company; Diadora, client. “Hockeysmith – But Blood” 5:25 “Music video produced and directed with long-time collaborator and friend Davy Evans for sister duo Hockeysmith’s song ‘But Blood.’” Davy Evans/Jonathan Nicol, directors of photography; Davy Evans/ FutureDeluxe, editors; Davy Evans, director; FutureDeluxe, postproduction company; Hockeysmith, client.

Photography Annual 2018

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FUZZCO BY STEPHANIE HUNT

here’s no signage—no hint that this 170-year-old Charleston single house in the heart of Charleston, South Carolina’s buzzing Cannonborough neighborhood harbors a team of designers and brand wizards whipping up whip-smart looks for companies like Google and MailChimp. There’s just Wiley, a black cat, lazing in the sun and a centuries-old patina of paint on the front door, a nod to the ever-unpeeling layers of creativity waiting on the other side.

after graduating from Macalester College. They had met as sophomores in French class and have been à deux ever since (they married in 2010). Like good liberal arts grads, they spent their early postcollege years doing a smattering of odd jobs. Nissenboim’s stints ranged from working at a software company, at the public library, in a liquor store and a brief, unpleasant experience running an upstart cab company. Rice waited tables, focused on her painting and worked as a studio assistant for batik artist Mary Edna Fraser.

This lovingly restored house is Fuzzco’s temporary southeastern headquarters while its new office is being built—its West Coast counterpart is in Portland, Oregon. But it could easily double as a set for a Kinfolk photo shoot (yes, it’s been featured). Weathered wood, marble countertops, Scandinavian-inspired chairs, mod lighting—the interiors are raw and textured, sleek and astutely edited; the ambiance a nonchalant mash-up of timeless and edgy, reflecting the yin and yang personalities of the award-winning design studio’s founders and creative directors, Josh Nissenboim and Helen Rice.

All along, the couple used their self-taught design and computer development skills to do one-off website or logo projects. “Fuzzco was just another thing we were dabbling in, to help friends who needed a website or whatever. We had an old PC from college, and we’d take shifts on it, sometimes staying up all night,” says Nissenboim. “We loved it,” Rice adds.

Nissenboim is ebullient, energetic and quick to flash a boyish grin; Rice is reserved and reflective, with an impish twinkle in her eye. He’s the daring cook; she’s the patient gardener. He’s the math major and chess wizard; she studied studio art and loves making things. “I’m spreadsheety,” Nissenboim admits; Rice, not so much, as her darting sideways glance reveals. And, somehow, it all works. Brilliantly.

The evolution of Fuzzco

Launched in 2005, Fuzzco and most everything about it, including its quirky name—the result of playing with words and using a domain search tool to scout out an “available six-letter domain name that was memorable,” says Nissenboim, who is still amazed it stuck—was more or less a lark. The company’s genesis stretches back to late 2004, when Rice and Nissenboim moved to Charleston, Rice’s hometown,

Turns out their clients did too. Before long, they began entering—and winning—regional marketing and design competitions. Word spread around town, and more people approached them, including James Beard Award–winning chef Mike Lata, who hired Fuzzco to help launch his second Charleston restaurant, The Ordinary, in 2012. Their creative confidence grew, as did their business acumen. “Figuring out the business side of things has been really fun,” says Rice, who credits Nissenboim’s business instincts for steering Fuzzco’s growth. In 2009, they had begun hiring a small team and moved into a new office. Fuzzco’s Portland studio, now headed by partner Ann Kaufman, opened in 2015. From the outset, a spirited distillation of artistic whimsy and strategic discipline—Rice’s painterly eye spiked with Nissenboim’s quadratic equations—has been Fuzzco’s secret cocktail. “We’re constantly looking for our way of doing things, of distinguishing ourselves,” says Rice. Though she and Nissenboim are self-taught, they set high standards. “We look broadly, to the best of the best out in the world, for

Captions supplied by Fuzzco. Right: “We were approached by the client, a successful candlemaker, to help concept and create a retail experience with candles at the center. The Candlefish experience evolved to include candle-making workshops, as well as a fragrance library where customers can smell up to 100 scents and build a fragrance profile. We named the brand after candlefish. Also known as eulachon, this type of fish contains enough oil to burn like a candle when dried; as early as the first century A.D., indigenous people in the Pacific Northwest used candlefish to light their dwellings. We also consulted on the interior design of the retail store and designed the brand identity, packaging, illustration systems and various branded pieces for use online. The Candlefish product line was designed to be classic and neutral to help distinguish it as a house brand. A lot of fish, water and fire imagery came into play.” Candlefish, client. 38

Photography Annual 2018

FUZZCO inspiration, and are always pushing ourselves to do our strongest work,” says Nissenboim.

With a wink in it

Fuzzco’s creatives are known for producing work that “is playful and a bit subversive,” says Mark DiCristina, senior director of brand marketing at MailChimp, which has tapped the studio for projects ranging from webcomics to playing cards to web design and illustration work. “I ask for the weirdest, most creative stuff they can do, and they just go for it. What Fuzzco delivers tends to have a wink in it. It’s always something a little unexpected and a little surreal, which fits well with the MailChimp brand,” DiCristina says. Perhaps this knack for intuiting a client’s needs and wants— even when the client can’t exactly articulate it—comes from how clear Fuzzco is about its own brand and culture. “Fuzzco is a point of view,” says Rice. “We are curious, hungry, optimistic, and dogged about making things better and making things that we would want to use.” After trying out different staffing models, Nissenboim and Rice have honed in on the ideal team size for the type of highly collaborative work that they enjoy doing (about eight to twelve people per studio is the max; the Charleston and Portland studios work independently, but Nissenboim and Rice review the work being done in both offices). They’re intentional about taking on clients whose work they can get excited about and who are willing to take risks. That might be a global software giant or East Fork Pottery, a small but growing artisan outfit in the boondocks of western North Carolina. Regardless of the project scope or client profile, Fuzzco brings to each its unique spark. According to Rice, Fuzzco looks for an interesting underlying concept and fresh, compelling perspective to drive the work. “There are these

subtleties—you think you’re looking at something you might expect, but then there’s something else going on,” she says. When email marketing automation firm Drip needed a rebrand, its chief marketing officer, Dustin Robertson, looked to Fuzzco. “They stood out—far and away—as the studio with the most creative chops,” says Robertson, who was familiar with the studio’s work for MailChimp. Tasked with revamping Drip’s brand strategy, visual identity, website design, illustration work and art direction for photography, Fuzzco anchored its design with an ellipsis-inspired “powerup” mark (think Super Mario Bros.), a zippy palette and lively illustrations. “In the conservative, sterile space of software, this is the boldest, most expressive brand I’ve launched,” says a pleased Robertson. Similarly, the digital health analytics firm Evidation Health tapped the studio to infuse its brand with “Fuzzco’s refreshing sense of creativity,” says cofounder and president Christine Lemke. The brief asked for a brand identity that conveyed both science and innovation—but in an approachable way. “I expected all the normal stuff to come back. Instead, Fuzzco introduced this fuzzy electron mark called Eve, and we’re like, ‘Oh my god.’ They synthesized all the jargon and turned it into this character.” Plus, adds Lemke, “They somehow made it painless. They pushed us to uncomfortable edges, but made it fun. They put deep thought into getting to know our company personality and where we were headed—what could be possible.”

A sense of boundlessness When finessing the rebrand of East Fork Pottery for founders Alex and Connie Matisse, Nissenboim and Rice gave strategic input on repositioning the company and segued into becoming equity investors. “We understand the decisions and struggles that business owners face, which informs how we work with them,” Rice says. “We challenge their ideas of what’s expected and come up with a variety of ways to execute their ideas in ways they may not have thought of,” Nissenboim adds. The Matisses appreciated that Fuzzco’s creativity extended beyond graphic design. “They approach design holistically. They’re boundless in terms of what they think about,” says Alex Matisse. Back in Charleston, that boundlessness extends to Nissenboim and Rice’s shared passions for architecture and

This page: From left to right: Cofounders Josh Nissenboim and Helen Rice. Right: “Fuzzco worked with the Google for Entrepreneurs team on its 2016 annual report celebrating the collective successes and impact of the 50-plus partners in its global partner network. A version of the map was framed and given as a gift to the partners.” Google, client. “AIR Serenbe is the artist-in-residence program at Serenbe, a progressive real estate development just outside of Atlanta, Georgia. Fuzzco designed the program’s identity and collateral and a set of printed materials to commemorate the 2017 Focus Fellowships. The fellowships are awarded to different artists to support their work and to influence the development of healthy, creative communities. The identity system takes direct inspiration from the architecture and orientation of the artist cottages, which were designed by Rural Studio of Auburn University.” Brandon Hinman, AIR Serenbe, client. 40

Photography Annual 2018

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Photography Annual 2018

FUZZCO making cool things. “I think of us as design-based entrepreneurs,” says Rice, who inherited her love for old buildings from her architect father. She serves as the lead for their building renovation and design projects, including Fuzzco’s forthcoming live/work space in another historical Charleston building. They’ve created two small businesses to contain their tangential pursuits: Serious Buildings is the umbrella for their architectural projects and real estate investments, and Pretend Store is where Fuzzco designers partner with clients, friends and manufacturers to “create and sell things we want to see in the world,” says Rice. Years before she signed on to head the studio’s West Coast operation, Kaufman was tuned in to the buzz around Fuzzco. “Those of us in the design world were always anticipating what we might see from them next,” says Kaufman, who comes from a brand strategy background. And now that she is part of it, Kaufman appreciates that what makes Fuzzco distinctive is simply “its people,” she says. “We’re encouraged to be super brave with our ideas and recommendations, and we see ourselves as collaborators with our clients.” Nissenboim and Rice set the tone, but Fuzzco is the team: their combined imaginations, curiosities and talents. “If you’ve got good energy and work hard, and if you’re smart as hell and a little odd, that combination is perfect for doing great work, for being a great friend and for business success,” Kaufman says. That’s pretty much the Fuzzco recipe—blur the lines and blend it all up; add some laughter, boldness and a pinch or two of the unexpected. Put it on the sunny porch or the marble countertop, and Wiley or his fellow feline Geri (who, honestly, really run the show) will be the ultimate judge. ca

Left: “MailChimp puts a high value on creating a great company culture that values delightful design and thoughtful experiences. We designed and produced a series of limited edition welcome kits and recruitment materials for distribution by MailChimp’s human resources team.” Mark DiCristina, MailChimp, client. “Fuzzco created a series of comics to tell the story of one of MailChimp’s featured applications. Fuzzco wrote, illustrated and animated the comic, which was delivered to various audiences online as well as in print. It was so well loved that the series was extended the following year and given as a corporate gift.” MailChimp, client. This page: “The Ordinary is a nationally recognized seafood hall and oyster bar located in Charleston, South Carolina. Fuzzco created the logo, the website and all the touchpoints in the restaurant, from the menus to the aprons and paper hats worn by the chefs. Fuzzco also consulted on the naming and interior design. The name refers to an ordinary—a meal provided at a fixed time and price—which is a key component of The Ordinary’s menu. The identity is all black and white, and the interior is also neutral. We wanted the food and the people to bring color to the space.” The Ordinary, client. Communication Arts | commarts.com

FUZZCO This page: “Drip is an intelligent marketing automation platform that sees beyond the current understanding of customer relationship management. Fuzzco took the Drip team’s research and built a thorough brand strategy that connects e-commerce marketers to Drip’s behavioral-based automation. Fuzzco also provided an identity system, illustrations, icons, website design, merchandise, art direction for the brand photography, various collateral pieces, experience consulting and copywriting. The illustration system has a whimsical sophistication. The colors are bold, and the typography hierarchies balance serious and playful.” Drip, client. “Fort Louise is a vibrant neighborhood restaurant in East Nashville, Tennessee. Fuzzco created the identity system, illustrations, menu system, website and various collateral items experienced throughout the restaurant. We were inspired by the restaurant itself, a quaint arts-and-crafts-style ranch house with an interesting history and lots of soul. That, along with the eclectic menu, informed the fun, technically loose approach to the identity. We embraced the laid-back vibe of the space by taking a quirky approach to layout. Words and images flow languorously, paying no mind to grid nor margin. In addition to a bespoke wordmark and monogram, we created a series of hand-drawn india ink drawings to accompany the various printed ephemera within the Fort. We wrote a lot of the copy sprinkled throughout the work, most notably on the website. Above all others, “I’m hungry like a Fort” became our raison d’être.” Fort Louise, client. Right: “Shorebox is bringing a fresh perspective to the food-delivery market with chef-prepared meals for busy professionals. Fuzzco worked with Shorebox to build a smart identity and packaging system that was inspired by the abundance of the West Coast and could scale with the fast-growing business. We also created illustrations, product photography and stop-motion videos. The illustration system references agricultural and city landscapes and can be used across the brand as stand-alone elements or in a colorful patchwork pattern. The efficient packaging system adds polish to the brand experience during the company’s early stages.” Shorebox, client. “Bittermilk is a line of cocktail mixers made for cocktail enthusiasts by bartenders with real ingredients. Fuzzco named the company; designed the identity system, packaging, posters and apparel; and built an e-commerce site. We created a name, a visual system and illustrated iconography that reference old apothecaries and echo old mail-order catalogs. Each label has a different shape and color balance and features an original shadow puppet.” Bittermilk, client.

Photography Annual 2018

Communication Arts | commarts.com

RED RED URBAN URBAN A BOUTIQUE IN HEAD COUNT ONLY, THIS TORONTO CREATIVE SHOP IS PUNCHING ABOVE ITS WEIGHT FOR OMNICOM.

BY CHRIS DANIELS

ed Urban is located on the thirteenth floor of a high-rise in downtown Toronto’s upscale Yorkville neighborhood. The space, undergoing renovation, is shared with a number of other firms in Canada that are also owned by agency holding titan Omnicom Group. This includes DDB Canada and Interbrand. But Red Urban’s modest office gives little indication of the major impact the agency has been having in North America for brands like McDonald’s and Subaru. No awards line the shelves (although you’ll see plaques used as bookends). The space contains no foosball tables to suggest a work hard, play hard culture. And not a lick of Red Urban branding is emblazoned on the walls. Yet this unassuming, tight-knit group of about 25 people is an idea-generating powerhouse for Omnicom. In August 2016, Omnicom won McDonald’s creative account in the United States over Publicis Groupe on an idea from Red Urban. Less than six months later, in the first quarter of 2017, its idea—There’s a Big Mac for That—launched in the marketplace with an integrated ad campaign. Those who watched the Super Bowl LI pregame show, the Grammys or the Oscars that year may recall seeing a commercial in which a rapper, backed by a drumline, celebrates the everyday moments in life warranting a Big Mac—or a Mac Jr. or Grand Mac, which the commercial advertised as being available for a limited time. The campaign also included 125 unique digital and social pieces. Over a late breakfast at members-only club Soho House, Christina Yu, executive creative director at Red Urban, says, “It is unheard of that a new client buys pretty much what you pitch. It just doesn’t happen. But the final work for McDonald’s ended up being very, very close to the pitched work.” Red Urban is one of a number of agencies that Omnicom leans on to help solve difficult creative briefs. In the case of McDonald’s, Yu flew out to Chicago to be part of the pitch

team. But there was no time for the agency to pop open champagne to celebrate the victory. In winning the business, Omnicom opened a new creative agency in Chicago, called We Are Unlimited, that was initially dedicated solely to its new client. “Christina was essentially acting as the creative director for the early employees at the new agency,” recalls Red Urban president Steve Carli. “And so she had to manage both what was happening in Chicago with McDonald’s, and also in Toronto with Red Urban.” Building an agency from scratch in such a short time period created all kinds of challenges. “It was crazy; and in retrospect, when I think about all of the work that we did, I would actually call it insane,” says Carli. “But Christina is really calm in stressful situations. She has a we-can-get-thisdone attitude.” In the first quarter of 2017, McDonald’s enjoyed a lift in US same-store sales over 2016, thanks in part to the brand’s limited-time offering of its signature Big Mac hamburger in new sizes.

A star’s ascent Back in 2009, Omnicom was looking to open a digitally led creative boutique in Toronto, and decided to make it part of the Amsterdam-based interactive group, Red Urban, that the holding company had acquired in 2006. The Toronto boutique’s first client would be Volkswagen Canada. It needed someone with digital savvy and energy to lead the creative product. Someone who could hold ground with clients. Yu was Red Urban’s first creative hire. Carli joined about ten months after the agency officially launched in January 2010, returning to his native Toronto from the Chicago office of Crispin Porter + Bogusky, where he led new business development. “I saw the coming together of this young creative

Captions supplied by Red Urban. Christina Yu was the executive creative director on all projects shown. Right: “First, we created a light painting using the sporty 2012 Volkswagen Jetta GLI as the brush and the pavement as the canvas. Long-exposure photos from the 30-second TV spot became framed limited edition prints, hung as wild postings across Canada for all to steal. An online component leveraged social media to seed clues to the undiscovered prints still available. Judging by how quickly they disappeared, it’s clear that people still have an appreciation for fine art.” Joel Pylypiw, art director; Dave Barber, writer; Dave De Carlo, Rooster Post Production, editor; Adam Marsden, photography director; Naveen Srivastava, The Vanity, compositor; Adam Damelin, Eggplant Collective, music; Andrea Hull, agency producer; Lexy Kavluk, executive producer; Untitled Films, production company; Volkswagen Canada, client. 46

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RED URBAN “They are a relatively small agency, but Christina and her team bring a lot of depth creatively,” says Ted Lalka, vice president, product management, marketing and customer experience, Subaru Canada. “It is not like one commercial is the same as the second and third and fourth. If you take a look at the spots they’ve done for us, each represents a feeling and personality unique to the vehicle brand.” Red Urban’s work for the automaker includes the beautiful Dark Sky campaign, which inspires families to get out of the city in a Subaru Outback and look up. The agency worked with the Royal Astronomical Society of Canada to create authentic activations for the campaign, with up-to-date stargazing information. talent in Christina and a great iconic, global brand in Volkswagen,” says Carli. “I wanted to be part of it.” Yu’s ascent in the Canadian ad scene had been rapid. After she graduated in 1999 from OCAD University (formerly the Ontario College of Art and Design), she had stints at Taxi and BBDO. At 27, she was named creative director at Lowe Roche. During her tenure there (2005–2009), she worked on accounts for Stella Artois globally and Virgin Mobile in Canada, and Lowe Roche was named Agency of the Year by Marketing magazine in 2007.

Recently, the 2018 Subaru Legacy was positioned by Red Urban as a tongue-in-cheek “paradigm shift” and a vehicle that “disrupt[s] the SUV”—a sport utility sedan (SUS). Despite competing in a category on the decline in North America, Subaru’s midsized sedan enjoyed a boost in website and dealership visits and ultimately sales, says Lalka.

Fight Club rules

How does Red Urban continue to punch above its weight creatively? Both Yu and Carli give a lot of credit to the young people on the agency’s payroll. More than half of its staff are under the age of 30.

“She is a very, very talented art director to start. She grew up with a mouse in her hand and not a pencil, and has a way of getting the best out of people,” says Geoffrey Roche, who hired her at his eponymous firm. “She is about the size of a dime, but she is a force of nature. And I think her best is yet to come. Given the right canvas, she can do anything.”

“The vibrancy and energy of work is driven by a lot of youthful people, and to deliver the best possible work today, they really, really help,” says Carli. “And as people who were both afforded opportunity early in our careers, we feel a responsibility to bring up young talent to be the agency leaders of tomorrow.”

Many clients clearly agree. Red Urban has attracted brands like Nestlé Purina, Labatt Brewing Company and Canadian retailer Hudson’s Bay Company in part on the strength of her reputation and past work. Subaru Canada hired Red Urban in 2015 after the agency ended its five-year relationship with Volkswagen Canada.

To do that, Red Urban brings everyone from the agency together on a client brief. And then it invites—or, more accurately, demands—thought starters, no matter how seemingly ridiculous, from everyone in the room. “That is the rule of ‘Fight Club’: you have to come in with ideas,” says Yu. “And we tell people that no idea is a bad idea.

This page: Christina Yu (left), executive vice president and executive creative director, and Steve Carli (right), president. Right: “Crosstrek Park” :30 “In order to demonstrate the sportiness and agility of the Subaru Crosstrek, the agency developed a campaign that replicated a city spot that is always a hub of exuberant activity and unlimited fun: the dog park. Crosstrek Park was created to allow our ‘urban’ SUVs a chance to go out for a run with friends, free of the constraints of roadways, stop signs and pesky pedestrians.” Peter Gardiner/Patrick Shing, creative directors; Ross Birchall, Saints Editorial, editor; John Houtman, photography director; John Mastromonaco, director; Ted Rosnick, Vapor RMW, sound design; Trudy Turner, producer; Anna Tricinci, agency producer; Lexy Kavluk/Tory Osler, Saints Editorial, executive producers; Untitled Films, production company; Subaru Canada, client. “Dark Sky” :60 “Because of excessive urban light, about 85 percent of Canadians can’t see more than a few of the brightest stars in the night sky. We wanted to remind them of the beauty of a star-filled sky waiting for them out beyond the city and position the Subaru Outback as the perfect vehicle to get them there.” Patrick Shing, art director; Pete Gardiner, writer; Mario Ramirez Reyes, strategist; David Baxter, editor; John Houtman, photography director; Eric Whipp, Alter Ego, artist; John Mastromonaco, director; David Whiteson, Alter Ego, Flame artist; Tom Evelyn, producer; Anna Tricinci, agency producer; Lexy Kavluk, executive producer; Untitled Films, production company; Grayson Matthews, music company; Subaru Canada, client. 48

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Photography Annual 2018

RED URBAN We want people to have no inhibition. Because you never know. … A little nugget of an idea from a junior could be the biggest idea for a campaign, because then a senior person is able to shape and articulate it.” For example, the idea to position the Subaru Legacy as a sport utility sedan came from a very junior team. “One of them was just three months out of school,” says Yu. “He was able to go back to OCAD as a speaker with a full campaign in his book. That is what happens when an agency allows anyone to be able to win opportunity. When you have senior and junior people together, you really start to have interesting conversations.” Now 41 years old, Yu doesn’t just have a thriving career in advertising. She is also a mom to four-year-old twin boys. When she was 26, she was quoted in the trade press on her goals for the next decade. It included teaching at her

Left: “Butcher” :30 “As the compact sedan segment became a pricing battleground, Volkswagen (VW) needed to challenge the perception that the Jetta was premium-priced. The agency tackled the challenge in a cheeky campaign that presented the VW Jetta as imminently affordable by situating the vehicle in a scenario that the average shopper might come across in a normal shopping day—the local butcher. The Jettas were hung from the ceiling as regular fare of the shop, with our butcher promoting the price as a great deal.” Liam Johnstone, art director; Sarah Di Domenico, writer; Paul Jutras, Rooster Post Production, editor; John Houtman, photography director; Jean-Michel Ravon, director; Tom Evelyn, producer; Anna Tricinci/Terri Vegso, agency producers; Melissa Kahn/ Lexy Kavluk, executive producers; Untitled Films, production company; Eggplant Collective, music company; Volkswagen Canada, client. “Buck” :18 “Richmond Optometry wanted to introduce itself to its neighborhood in an interesting way. No postcard mail drops for this optometry practice. It worked with Red Urban to develop a series of commercials that would run in local Toronto cinemas. Simple scenarios encouraged viewers to get their eyes checked, lest they make some serious, yet hilarious, errors based on less-than-perfect vision.” Joel Pylypiw, art director; Jon Murray, writer; Chris Parkins, Rooster Post Production, editor; Brendan Steacy, photography director; Wendy Morgan/Stephanie Pigott, directors; Andrew Rolfe, Fort York VFX, Flame artist; David Isaac, agency producer; James Davis/Melissa Kahn, Rooster Post Production/Lexy Kavluk, executive producers; Untitled Films, production company; Pirate Toronto, music company; Richmond Optometry, client. This page: “There’s a Big Mac for That” :60 “How do you bring the swagger back to the iconic Big Mac in America? In partnership with our sister agency We Are Unlimited, Red Urban led the creative development to introduce two new sizes of the world’s most famous burger with the most expansive, multifaceted campaign in its history. It proved that no matter the moment, There’s a Big Mac for That.” Eric Carriere/Andrea Knowles/Meagan Patry/Patrick Shing/ Catherine Wong, art directors; Phil Hahn/Benjamin O’Neill/Angeline Parsons/Lauren Riddoch, writers; Jennifer Rossini, creative director; Grant Gustafson, Cutters Studios Chicago, editor; We Are From LA, director; James Graves, producer; Valerie Romer, executive producer; Iconoclast, production company; SOUTH, music company; Red Urban/We Are Unlimited, ad agencies; McDonald’s USA, client. Communication Arts | commarts.com

RED URBAN alma mater (check), becoming a creative director (check), and being married with two kids and a dog (check, check and check). “The white picket fence was about the only thing I didn’t get,” she says with a laugh. So, when she hears from young women who think they can’t have a career in advertising and also be a mother (as she sometimes does while attending industry panels and other events), “it really hurts,” she says. “It is disheartening that women only a few years into the business are thinking, ‘There is no way I can do both.’ But you can. I try to get home and see the kids during the week, and I’ll pick up the computer once they go to bed. It is about reworking your schedule [if] you do have kids.” However, she acknowledges that mothers need supportive work environments to make it work. Because Red Urban is such a small team, she says if someone needs to leave to pick up a sick kid from school, then “there is another person who already knows everything about the project and can do what’s still needed to be done. And that really helps in making things easier for people to work around family schedules.” That collaborative atmosphere has been one of the keys to Red Urban’s success. It is also what’s made the boutique such a valued partner to Omnicom when the company is in need of fresh thinking. “No matter what the timelines are or how big the brief is, we always deliver our creative ideas to them in a deck that is easy to understand,” says Yu. “They will always get something from us.” ca

This page: “Super Sexy CPR” :65 “The old advertising adage ‘sex sells’ was twisted in this interesting approach for cardiopulmonary resuscitation (CPR)—could ‘sex save lives’? Red Urban created a completely unconventional approach to promoting a lingerie startup. CPR instructional videos accurately illustrated the steps to take when performing CPR, all demonstrated by models clad in the company’s finest. The video was a massive viral success, leading to an unprecedented amount of public relations and global interest in the company.” Daniel Bonder/Christina Yu, art directors; Daniel Bonder, writer; Christina Humphries, Rooster Post Production, editor; Sean Valentini, photography director; Curtis Wehrfritz, director; Adam Damelin, music; Amanda Campbell/James Davis, producers; James Davis, executive producer; Untitled Films, production company; Eggplant Collective, music company; Fortnight Lingerie, client. Right: “Country of Adventurers: David Thompson” :60, “Country of Adventurers: Dr. John Rae” :60 “The Hudson’s Bay Company has a lot of history, having been founded in 1670—but almost no one knows it. Our task was to bring that history to life in a modern and meaningful way. We focused on the stories of some of the company’s greatest adventurers, as told by some of Canada’s greatest modern-day adventurers.” Alicia Outschoorn, art director; Peter Gardiner, creative director; Mark Paiva, Saints Editorial, editor; John Houtman, photography director; Eric Whipp, Alter Ego, artist; David Tennant, director; Andres Kirejew, Alter Ego, Flame artist; Rob Fisher, Alter Ego, motion graphics; Anna Tricinci, agency producer; Tory Osler, Saints Editorial, executive producer; Untitled Films, production company; Hudson’s Bay Company, client. 52

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Communication Arts | commarts.com

SCI-FI GUY

BY CLAIRE SYKES

t all begins with a small, black smudge. As Tommy Arnold slides the stylus around, the amorphous shape on the screen gradually turns into a man. A few more strokes, and the shadow behind him becomes a billowing blood-red velvet cloak, the blob on his head a golden-spiked helmet. Crouched and clutching a shining dagger, the warrior braces himself for battle as lightning slashes the sky. Fantastic characters like this have always felt normal to Arnold, 28, who grew up playing Magic: The Gathering and watching Star Wars and, especially, Lord of the Rings. Of the latter, Arnold says, “Those movies were a huge watershed moment for fantasy in terms of it becoming mainstream, but to me as a child then, this genre felt very normal. And a lot of these stories, at their core, are just about the power of the human spirit—something I’ve always really believed in.” For Arnold now, living in the world of science fiction and fantasy means illustrating its book covers. One of them is for Touch of Iron, which author Timandra Whitecastle self-published in 2016. “He conveys the book’s grim and hostile environment so well in the sparks and ashes flying about; and the female character’s don’t-mess-with-me attitude in her posture and face,” she says. “His covers are clear-cut and stark in their aesthetic. You immediately get a sense of who these characters are and what to expect from the novels. I’d have trouble naming another cover artist working in speculative fiction today who gets even close to the level of definition and realism that Tommy does.” Just a few years into the profession, this Bellingham, Washington, illustrator is already one of the industry’s most respected. But Arnold didn’t grow up imagining life as an artist.

Born in Atlanta, Georgia, and raised in smaller Southeast towns, he entered LaGrange College with no idea of a career for himself. Then he took a required art class, which sparked a love of drawing. That’s when he noticed the illustrators credited on his Magic cards and book covers. He suddenly wanted to be one of them. While finishing up at LaGrange long distance, he enrolled in the two-year illustration program at Portfolio Center in Atlanta. Here, instructor and comic-book artist Brian Stelfreeze quickly became his mentor. He taught illustration fundamentals in figure drawing, painting, perspective and color theory, “and that there’s a science to illustration,” says Arnold. “He challenged me to analyze and understand what I was seeing in pictures, and know that with hard work, I could master and command any element of artistic vocabulary.” Stelfreeze also was living proof for him that it was possible to be a successful freelance illustrator, “an example I was keen to imitate.” In 2012, three-quarters into his program at Portfolio Center, Arnold dropped out to take a job illustrating for an animated TV series with Bento Box Entertainment, while working nights on freelance gigs. Then, after a nine-month stint with Floyd County Productions’ Archer series, his savings let him leap into freelancing full-time. Soon after, he met Irene Gallo, associate publisher of Tor.com and creative director at Tor Books, which launched his professional career. By then, “I was really focused and knew exactly what I wanted to do,” he says. He was getting known as a cover artist. In early 2015, Lauren Panepinto, creative director at Orbit Books, was looking through Tor.com one day when she was

Right: Touch of Iron. “Cover art for the debut novel of the same name by Timandra Whitecastle, who has the great ability of making you see and experience a lot with the use of very few words. It was important to me that her covers be in keeping with that strength.” Timandra Whitecastle, client. 54

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struck by two illustrations. They were expressively painted, yet realistic; and the characters were strong, yet also enigmatic, conveyed with emotional depth and nuance. These were Arnold’s first assignments for Gallo. Panepinto immediately emailed him and commissioned covers for David Dalglish’s Seraphim trilogy. The illustrations were to be heroic and powerful winged warriors, but they still needed to have that human connection, for readers to relate to them. “Tommy’s characters really sing, and they sell really well,” says Panepinto. “They’re not generic; he puts a lot of emotion in the face and body language, making them look like real people, not idealized characters.” Arnold says, “I’ve always been concerned more with naturalism than with realism. I’m always looking, drawing in my head the way some people draw in their sketchbooks. Brian taught me to really understand and catalog what I was seeing so that I could call on it anytime. When I read a great character, I don’t see their face; I know them as someone I’ve already met. And we draw best the things and people we know.” The best place for this is his private studio in a townhouse he shares with illustrator Wylie Beckert. Their quiet residential neighborhood isn’t far from the woods and beautiful Bellingham Bay, perfect for taking breaks walking their Chihuahua mix, Tiki. Before Arnold picks up his stylus, he likes to read the books he’ll be illustrating, making note of the larger emotional moments as he goes. Then he puts the finished book down for a few days. “That lets me forget scenes and details, but not moods, and those are what I go for.” Next, in the “presketching” stage, he writes out his ideas. “I start abstractly, from the gut, and build from there, planning how colors, light and shapes can manipulate readers to feel particular emotions.”

By the time Arnold presents clients with three sketches, each is tight and polished, expressing a different dominant mood. Once the client selects a sketch, Arnold hires models who resemble his characters. He poses and photographs them in jumpsuits and military uniforms, with swords and rifles, and other costumes and props that fill his studio closet. From the session’s 2,000-plus photos, Arnold ranks the best in Adobe Bridge. Then he creates a rudimentary collage with them, referring to it as he paints on top of his sketch, resulting in the final image. “He’s not afraid to let the character be the star of the piece,” says Panepinto. “And he gets the visual hierarchy of book covers, controlling what the viewer looks at and in what order, through size, color, saturation and light. Tommy’s got a handle on that.” Meanwhile, the principles of music play into his illustrations. “A brushstroke, a shape, a color—these things have an attack, just like a musical note, in terms of how quickly they’re recognized and how long they resonate,” he says. “Certain notes together result in aural tension, with dissonance or harmony, similar to the way a foreground figure interacts with the background or with its place in the frame.” When Yanni Kuznia saw Arnold’s illustration for The Jewel and Her Lapidary, Fran Wilde’s novella from Tor.com Publishing, “I was blown away,” says the managing editor and sometimes art director at Subterranean Press. “The greens and yellows are what drew my eye, and the purple adds that splash of contrast. Then the swooping banners in the background feel like they’re poised to catch that moment right before the action explodes, creating this anticipation.” Kuznia hired Arnold to illustrate Reaper’s Gale, Steven Erikson’s seventh novel in his Malazan Book of the Fallen series. The brief for the two limited editions of the book called for separate front-panel and wraparound dust jackets, and four interior color illustrations, with an added gatefold for one of the books. “On a cover, you have one shot to tell the story. For this project, all the illustrations could work together to say something more complete,” says Arnold. Thinking about the narrative arc and treating the images as a whole, he pulled scenes from the novel that represented its separate acts. His illustrations give the impression of

Right: “Alternate cover art from my illustrated edition of Reaper’s Gale, by Steven Erikson, published by Subterranean Press.” Yanni Kuznia, art director; Subterranean Press, client. “Interior art from my illustrated edition of Reaper’s Gale. I used this scene to describe the isolation and insanity pulling this character to pieces and motivating his villainous choices. This dark piece precedes a final, solid white illustration, making the latter shine even brighter for a triumphant finish to the visual arc.” Yanni Kuznia, art director; Subterranean Press, client. “Interior art from my illustrated edition of Reaper’s Gale. Art director Yanni Kuznia gave me a lot of freedom in planning and executing the story via pictures. I used this scene to build anticipation and represent a quickening of the plot in preparation for the climactic centerfold.” Yanni Kuznia, art director; Subterranean Press, client. 56

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Communication Arts | commarts.com

Photography Annual 2018

TOMMY ARNOLD a world becoming increasingly magical, as they move from the clear and realistic to the distorted and abstract. Colors in each play against one another, creating distinct, emotional meaning. “It was a dream job,” says Arnold. “I was finally able to utilize some of the lessons about sequential storytelling that I’d gleaned from being around Brian and his love of comics.” Since then, Arnold’s career has exploded—doubling his client list—with more Tor and Orbit covers, and those for Del Rey Books, Saga Press, Angry Robot Books and a host of self-published authors. Whatever the project, “I want to bring as much picturemaking knowledge to bear as possible and immerse myself in the creative process as deeply as I can. That’s the fun of all this. There’s no ceiling on how high of an art form illustration can be with dedication and hard work. I love waking up each day excited to paint and push myself to be better.” Just like the characters on the sci-fi and fantasy books he illustrates, “there’s nothing I feel I can’t do.” ca

Left: “Cover art for book two in David Dalglish’s Seraphim series, published by Orbit Books. David writes action so well that I get goosebumps reading it. I used the cover to introduce that ability, painting a tense moment that looks like it’s about to explode into action.” Kirk Benshoff, art director; Lauren Panepinto, creative director; Orbit Books, client. This page: First Kill. “Art for a Jennifer Fallon short story of the same name, published by Tor.com. For this assignment, I sent in three sketches: two I really loved and one that was OK. Irene picked the OK one! I had to make a lot of changes to turn it into something I liked. In the end, the piece was vastly better for it and showcased what was cool about the story to a degree that the other sketches hadn’t. This is the best thing about collaborating with my art directors: like good coaches, they can see what I can’t and push me to improve.” Irene Gallo, art director; Tor.com, client. “Cover art for the second novel in Timandra Whitecastle’s The Living Blade series. With Timandra, it’s just the two of us working together on each project, so we have a lot of freedom to make cover choices that are powerful but uncommon, like completely obscuring the character’s face. This piece was selected for inclusion in Spectrum 24: The Best in Contemporary Fantastic Art and was one of the artworks in the book category nominated for an award.” Timandra Whitecastle, client.

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TOMMY ARNOLD This page: “Cover art for the limited edition printing of Pierce Brown’s Red Rising, from Subterranean Press. Pierce’s books are full of action, yet have this strong, symbolic nature to them that really resonate with me; I tried to mirror that in the art. Art director Yanni Kuznia graciously allowed me to paint way past my deadline in order to finish this piece to my satisfaction. This piece was selected for inclusion in Spectrum 25: The Best in Contemporary Fantastic Art and was one of the artworks in the book category nominated for an award.” Yanni Kuznia, art director; Subterranean Press, client. “Cover art for Myke Cole’s novella The Armored Saint, published by Tor.com Publishing. Despite being a very experienced and widely published author, this is Myke’s first foray into the fantasy genre. The team at Tor and I wanted something big and iconic to start this novella series off right.” Christine Foltzer, art director; Irene Gallo, creative director; Tor.com Publishing, client. Right: “Art for the Rivals of Ixalan expansion for game publisher Wizards of the Coast’s trading card game Magic: The Gathering. With a lot of my pieces, I try to flatten the space in ways that increase its graphic appeal, but with this brief, I was specifically called on to showcase a deep environment. It was a nice opportunity to push the depth with color and use a number of other solutions that typically don’t make their way into my cover work.” Dawn Murin, art director; Wizards of the Coast, client. “Cover art for book one in the Voidwitch series of novellas by Corey J. White, published by Tor.com Publishing. Corey is able to write action-packed and awe-inspiring stories while retaining a deep sense of humanity in his characters—I always try to bring that across when I paint his covers.” Christine Foltzer, art director; Irene Gallo, creative director; Tor.com Publishing, client. “Cover art for book two in the Voidwitch series of novellas. This picture uses a figure falling through space to represent the main character’s fall from grace and to build suspense before her triumphant return to power on the cover of book three of the series. I’m always looking for ways to play series covers against one another for a heightened effect like this.” Christine Foltzer, art director; Irene Gallo, creative director; Tor.com Publishing, client.

Photography Annual 2018

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Photography Annual 2018

Shakespeare’s Globe identity The new identity for the Globe Theater uses the theater’s circular shape to celebrate Shakespeare’s impact on the world. “We worked together with cultural strategy agency Morris Hargreaves McIntyre to create both a new mission statement and a new visual identity, appealing to the Globe’s stakeholders, long-standing visitors, Shakespeare buffs and newcomers alike,” says the London, United Kingdom, office of Superunion. “When we first began immersing ourselves in the Globe and exploring its depths, we were drawn to the theater’s circular shape. While it was described in the prologue to Henry V as ‘this wooden O,’ in fact, the Globe is not a plain circle, but a twenty-sided polygon. We felt there was something special in the idea of honoring the theater’s shape with a part of the theater itself. Also, as many of his fans will know, after Shakespeare’s death, two of his friends published an entire collection of his works, known as the First Folio. We quickly realized that once you removed the decorative elements and altered the type of the First Folio, the format feels both contemporary and radical. This provided the inspiration for everything.” Jonathan Brodie/Piers Komlosy, senior designers; Katherina Tudball, design director; Nick Eagleton, creative director; Jay Dingle, graphic designer; Hannah Yates, project manager; Matilda Scullion, strategy; Superunion (London, United Kingdom), design firm; Shakespeare’s Globe, client.

Profiles in Murder title sequence Danish motion designer and director Toke Blicher Møller created the main titles for the true crime television series Profiles in Murder, in which two of Denmark’s most seasoned investigators share stories of some of the most despicable homicides in modern Danish history. “The theme for the series is quite sinister, so the mood of the title sequence reflects that,” says Møller. “The client also wanted the audience to get a sense of how the investigators’ minds worked, and planned on using luminol (a chemiluminescent compound used to detect trace amounts of blood at crime scenes) throughout the series. While it made perfect sense to introduce this in the titles, the luminol was challenging to work with, especially when matching the 3-D and green-screen scenes with the clean live-action shots. But the biggest challenges were putting in the details no one ever notices, like scratches and smoke. I really enjoy projects where you are able to use the whole spectrum of techniques.” Toke Blicher Møller (Copenhagen, Denmark), design/director; Philip Flindt, music/sound designer; Anders Löfstedt, director of photography; Asger Garde/Kristian Porsgaard, producers; Neggie Rosenberg, postproduction producer; Warner Bros. Denmark, production company; Tine Røgind, Discovery Networks Denmark, 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.

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EXHIBIT 1

Beach Soccer Czech Republic identity Jan Šabach, designer and creative director of Northampton, Massachusetts–based firm Code Switch, created the logo and identity for Beach Soccer Czech Republic, the Czech Republic national beach soccer team. “I wanted to stay away from the overused motifs of palm trees, sun, ocean and a silhouette of a beach soccer player doing the signature bicycle kick, or ‘scissors’ kick, as it is known in the Czech Republic,” says Šabach. “This visual language wouldn’t have felt believable in the Czech environment, since it is a landlocked country, and it wouldn’t have stood out among all the other international beach soccer clubs. But a playfully animated typographic logo and an identity based on a typeface felt like a great idea. The letters themselves became the players kicking the O around, and the color palette is the same as the Czech flag’s.” Jan Šabach, designer/creative director; Code Switch (Northampton, MA), design firm; Jan Dámec, Beach Soccer Czech Republic, client.

Hahndorf Hill Winery packaging When Larry Jacobs and Marc Dobson first traveled from South Africa to the Adelaide Hills in southern Australia, they were so captivated by the area’s patchwork of vineyards, orchards and native vegetation that they eventually purchased the Hahndorf Hill Winery. “After a comprehensive discovery phase, we repositioned Handorf Hill as Australia’s house of Grüner Veltliner, which is what the winery is now famous for internationally,” says Matthew Remphrey, creative director of Adelaide, Australia– based Parallax Design. “We then dressed the wines in abstract illustrations of the scenic patchwork that first captivated Larry and Marc. They had total faith in us from the start and never questioned our design decisions, like filling most of the front of the label with abstract artwork and tucking information like the brand name, varietal and vintage vertically around the side of the label. We wanted the labels to invite customers to turn the bottles around and explore.” Matthew Remphrey, designer/creative director; Amanda Di Mauro, production artist; Parallax Design (Adelaide, Australia), design firm; Hahndorf Hill Winery, client.

Apple short film To promote the powerful iMac Pro, Apple commissioned a series of short films from filmmakers and computer graphics artists using the all-in-one machine. “If I was going to make the claim that this is a true working professional’s tool, then I wanted to make sure it is,” says Erin Sarofsky, principal and executive creative director of Chicago, Illinois–based Sarofsky. “I wanted to do a piece that had a lot of technical aspects. I also wanted to do something visually striking, but deeply personal. When I started brainstorming ideas, I flipped through some old journals. And then it struck me: I could make an old book filled with illustrations and then bring that to life. Making and filming the book was an essential part of getting the computer graphics elements to look real.” Brent Austin/Duarte Elvas/Erin Sarofsky/Josh Smiertka, artists; Cory Davis, Flame artist; Paul Riggio, Groove Guild, music/sound designer; Erin Sarofsky, director; Sarofsky (Chicago, IL), production company; Apple, client.

Photography Annual 2018

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Photography Annual 2018

EXHIBIT

Riso D’uomo packaging London, United Kingdom–based Here Design created packaging that celebrates the quality and purity of Milanese artisan rice brand Riso D’uomo, whose carnaroli rice has been grown close to the Duomo di Milano, or the Milan Cathedral, for the past 700 years. “Our idea was to rewrite the rice design rule book and use bold lines, solid shapes and strong colors in a way that truly stands out,” say Caz Hildebrand, creative partner, and Billy Bridgeworth, design associate and the lead designer on the project. “Our tile shapes and patterns are taken directly from the Candoglia marble floor designs of the Duomo itself, to which we added simple geometrical rice patterns reflecting the high-quality risotto rice grains.” Billy Bridgeworth, lead designer; Caz Hildebrand, creative director; Here Design (London, United Kingdom), design firm; Paola Ciboldi, Riso D’uomo, client.

World Wildlife Fund print ad Toronto, Canada–based ad agency Traffik created a series of print ads to urge people to sign up for the Great Canadian Shoreline Cleanup, one of the largest direct-action conservation programs in Canada. “The real impact of garbage is that it drives wildlife out of their habitats and can even kill them,” says Traffik writer Tekla Nagel. “By humanizing—or rather, wildlife-izing—the problem, we could give people a tangible reason to care. We wanted the ads to remain consistent with existing World Wildlife Fund work and achieve a moody realism in its look and feel. We’re proud of the visually striking, polished and realistic look that we were able to achieve within a pro-bono budget.” Craig Huffman, art director; Tekla Nagel/Ross Pryde, writers; Chris Davies, creative director; Jarret Anderson, photographer; Brad Pickard, 3-D animator; Kathryn Brown, producer; John Krissilas, strategy; Traffik (Toronto, Canada), ad agency; Emily Vandermeer, World Wildlife Fund, client.

Under Armour TV commercial “UA HOVR: Welcome To Your New Running Experience” :45 Although Under Armour was proud of UA HOVR, its latest footwear cushioning platform, the technology behind it was hard to explain. “Our task was to visualize the technology in a graphic way and then tell a story about how UA HOVR benefits consumers,” says Brien Holman, partner and executive creative director of Los Angeles–based We Are Royale. “We used the red ‘energy web’ pattern as a visual thread throughout the campaign. It informed our computer graphics scenes, the set design of our cityscape and the lighting of everything we shot.” Chad Howitt/Loren Judah, creative directors; Brien Holman, executive creative director/director; Joey Camacho/Justin Harder/Steve Lee/ Gordon Waltho, designers; Joey Camacho/King Nigoza, lighting designers; Ryan Hovland, developer; Ivan Cockrum, lead developer; Brinton Jaecks/Ryan Kirkwood/Renzo Reyes/James Vogel, animators; Joey Camacho/Patrick Clark/Ivan Cruz/Mike Humphrey/Roy Kang/Renzo Reyes/Teri Shellen, 3-D artists; Joey Camacho, 3-D modeling; Ryan Frey, editor; Matt Guzzardo, visual effects supervisor; Joel Voelker, colorist; Ben Hubbard, production designer; Isaac Ruth, production coordinator; Karla Fay Sylvester, producer; Beck Henderer-Peña, digital producer; Rhys Demery/Jennifer Lucero, executive producers; We Are Royale (Los Angeles, CA), production company/visual effects company/digital effects company; Brien Holman/Jennifer Lucero/Jayson Whitmore, development partners; Under Armour, client. Communication Arts | commarts.com

EXHIBIT 1

Xiu Dou print ad One from a series of print ads promoting Xiu Dou sour candies. “The candies are so sour that they may crush consumers’ faces upon being ingested,” says Carlos Camacho, executive creative director of J. Walter Thompson in Shanghai, China. “The biggest challenge was to change the expressions on the portraits by folding, crumbling and crushing the paper they were printed on in order to bring out the drama of the sourness. Since this project was handcrafted, it was very demanding. An intense trial and error ‘warm-up’ phase was necessary before we even started. Every single detail of the folding, crushing and crumbling was crucial because it was the only way to create the desired expressions. If we overlooked the details, we would have to start all over again. It was also a detoxifying experience in a time where most visual effects are heavily dependent on computergenerated imagery.” Carlos Camacho/Justin Leung/Anna Yang, art directors; Carlos Camacho/Clara Li/Selwyn Low, writers; Carlos Camacho, executive creative director; Ale Burset, photographer; Ramon Cedeño/Diego Speroni, retouchers; J. Walter Thompson (Shanghai, China), ad agency; Chu Shui Che Foods Manufacturing Co. Ltd., client.

Crown & Caliber print ad There is a lot of skepticism about buying a preowned luxury watch online, from fears that the watch won’t be authentic to the fear of paying too much for a watch that doesn’t work properly. This ad is from a print campaign created to increase awareness of Crown & Caliber as a source that makes buying a preowned luxury watch a fearless, winning experience. “When we were reviewing watch and fashion ads in the media, we realized that watch ads look like perfume ads, which look like fashion ads,” say Bob Warren and Hal Barber, partners and creative directors of ad agency Barber Warren Advertising in Alpharetta, Georgia. “While we were kidding around, we realized how engaging it could be to personify those consumer fears with animals that represent them. We’re especially proud of how beautiful and realistic the final images are. They’re very stylish, and they definitely stand out against other high-end watch, car, fashion and jewelry ads in the same publications.” Hal Barber, art director; Bob Warren, writer; Hal Barber/Bob Warren, creative directors; Michael Bailey/Stephen Purnell, we monsters, digital imaging; Barber Warren Advertising (Alpharetta, GA), ad agency; Jason Allen, Crown & Caliber, client.

Photography Annual 2018

“

I was pleased to see some interesting experimentation in short-form videos.” —Todd James

“

PHOTOGRAPHY 2018 ANNUAL

Such a wide variety of photographic styles are represented here. It’s great to see art photography alongside advertising and editorial photography.” —Erin Mayes

ADVERTISING 1 (series) Dan Burn-Forti, photographer Wieger Poutsma, retoucher DDB Amsterdam, ad agency Royal Canin, client “From a series of cat portraits taken in Moscow, Russia, in 2017. These were used across all media globally for the ongoing Royal Canin advertising campaign.” Headline: Royal Canin— Incredible in every detail.

2 James Minchin III, photographer Michael Kochman, creative director Matthew Rond, photo editor TNT + TBS Marketing, client “James Minchin III took this portrait of actor Luke Evans while photographing marketing materials on the set of TNT’s original series The Alienist in Budapest, Hungary.”

Photography Annual 2018

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Photography Annual 2018

ADVERTISING 1 (series) Martin Tremblay, photographer/digital artist Guillaume Lépine, assistant photographer Etienne Rochon, art director Malia Morsly, stylist Martine L’Heureux, makeup artist Aanagram, ad agency Fédération des coopératives funéraires du Québec, client Mûrir en paix (Repose in peace). “Series for a cooperative of funeral homes.”

2 Ross Brown, photographer Jamie Schaefer, art director SixtyFour, retoucher Homegrown Creative, design firm Royal New Zealand Ballet, client “Used for print ads and posters promoting the Royal New Zealand Ballet’s production of The Piano: the ballet.”

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ADVERTISING 1 (series) Gary Land, photographer Sayako Minami, art director Alex Rice, creative director TDA Boulder, ad agency Ascent Protein, client “This job took us out to Boulder, Colorado, where we photographed the planet’s best CrossFitters and obstacle course racers pushing their limits in order to highlight a new protein formula by Ascent Protein. Mother Nature provided us with a mixture of the season’s first snowfall, freezing temperatures and one hell of a large silk in the sky. Our athletes battled through the wintery chaos and crushed the course with unwavering persistence.”

Photography Annual 2018

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ADVERTISING 1 Paul Elledge, photographer Kelly Rickert, creative director Goodman Theatre, client “For The Power of Theater campaign for Goodman Theatre’s 2017–2018 season, which included a production of the play An Enemy of the People. Used in posters, OOH and direct mail.”

2 (series) John Myers, photographer Kerri Linsenbigler, writer Jason Pautler, senior art director Kathy Kastan/Bill Paterson, creative directors Heather Roman, producer Hac Job, retoucher Brittany Klotzbach, project manager Kathy DiCesare, stylist Josselyn Scott, makeup artist Gelia, ad agency Trico, client “For a series of ads for Trico windshield wiper blades.” Headlines: Avoid doing the Collie; Don’t do the One-eyed Jack; Don’t just Hope & Spray.

Photography Annual 2018

Communication Arts | commarts.com

Photography Annual 2018

ADVERTISING 1 Michael Clark, photographer Bram Dauw, Elinchrom, art director Charlie Pinder, Red Bull Photography, creative director Jorge Henao, Red Bull Photography, production manager Red Bull Photography, ad agency Elinchrom, client “This image of kayaker Rafa Ortiz dropping over Spirit Falls in Washington was created as part of Lighting the Spirit, the ad campaign promoting Elinchrom’s new battery-powered strobe, the ELB 1200, which enables photographers to create never-before-possible images. The image was used in online advertisements; on Elinchrom’s website and social media channels; and on many other platforms, including RedBull.com. It was also included in a behind-the-scenes video.”

2 Shawn Michienzi, photographer Robert Casillas/Courtney Pulver, creative directors Ben Purcell, executive creative director David Angelo/Bobby Pearce, chief creative officers David&Goliath, ad agency Vizio, client “A print ad, poster and OOH campaign for Vizio SmartCast TV Sound Bar.” Headline: Hear Like They Do.

3 Nate Ryan, photographer Pokey LaFarge, client “This portrait of musician Pokey LaFarge was taken outside his bus for tour promotional materials.”

4 Dana Neibert, photographer 4

Muneb Hamza/Katie Lynch, art directors Dario Albuquerque, executive creative director Ryan Reed, chief creative officer Hamed Zeinali, design director Jolianne Ray, GOOD Stills, producer M&C Saatchi, ad agency Aldar Properties PJSC, client “Advertising image for Water’s Edge, Aldar Properties’ new seaside development in Abu Dhabi.”

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ADVERTISING 1 simon+kim, photographer Miriam Fischer, art director Matthias Freuler, creative director Spinas Civil Voices, ad agency Pro Juventute, client “Published as print ads and posters. More and more children and adolescents are suffering from stress due to excessive demands and pressure—with sometimes serious health consequences. The campaign, titled Less pressure. More child., draws attention to the growing problem and calls for rethinking. The subject matter, the press documents and the fact sheets for the campaign’s various target groups were received with great interest.”

2 Chris Crisman, photographer Katie Sheridan/David Vaca, art directors Christina Calvit, creative director Karen Kirsch/Melissa Le Nicol, art producers Robert Luessen, producer George McCardle, retoucher Lily Hetzler, prop stylist Tadd Kroneck, set designer Cramer-Krasselt, ad agency Cotton Council International, client “Cotton farmer Sledge Taylor photographed for an ad campaign. Asset usage includes online, trade shows and industry print publications.”

3 Tim Tadder, photographer Eric Wright, art director New Era Cap Company, client “Football player Le’Veon Bell. Used in stores and stadiums for the launch of the 2017 National Football League season, with the tagline ‘Embrace the Season.’”

4 Peter Beavis, photographer Andreas Steinkemper, creative director Ogilvy & Mather Düsseldorf GmbH, ad agency Allianz Suisse Versicherungs-Gesellschaft AG, client “Swiss surf champion Alena Ehrenbold in the Mentawai Islands. The image was used for posters, OOH, print ads, social media, online and brochures.”

Photography Annual 2018

Communication Arts | commarts.com

Photography Annual 2018

ADVERTISING 1 Myles McGuinness, photographer John Gellos/Gregg Wasiak, creative directors Concept Farm, ad agency Aruba Tourism Authority, client “Part of a series of photos featuring fourteen-time world champion windsurfer Sarah-Quita Offringa. Taken for Aruba Tourism Authority’s advertising campaign This is My Aruba.”

2 Kurt Iswarienko, photographer Michael Kochman, creative director Matthew Rond, photo editor TNT + TBS Marketing, client “This promotional portrait of actor Daniel Brühl was taken on the set of TNT’s original series The Alienist in Budapest, Hungary.”

3 Christian Blais, photographer Marilou Crispin, assistant photographer Celica Sea, makeup artist Philippe Brach/Spectra Musique, clients “One from a series featuring Québec singer and songwriter Philippe Brach holding birds of prey. Used for the launch of his new album and a series of concerts, the photos promoted concert dates online and were displayed in magazines and newspapers and on blogs.”

4 Jonathan Knowles, photographer 4

Simon Elliott, creative director Ali Boschen/Toby Edwards, designers Gareth Pritchard, retoucher Corinne Young, makeup artist Betsie Dsane, model Rose, design firm English National Opera, client “An image advertising English National Opera (ENO)’s minimalist production of Aida at the London Coliseum. The image was used in a campaign across London, United Kingdom, including press advertising, OOH posters and display material outside the Coliseum. The image was also used for the show’s official program, website and online banner advertising. Featuring the emotive headline ‘Her heart or her homeland? The only choice is betrayal,’ the campaign attracted the biggest audience to an ENO autumn production in four years. Forty–four percent of Aida’s audience were first-time operagoers.”

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ADVERTISING 1 Jean-François Seguin, photographer Christian Rousseau, assistant photographer William Abranson, art director Mirjam Sanderud, creative director Erin Beveridge, photo manager Michelle Montanari, retoucher Toronto Environmental Alliance, client “Used for an environmental awareness campaign that helps kids in elementary schools in the Toronto, Canada, area realize that there is a generation younger than theirs.”

2 Aaron Hewitt, photographer Kristin Lane, stylist Ailsa Hopper Court, makeup artist Haley Bakker-Arkema, Nike, client “Used for the press release of the Nike Pro Hijab, Nike’s first athletic hijab.”

3 George Simhoni, Westside Studio, photographer Jordan Bowden/Rick Kemp, art directors Rick Kemp, writer/executive creative director Mark Tyler, digital artist BrandHealth, ad agency YMCA of Greater Toronto, client “Part of a series of giant posters placed on buildings in Toronto, Canada. The YMCA of Greater Toronto was looking to increase the membership of its Health & Fitness offering. It faced stiff competition in a highly competitive marketplace; but unlike everyone else, the Y is a charitable organization that gives back to the community with its membership. We used this truth and the universality of sweat to challenge perceptions and inspire people to break a sweat where it matters more.” Headline: Sweating for your community.

4 Scott Van Osdol, photographer Kyle Murphy, art director Rob Andrew, creative director Swagger Agency, ad agency Splashway Water Park, client “Shot as part of a photo library for the We Are Family campaign for Splashway Water Park, a family-owned waterpark near Houston, Texas. A month after the shoot, Hurricane Harvey devastated the Texas Gulf Coast. Splashway offered cabins, campgrounds, food and water to people fleeing the floods—for free. Photographer Scott Van Osdol used this image to tell Splashway’s story across social media, blog posts and email campaigns, urging viewers to donate to Texas flood relief as part of photography rep Heather Elder’s #GivingPhotography campaign.”

Photography Annual 2018

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ADVERTISING 1 (series) Steve Boniface, photographer Emily Beautrais, creative director Brigid Alkema, executive creative director Steve Boggs, designer Carne Godfrey, producer Jason King, retoucher Leon Baldock, digital artist Clemenger BBDO Wellington, ad agency Paul Graham/Rachel Prince, New Zealand Transport Agency, clients “Used in magazine print, outdoor posters, online banners and social posts, these images bring drugged driving statistics to life with a slightly surreal twist.” Headlines: Come down before you drive—Driving in the three hours after cannabis use doubles your crash risk; Come down before you drive—You’re twice as likely to cause a crash when affected by cannabis; Come down before you drive—One in four drivers who crash and die are affected by cannabis.

2 (series) Olivier Staub, photographer Vincent Bernard, art director Luc Du Sault, creative director Visual Box, retoucher lg2, ad agency Société de l’assurance automobile du Québec, client “Magazine ad campaign to educate the population about the consequences of driving under the influence of weed.” Headline: Cannabis extend reaction time.

Photography Annual 2018

Communication Arts | commarts.com

Photography Annual 2018

ADVERTISING 1 (series) Lucy Hewett, photographer Jesus Alvarez, art director Tracie Roberson, writer George Apfelbach, associate creative director Jim Stallman, creative director Natalia Kowaleczko, design director Colleen Capola, art producer Brenda Whaley, producer Jamie Bayer, retoucher Lavi Toma, prop stylist Karen Brody, makeup artist Leo Burnett, ad agency Commonwealth Edison, client “The campaign was printed as bus stop ads, street banners and a large backdrop installation at the 2017 edition of ComEd’s annual Icebox Derby, which encourages young girls to become part of the STEM workforce of the future.” Headlines: The STEM stars will see you now; Ready for takeoff; Driven to the core; The sky is not the limit; History is her story.

2 Chris Straley, photographer Jeff Samaripa, art director Michael Minter, creative director KEEN Footwear, client “This image was captured while walking around the streets of Tokyo for a KEEN Footwear ad campaign in 2018. I wanted to show the chaos that you would experience from a first-person perspective. The image was used across all of KEEN’s marketing platforms, including print advertising, digital and social media.”

Communication Arts | commarts.com

ADVERTISING 1 (series) Sam Kaplan, photographer Didima Martinez, senior art director Jon Yasgur, creative director Eugene Jho, food stylist Rémy Martin, client “This advertising shoot highlighting the tasting notes of Rémy Martin’s VSOP, 1738 and XO cognacs was used for the brand’s social media.”

2 Christopher Wilson, photographer Glenn Bowman, art director Tom Merrick, creative director Paradise Advertising & Marketing, ad agency Amelia Island Tourist Development Council, client “Used in print and digital media as part of a campaign for Amelia Island Tourism.”

Photography Annual 2018

Communication Arts | commarts.com

Photography Annual 2018

ADVERTISING 1 Jorg Badura, photographer Ayşe Bali, Rafineri, creative director Handan Yilmaz, 212 Studio, producer Şebnem Keskin, Network, client “Red Poncho is one of seven images photographed for the ad campaign for fashion retailer Network’s 2017 fall/winter collection. Athletes walked and balanced on a 131- to 328-foot-long highline spanning the cliffs of a 656-foot-deep canyon in Malatya, Turkey. The photographer rock climbed to get the proper angles. Usage included OOH, printed materials and online.”

BOOKS 2 (series) Julia Fullerton-Batten, photographer Boss Print/Sutherl&Editions, designers Sutherl&Editions, client “The Act, by Julia Fullerton-Batten, portrays the lives and skills of women who voluntarily engage in the UK sex industry.”

Communication Arts | commarts.com

BOOKS 1 (series) Per Breiehagen, photographer/retoucher Per Breiehagen/Lori Evert, art directors Jason Zamajtuk, designer Lori Evert, stylist Random House, client “The Puppy’s Wish (A Wish Book), by Lori Evert, is a board book about a little girl and her puppy who learn together about the importance of friendship.”

Photography Annual 2018

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BOOKS 1 (series) Andrew Garn, photographer/art director/designer powerHouse Books, client “The New York Pigeon: Behind the Feathers, by Andrew Garn, is a photographic exploration of the beauty and splendor of New York City’s ubiquitous bird. It includes close-up studio portraits, flight studies, and a brief history of the connection between pigeons and humans.”

Photography Annual 2018

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BOOKS 1 (series) Jeffrey Milstein, photographer Thames & Hudson, publisher/client “LA NY: Aerial Photographs of Los Angeles and New York, by Jeffrey Milstein, is a dazzling tale of two cities photographed straight down from the sky to emphasize the unique patterns of place.”

Photography Annual 2018

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Photography Annual 2018

BOOKS 1 (series) R. J. Kern, photographer/creative director/publisher Alison Nordström, PhD/Joe Scapanski, writers Matthew Steaffens, designer “The Unchosen Ones takes place on the sidelines of Minnesota county fair animal contests in 2016. As we look at the animals, they look back, allowing us to think about how we choose winners and the repercussions for the ones not chosen. The work originally appeared in the November 2017 issue of National Geographic and later in an artist monograph self-published by R. J. Kern in 2018.”

2 Laurie Frankel, photographer Trever Gens, assistant photographer Rolando Beramendi/Rebekah Peppler, writers St. Martin’s Press, publisher Rolando Beramendi, client “From Autentico: Cooking Italian, the Authentic Way, by importer Rolando Beramendi. In the cookbook, Mr. Beramendi focuses on fresh, quality ingredients with recipes straight from Italy’s premier food producers. To create the book, we traveled to factories and farms across the country, collecting and cooking the author’s and the producers’ favorite recipes. This image of spaghetti hanging from a pasta extruder was taken at Rustichella d’Abruzzo’s pasta factory in Loreto Aprutino, Italy.”

Communication Arts | commarts.com

101

BOOKS 1 (series) Lauren Greenfield, photographer Trudy Wilner Stack, picture editor Sara Bader/Susan Lynley Welsh, editors Frank Evers, producer Project Projects, design firm Phaidon, publisher/client “Lauren Greenfield: Generation Wealth is a longitudinal visual history of our growing obsession with wealth. Weaving 25 years of work into a metanarrative, Greenfield explores a consumer appetite unprecedented in human history. Keeping up with the Joneses has become Keeping Up with the Kardashians as the ‘aspirational gap’ between what we want and what we can afford has widened. Greenfield’s journey starts in Los Angeles and spreads across the globe, documenting the export of materialism, celebrity culture and social status.”

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BOOKS 1 (series) Victoria Will, photographer Elizabeth Avedon, design editor Peanut Press, publisher/client “Borne Back, the debut book from photographer Victoria Will, features her tintype photographs of actors and directors at the Sundance Film Festival. By taking advantage of the vintage look achieved with a large-format camera and the wet-plate collodion process, Will brings a different light to the faces we see photographed so often.”

Communication Arts | commarts.com

105

BOOKS 1 (series) Richard Bell, photographer/writer Bob Biondi, Schiffer Publishing, Ltd., editor Pete Schiffer, Schiffer Publishing, Ltd., client “In The Last Veterans of World War II: Portraits and Memories, Richard Bell presents his subjects juxtaposed with images of their youthful selves that serve as a visual bridge to the expanse of their life experiences.”

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BOOKS 1 (series) Tim Flach, photographer Cameron Gibb, Blackwell & Ruth, designer Abrams, publisher/client “Endangered, by Tim Flach, is a thoughtprovoking combination of words and extraordinary images that reveal the heartbreakingly fast pace of change our natural world is experiencing. Each photograph represents countless moments of suspense and labor; each represents research, persistence, and the artistic and technical skill honed over a master photographer’s professional lifetime.”

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BOOKS 1 (series) Chris Buck, photographer Sheila Heti, writer Giorgio Baravalle/Elizabeth Logan-Baravalle, de.MO, designers Norman Stuart Publishing, publisher/client “Uneasy is a book of Chris Buck’s portraits of the famous, photographed from 1986 to 2016. The introduction is a piece of new writing from author Sheila Heti, and the stories section features more than a hundred behind-the-scenes anecdotes by Buck himself, a Canadian-born, New York–based photographer known for his distinct portrait style.”

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BOOKS 1 (series) Brian Finke, photographer Jeff Dryer, designer powerHouse Books, client “Hip Hop Honeys, by Brian Finke, shows the behind-the-scenes world of professional video models.”

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BOOKS 1 (series) Adrian Mueller, photographer Matthew Kenney, Matthew Kenney Cuisine, creative director Richard Ljoenes, Regan Arts / A Phaidon Global Company, designer Kathryn Huck, Regan Arts / A Phaidon Global Company, editor Tomo Hatano, retoucher Scott Winegard, Matthew Kenney Cuisine, food stylist Judith Regan, Regan Arts / A Phaidon Global Company, publisher “PLANTLAB shares the innovations that world-renowned vegan chef Matthew Kenney has created to define a more plant-centric future. The cookbook’s 90-plus recipes employ a modern, creative approach and are organized into four sections that build on progressing skills: Fundamentals, Advanced Techniques, Professional and Food Future.”

EDITORIAL 2 Christian Als, photographer Maria G. Keehan, Smithsonian, art director Jeff Campagna, Smithsonian, photo editor Smithsonian, client “Tollund Man is the naturally mummified corpse of a man who lived during the fourth century B.C. Found in 1950, he had been preserved in a peat bog near Silkeborg, Denmark, and is one of the many ‘bog bodies’ of Europe. He is currently on display in Museum Silkeborg.”

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EDITORIAL 1 (series) Timothy Archibald, photographer James Estrin, creative director The New York Times, Lens, client The Sun Sets Early. “A five-year project looking at the transformation of the small town of El Sobrante, California, during the month of October. This series appeared on the New York Times’ Lens blog on October 30, 2017, as a 21-image photo essay, accompanied by a story written by Eric Nagourney.”

2 Scott Goldsmith, photographer Janet Michaud, creative director Katie Ellsworth, photo editor Politico, client The Inauguration of President Trump. “Trump’s son Barron and wife, Melania, are behind Trump. This image was part of a photo essay produced by Politico and published online the same day as the inauguration. I was one of four photographers working for Politico during the day.”

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EDITORIAL 1 (series) Shevaun Williams, photographer/creative director Heather Hanson, assistant photographer Elizabeth Wheat, stylist Desireé Irving, hair stylist Teriasia Dean, makeup artist Ina Quintanilla, model SPLURGE!, client “Fashion spreads for SPLURGE! magazine. The photo essay, titled ‘Latina Fabulosa,’ was about using current fashion to express a Latin aesthetic and theme.”

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EDITORIAL 1 (series) Cade Martin, photographer Maria G. Keehan, Smithsonian, art director Jeff Campagna, Smithsonian, photo editor Smithsonian, client “‘Robot Love’ features the C-3PO ‘protocol droid’ costume from 1983’s Return of the Jedi. The costume is part of the National Museum of American History’s collection.”

2 Scott Mc Kiernan, photographer Scott Mc Kiernan, ZUMA Press, photography director Mark Avery/James K. Colton/Seth Greenberg/Julie Rogers/ Ruaridh I. Stewart/Shalan Stewart, picture editors ThePicturesoftheDay.com, client “Japan’s Miu Suzaki and Ryuichi Kihara. The fierce, dramatic competition between top couples from all over the globe in one of the highest-rated Olympics events—pairs mixed figure skating.”

3 Robert Wilson, photographer 3

Anna Bassett, art director The Times Magazine, client “This portrait of Sir Michael Caine was taken at the Chelsea Harbour Hotel in London, United Kingdom, for The Times Magazine. Caine talks about Harvey Weinstein, Woody Allen, the Hollywood casting couch and why, at 85, he’s still in demand. Also, he promotes the documentary My Generation.”

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EDITORIAL 1 Dwight Eschliman, photographer Nick Galac, senior photo editor Karen Frank, director of photography Abby Stolfo, food stylist ESPN The Magazine, client “How one performance-enhancing sandwich has spread throughout the National Basketball Association.”

2 Frank Ockenfels 3, photographer Maria G. Keehan, Smithsonian, art director Donny Bajohr, Smithsonian, photo editor Smithsonian, client “Songwriter, singer, actor, producer and virtual reality maven—John Legend is America’s most versatile artist.”

3 Martin Schoeller, photographer Katie Lyall/Charlotte Stockdale, creative directors CHAOS SixtyNine, client “Karlie Kloss’s Kode With Klossy initiative promotes computer coding literacy among young women.”

4 Karsten Moran, photographer Lance Booth/Heather Casey/Becky Lebowitz Hanger, photo editors Michele McNally, director of photography The New York Times, client “Barbara Pessina’s Puli, Rummy, poses for a portrait in their room at the Stewart Hotel in midtown Manhattan on February 11, 2018, ahead of the 143rd Annual Westminster Kennel Club Dog Show. The photograph appeared with Kelly Whiteside’s story ‘No, That’s Not a Mop. It’s a Puli’ as part of the New York Times’ coverage of the event and the lengths to which owners go to get their dogs ready.”

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EDITORIAL 1 Michael Prince, photographer Robert Mansfield, design director Robyn Selman, photography director Forbes, client “Brad Cordova, cofounder of TrueMotion, a Boston-based startup that has developed a mobile app that can tell if you are texting while driving.”

2 Wisam Hashlamoun, photographer Mark Avery/James K. Colton/Seth Greenberg/Julie Rogers/Ruaridh I. Stewart/Shalan Stewart, picture editors Scott Mc Kiernan, director of photography DOUBLEtruck Magazine, client “Palestinians protest after Trump makes Jerusalem the new site for the US embassy to Israel. The resolve of the Palestinian people in the face of yet another setback in their desire for independence.”

3 (series) Markian Lozowchuk, photographer Paul Jean, art director Melena Ryzik, writer Jolie Ruben, photo editor Stephanie Goodman, editor The New York Times, client “Is Mother! the most confusing movie of 2017 or merely the most provocative? Javier Bardem, Darren Aronofsky and Jennifer Lawrence explain the movie. These images ran as a triptych in the New York Times.”

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EDITORIAL 1 David Ayllon, photographer Sasha Velour, model VELOUR: The Drag Magazine, client “VELOUR: The Drag Magazine was cocreated by Sasha Velour, winner of the ninth season of RuPaul’s Drag Race. Velour modeled for this image, which is one of four that she collaged for the cover of VELOUR’s third issue, the Sister issue.”

2 (series) Jim Krantz, photographer Rudi Übelhör, art director Erik Turek, creative director The Red Bulletin, client “It’s a 4,000-year-old dance—young men attempting to evade a charging bull in the most artistic manner possible. We followed Eusebio Sacristán and Saúl Rivera—two of Spain’s modern-day recortadores, or bull leapers—into the Plaza de Toros de Las Ventas arena in Madrid, where they lept over several 1,200-pound bulls to impress the judges at the 2017 national championship. All recortadores are amateurs who risk their lives to keep the tradition of bull jumping—the animals don’t get hurt—alive.”

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EDITORIAL 1 Benedict Evans, photographer Nancy Weisman, senior photo editor Karen Frank, director of photography ESPN The Magazine, client “Tyrod Taylor has the skills—and stats—of a franchise quarterback. Why is that so hard for some people to see?”

2 (series) Sandro, photographer Jeff Campagna, photo editor Smithsonian, publisher/client “A selection from my series I Am Papua New Guinea was featured in ‘Present Tense: From Tribal traditions to urban strife in Papua New Guinea,’ a photo essay published in the March 2018 issue of Smithsonian.”

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EDITORIAL 1 (series) Gregg Segal, photographer Paul Moakley, deputy picture editor TIME, publisher/client “In the face of rising global obesity rates, I traveled around the world to ask kids what they eat in one week and then photographed them alongside their food. This is a personal project which was picked up by a number of magazines, including TIME.”

2 Ramona Rosales, photographer Kaitlin Marron, photo editor Karen Frank, director of photography ESPN The Magazine, client “For snowboard star Chloe Kim, dropping into the halfpipe is far less daunting than grasping how to be American and Korean in Pyeongchang, South Korea. For the February 2018 Olympics Issue, powered by women’s sports multiplatform brand espnW.”

3 Carol Guzy, ZUMA Wire Service, photographer Mark Avery/James K. Colton/Seth Greenberg/Julie Rogers/ Ruaridh I. Stewart/Shalan Stewart, picture editors Scott Mc Kiernan, director of photography DOUBLEtruck Magazine, client “Irma Maldanado holds her bird, Sussury, in what’s left of her home after Hurricane Maria ravaged Puerto Rico.”

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EDITORIAL 1 Pari Dukovic, photographer Karen Frank, photography director Kristen Geisler, photo editor ESPN The Magazine, client “All Russell Westbrook needed to make history was to be left alone. This is the untold story of how the basketball player found his singular drive.”

2 (series) Troi Anderson, photographer Maria G. Keehan, Smithsonian, art director Jeff Campagna, Smithsonian, photo editor Smithsonian, client “Photographer Troi Anderson documents vodou rituals held deep within the caves outside of Saint-Michel de l’Attalaye in Haiti during the annual pilgrimage of St. John.”

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EDITORIAL 1 (series) Jason Varney, photographer Shannon Casey, art director American Way/Ink, clients “Subject is American painter Jamie Wyeth. For ‘This Family Is American Art Royalty,’ an American Way feature on the Wyeth family’s art lineage that celebrates what would have been Andrew Wyeth’s 100th birthday.”

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EDITORIAL 1 (series) Joe Pugliese, photographer Steven Banks, creative director Jennifer Dorn, director of photography Los Angeles, client “Portrait series of the jockeys at the Santa Anita Park racetrack, taken moments after the end of their races.”

2 Justin Poulsen, photographer Tim Davin, art director Strategy, client “Created for the cover of Strategy’s January/February 2018 issue, this ‘Trojan beaver’ symbolizes Canada’s advertising influence infiltrating the international market.”

3 Alex Telfer, photographer The Observer Magazine, client “For a feature story about professor Linda Gask, the preeminent psychiatrist who suffers from depression.”

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EDITORIAL 1 (series) Jen Judge, photographer Aaron Gulley, writer Hannah McCaughey, design director Amy Silverman, photo editor Outside, client “Last winter, writer Aaron Gulley and photographer Jen Judge ventured to the Siberian tundra with an extreme tour company promising the ultimate digital renewal—ten days living with nomadic reindeer herders in one of the planet’s last remaining off-the-grid dark spots. Is it really possible to totally unplug?”

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EDITORIAL 1 (series) Liam Sharp, photographer Clair MacDougall, writer Andrew Diprose, creative director Cindy Parthonnaud, associate photo editor Steve Peck, photography director Mike Dent, editor in chief WIRED UK, client “For a WIRED UK article about the World Wildlife Fund’s efforts to equip park rangers in Kenya with thermal camera technologies so they can see and capture poachers under the cover of darkness, making a big difference in the number of arrests they make.”

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EDITORIAL 1 Joe Pugliese, photographer Jenny Sargent, photography deputy director Jennifer Laski, director of photography Billboard, client “U2’s lead singer, Bono, poses for a portrait as part of a cover profile on the band.”

2 (series) Kristina Varaksina, photographer Jessica Zindren, stylist Alex LaMarsh, hair stylist/makeup artist Espen Gjertzen Øydvin, set designer Harper Hayman, New York Models, model Hooligans, client “‘Untold Stories,’ a fashion story for Hooligans.”

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EDITORIAL 1 Craig Cutler, photographer Paul Spella, art director The Atlantic, client “Cover for the September 2017 issue of the Atlantic. The cover story, ‘How America Lost Its Mind,’ is about how the nation’s current post-truth moment is the ultimate expression of mind-sets that have made America exceptional throughout its history—more specifically, the free thinking of the 1960s.”

2 (series) Alex Farnum, photographer Erin Feher, art director San Francisco, publisher/client “Photographs of the specimen collections at the California Academy of Sciences.”

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EDITORIAL 1 Joshua Rashaad McFadden, photographer Maria G. Keehan, Smithsonian, art director Jeff Campagna, Smithsonian, photo editor Smithsonian, client “Portrait of Elmore Nickelberry, one of the surviving participants of the 1968 Memphis Sanitation Workers’ Strike.”

2 Art Streiber, photographer Tom Alberty, design director Jody Quon, photography director Roxanne Behr, senior photo editor Angie Hayes, retoucher Rob Strauss, prop stylist Heather Schnell, makeup artist New York, client “A portrait of actress Millie Bobby Brown for New York magazine in anticipation of the second season of Stranger Things.”

FOR SALE 3 Jason Edwards, photographer National Geographic Creative, client “An Atlantic puffin uses its specially adapted tongue to hold a meal of slippery sand eels in its colorful bill. This image was created while I was on assignment for National Geographic. It was then selected for archive and use by National Geographic Creative and the National Geographic Society. The image is also available for license through National Geographic Creative.”

4 Peter Samuels, photographer/art director “One in a series of animal portraits. Rah, an alpaca, earns his keep by selling his locks three times a year. Image used for promotion, for stock imagery and as artwork for sale on my online storefront.”

5 Ty Cole, photographer “Monument Valley buttes, taken from the visitor center parking lot. Direct print sales from my website.”

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FOR SALE 1 Chad Holder, photographer Tape. For self-promotion and to be sold as fine art.

2 Chris Parsons, photographer “This eight-by-ten-inch ambrotype was made using the wetplate collodion process. Available for purchase in galleries and online as fine art prints, original glass plates and for licensing.”

INSTITUTIONAL 3 Quinn Russell Brown, photographer Ken Shafer, art director Columns, client “After starring in dozens of comedy films and a network TV series, Anna Faris took up podcasting with a relationship advice show called Unqualified. She sat for this portrait during a visit to the University of Washington, her alma mater.”

4 Jeff Moore, photographer Anja Moore, art director John Hoffman, Ducks Unlimited, client “Ducks Unlimited is available only to members of Ducks Unlimited, an American nonprofit organization dedicated to the conservation of wetlands and associated upland habitats for waterfowl. The magazine celebrates the sport of waterfowl hunting in every issue. This photo, titled Canada Goose Beartrap, was published in the November/December 2017 issue.”

2 5 Jim Henderson, photographer The New Normal, ad agency Thor Industries, client “From a library of images taken for a recreational vehicle company for use on its website and other marketing materials.”

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INSTITUTIONAL 1 (series) Lee Jeffries, photographer Paul Asao, creative director The Thomas Collective, ad agency Seattle’s Union Gospel Mission, client “Lost Angels, a public mobile art exhibition, featured portraits of unsheltered women and men projected at massive scale onto the facades of buildings and landmarks throughout Seattle neighborhoods. Accompanied by stories of the featured individuals, the entire experience drew attention to the growing number of homeless neighbors in Seattle, one face at a time.”

2 Chris Frazer Smith, photographer Ashwell Show, client “Looking down onto a British summer showground as vintage tractors parade in the main arena. Used for online and print material marketing for forthcoming shows.”

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INSTITUTIONAL 1 (series) Tadd Myers, photographer Gavit Design, design firm SH8 Merino, client “SH8 Merino, a co-op of farms located along State Highway 8 (SH8) in the central area of New Zealand’s South Island near Twizel, commissioned a shoot to photograph five family-owned sheep farms on the South Island. We spent one day at each farm in order to show a ‘day in the life’ of the farmers.”

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INSTITUTIONAL 1 (series) Pete Saloutos, photographer Allan Chow, art director Brian Russell, HNTB Corporation, client “A rare glimpse of a 57-foot-diameter tunnel boring machine built specifically for the Washington State Department of Transportation. Photos were used for promotion, display and documentation.”

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INSTITUTIONAL 1 Steven Edson, photographer Rebecca Pollack, The Weather Channel, designer Nicole Bonaccorso, The Weather Channel, photo editor The Weather Channel, client “Portrait of Don Hourihan, who lives in Humarock Beach in Scituate, Massachusetts. For a documentary photography assignment for The Weather Channel’s online series United States of Climate Change, which examines how this country is experiencing, reacting to and preparing for climate change. The images I took for this story about Humarock Beach discuss a specific conflict—states often leave critical decisions about coastal infrastructure to local governments, while many people would prefer to protect their own property.”

2 Jon Rou, photographer Keith Hedgecock/Tuan Tran, assistant photographers DJ Stout, Pentagram, art director Maureen Pacino, Loyola Marymount University, creative director Joe Wakelee-Lynch, Loyola Marymount University, editor Meg Hensley, retoucher Gabriela Banda, makeup artist LMU Magazine, client “Lead art for an LMU Magazine feature on the negative effects that sports specialization can have on children.”

3 (series) Raeff Miles, photographer Jeremy Grice, creative director Spring Advertising, ad agency Goodhero Submarine Sandwiches, client “Goodhero is a not-for-profit submarine sandwich stand based in Vancouver, British Columbia. In an effort to raise awareness of food waste, ingredients are sourced from almost-expired foods that grocery stores and markets can no longer sell. All proceeds go to the Greater Vancouver Food Bank, and leftover sandwiches are given to people in need. These images are featured mainly through social media and online channels. When budgets permit, they will be used on a larger scale in more traditional media.”

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INSTITUTIONAL 1 (series) Dilip Vishwamitra Bhatia, photographer/art director Real Voice Foundation, client “Neither gender wants hijras (a term given to eunuchs, intersex people and transgender people in South Asia) to use their toilets, forcing them to defecate in the open. The intent is to question this and to draw the attention of the authorities to look into their problem.”

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INSTITUTIONAL 1 Quinn Russell Brown, photographer Ken Shafer, art director Columns, client “For ‘A day with DeRay Mckesson,’ an article for the University of Washington’s alumni magazine, Columns. Mckesson, a civil rights activist and a leading figure in the Black Lives Matter movement, was photographed during his visit to the University of Washington in Seattle. ‘People talk about how we live in the shadow of our ancestors,’ Mckesson told students, ‘but I’ve always thought we live in their glow. When you live in someone’s glow, you get bigger, and the world gets bigger around you.’”

2 Ianni Dimitrov, photographer Régie Autonome des Transports Parisiens, client “Public transport operator Régie Autonome des Transports Parisiens (RATP) invited the public to enter the 2017 edition of its #photogRATPhie Instagram competition, themed ‘the city in all its colors.’ Magnum Photos, which turned 70 that year, served as the jury. This winning photo was included as part of a book and large-format posters displayed in select metro and commuter rail stations in Paris, France, from July 4 to October 18, 2017.”

3 John T. Consoli, photographer Gabriela Hernandez, art director Liam Farrell, writer Gail Rupert, photo editor Lauren Brown, editor University of Maryland, Terp, client “A survivor of the Holocaust, professor Arie W. Kruglanski is looking for the solution to radical violence. His lifelong mission—to explore the psychology behind radical violence and stop it—suddenly has new urgency. His portrait illustrated the opening for the feature ‘An Exit From Extremism,’ which was published in the Spring 2017 issue of the University of Maryland magazine Terp.”

SELF-PROMOTION 4 Zack Seckler, photographer “A whimsical portrait of an alpaca, whose fleece obscures its view. Used on my website and social media and for email and print promotions.”

5 Jim Hughes, photographer Seagulls in a Cross Breeze 2. “Used on my website and for self-promotion.”

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SELF-PROMOTION 1 (series) Beth Galton, photographer Mariana Velasquez, food stylist “Inspired by architect Luis Barragán, who was known for his extravagant lifestyle and thirst for beauty, Cena Rosa was printed as a self-promotional book and was sent as direct mail.”

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SELF-PROMOTION 1 (series) Callie Lipkin, photographer “I photographed Icelandic fathers and their children for the continuation of my Dad Time project. Used for self-promotion, including an annual print magazine, postcards and e-blasts. You can also view my full Dad Time project, as well as my Dad Time Iceland video piece, on my website and blog. Big thanks to Anthony Bacigalupo, Valtýr Gunnarsson, Ágúst Karlsson, Sæþór Randalsson and Björn Thors, who shared their parenting journeys with me.”

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SELF-PROMOTION 1 (series) Daniel Adel, photographer “A portrait series featuring residents of the Provençal village of Lourmarin, France. Used as on-site promotional materials for gallery, digital and analog.”

2 Frank Walsh, photographer/art director Mindy Eshelman, stylist “Self-assigned portrait of musician Patience Roy’al. The image was used for self-promotion in a sourcebook ad.”

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SELF-PROMOTION 1 Dana Smith, photographer “Portrait of a girl at the beach. This image was used in direct email promos, on social media and in direct-mail prints to select clients.”

2 (series) George Apostolidis, photographer “A minimalist series highlighting the most dominant plumage of various Australian bird species. The images were used as direct mail and prints.”

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SELF-PROMOTION 1 JJ Sulin, photographer “One from a group of portraits I’m continually working on. It appears in a very limited edition promotional piece I’m mailing out, and I’m running it in AtEdge.”

2 (series) Mark Bramley, photographer “Aerial images of London, United Kingdom, used for global network Le Book’s portfolio shows.”

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SELF-PROMOTION 1 Patrick Molnar, photographer/art director “Personal project for my portfolio.”

MULTIMEDIA 2 Jonathan Chapman, photographer/director Joseph McMahon, editor Mélanie Lopez, contributing artist Patrick Meehan, director of photography Craig Christiansen, producer John Fontana, associate producer Brian Raphael, line producer Skyler Lawson, music composer Jonathan Chapman Photography, production company Musicbed, music company “Mélanie Lopez” 2:35 “A tale of a boatbuilder.”

3 Brian Maranan Pineda, director Bryce Aubrey/Kevin Corcoran, editors Timothy Ziegler, colorist Christopher Aran, director of photography Dana Kravis, Condé Nast Entertainment, producer Japan National Tourism Organization, client “Japan Tourism Board” 2:20 “A video I directed for the Japan National Tourism Organization that features world-renowned chef Éric Ripert as he explores Yamanaka Onsen and Fukui in Japan.”

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MULTIMEDIA 1 Dave Spataro, photographer James Rosene, creative director William Rossiter, Slice, editor EraserFarm, ad agency The Homefront Foundation, client “Homefront Foundation” 1:55 “The Homefront Foundation helps veterans and service members tell their stories as a coping method. To show how challenging it is for them to relive those moments, we decided not to use actors and didn’t share the questions we were asking. Their raw and moving answers made a powerful connection with the viewer.”

2 Mark Laita, photographer/creative director/director Scott Dunbar, editor Tom Slatky, special effects director Luxe East/West, post-production company “Tutti Frutti” :40 “A spec clip of dancing Jell-O.”

3 Mark Zibert, photographer/director Wolf Gaertner/Ricardo Motti/Ronaldo Tavares/ Alexia Vasilarou, creative directors Nick Bell, executive creative director Iain Whitewright, editor Ross Giardina, director of photography Sophie Hernandez Weldon, producer Georgina Pearson, executive agency producer Charlie Crompton/Orlando Wood, executive producers Munzie Thind, sound engineer Rogue Films, production company Whitehouse Post, editorial company The Mill, post-production company Grand Central Recording Studios, music company Fallon London, ad agency AXA UK, client “Dancer” 1:52 “Insurance brand AXA funds research projects around the world to improve lives, including research into prosthetic technology. This spot is the story of dancer Taylor Haines, who lost her leg at a young age. After being fitted with a prosthetic, she continued to work at her passion.”

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MULTIMEDIA 1 David Emmite, photographer “1984” :12 “Since the 2016 US presidential election, there has been an almost 10,000 percent increase in sales of George Orwell’s 1984, a fun fact that this whimsical animation centers around.”

2 Mark Zibert, photographer/director Jay Pooley, art director Craig McIntosh/Jaimes Zentil, creative directors Peter Ignazi/Carlos Moreno, chief creative officers Marka Rankovic, editor Chris Mably, director of photography Jesse Monsour, visual effects supervisor Rita Popielak, producer Dena Thompson, agency producer Liane Thomas, executive producer Tanja Harney, post-production producer Skin and Bones Film Company, production company a52, visual effects company SNDWRx, music company Cossette, ad agency SickKids Foundation, client “All In” 2:00 “This spot launched a SickKids Foundation fundraising campaign to build a new hospital. It features 200 SickKids patient ambassadors and their siblings collecting building materials throughout the city and coming together to take on the task.”

3 Jason van Bruggen, photographer/director Blaine Pearson, creative director Monica Remba, editor Kiel Milligan, director of photography DOT DOT DASH, production company/ad agency Married to Giants, editorial company Wingman VFX, visual effects company “Greenland is Melting” 4:00 “A film about the work of Dr. Konrad Steffen, one of the world’s leading climate scientists. Dr. Steffen has been monitoring the melting of the Greenland ice sheet for more than 25 years through a series of remote unmanned data collection stations. His work is funded by the National Aeronautics and Space Administration; the National Science Foundation; and the Swiss Federal Institute for Forest, Snow and Landscape Research WSL. Filmed in areas surrounding the polar research station Swiss Camp in Greenland, this piece highlights the urgency of taking action on climate change.”

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MULTIMEDIA 1 Mark Zibert, photographer/director Adam Fish/Anders Stake, creative directors Tony Davidson/Kim Papworth/Iain Tait, executive creative directors Dan Sherwen, editor Ross Giardina, director of photography Charlie Crompton/Orlando Wood, executive producers Sophie Hernandez Weldon, line producer Factory Studios, sound designer Rogue Films, production company Final Cut, editorial company Time Based Arts, visual effects company Pitch & Sync, music company Wieden+Kennedy London, ad agency Nike, client “Mo Farah: Smile” :60 “This spot is Nike’s celebration of Mo Farah’s smile and incredible running career, before his final race and his retirement.”

2 Adam Ryan Morris, photographer/director of photography Kathryn Lavey, creative director/producer Morris Creative Group LLC, production company “Birds in Her Freezer?!?” 1:32 “Short profile of 86-year-old illustrator and artist JoAnna Poehlmann, who prefers to draw ‘from life’—or, in this case, death.”

UNPUBLISHED 4

3 Marcus Eriksson, photographer Stephen Kirby, retoucher Leila Bani, stylist Erin Klassen, hair stylist Jon Hennessey, makeup artist Alakiir Deng, model “Portrait of Alakiir Deng, taken at the Leisure Center in Vancouver, British Columbia.” © Marcus Eriksson

4 Chris Sorensen, photographer Sally Montana, assistant photographer Kaitlyn Flannagan, photo editor Observer, client “Actress Alison Brie, star of the Netflix show GLOW, photographed in New York City. An outtake from a shoot for the article ‘Alison Brie Will “Take You Down” if You Call Pro Wrestling Fake.’” © Chris Sorensen

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UNPUBLISHED 1 (series) John Lawton, photographer Maya Rossi, prop stylist “Personal project for a self-promotional piece.” © John Lawton

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UNPUBLISHED 1 (series) Daniel George, photographer “These photographs document ‘trigger trash,’ which refers to target shooting’s waste.” © Daniel George

2 Richard Frishman, photographer/art director/creative director Sunday Buffet at Jerry Mikeska’s Bar-B-Q; Columbus, Texas 2017. “Constructed of 162 photographs, Sunday Buffet accurately depicts a curious juxtaposition of food and prey.” © Richard Frishman

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UNPUBLISHED 1 (series) Justin Fantl, photographer Owens Lake. “An aerial exploration of the Owens Lake bed in California. My hope is that these images will be printed in large-scale format and shown in a gallery at some point. They have not yet, per se, been used anywhere.” © Justin Fantl

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STUDENT WORK 1 (series) Tianran Qin, photographer Steve Bliss, instructor Savannah College of Art and Design (Savannah, GA), school Billboards. © Tianran Qin

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FRESH ANAÏS BOILEAU

At first, Anaïs Boileau wanted to be a photojournalist. That influence can be seen in her work today, which also draws inspiration from movies, paintings, and artists like Henri Matisse and Frédéric Bazille. “I have a pictorial approach to photography. The picture’s composition, forms and colors are really important in my practice,” the Paris, France–based photographer says. Just see her diploma project, Plein Soleil, which documents women who relish sunbathing in seaside towns that are distinct with Latin architecture. This project generated not only accolades and exposure, but also an opportunity for Boileau to work with her mother and her mother’s friends, who posed for the series. “I am not only proud that they introduced me to their sunbathing rituals, but also that I got to incorporate something funny and tender from my hometown in the south of France,” she says. Boileau hopes to continue working in Paris and the south of France, applying her pictorial approach to fashion and documentary photography. anaisboileau.com

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1. Personal work. “Raouché, a project I created during a three-week residency in Beirut, Lebanon, which was awarded by fashion designer Elie Saab during the Hyères International Festival of Fashion and Photography in Hyères, France.” 2. “A series for French luxury leather goods company Lancel to celebrate 140 years of the brand.” Lancel, client. 3. “Portrait of DJ and music producer Kiddy Smile for the The FADER magazine.” Owen Myers, art director; Guy-roland Tahi, stylist; Kiddy Smile, model; The FADER, client. 4. “Plein Soleil, a personal project.” Anaïs Boileau, art director. 5. “For fashion designer Laura Cotonnet’s collection.” Laura Cotonnet, client. 6. “A series for fashion designer Sophie De Luca’s collection.” Laure Granval, assistant stylist; Sophie De Luca, client. Communication Arts | commarts.com

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FRESH SHREYA GUPTA

When Shreya Gupta was told that she was too young to carry around a camera, she started drawing the things that she wanted to remember. Years later, her passion took her from her hometown of Kanpur, India, to the School of Visual Arts, where she received her MFA in illustration as visual essay. Today, the Queens, New York–based illustrator finds inspiration in the world around her. “I constantly absorb things I come across and incorporate them in my work as an art piece, a photograph, a fashion show or even architecture,” Gupta says. “I am also influenced by the uses of patterns and details, which are abundant in Indian art.” Creative and art directors are taking note. November 22, 2017, marked the launch of one of her favorite projects to date—a Google Doodle commemorating one of India’s first practicing female doctors. The secret to Gupta’s success? “I try to treat each job assignment as a personal project and make it fun.” shreyaillustrations.com

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1. “From a personal series of illustrations based on the novel Invisible Cities, by Italo Calvino. The city Irene, shrouded in milky mist, emits firecrackers and explosions. Travelers look down from a distance and conjecture about what is happening in the city.” 2. “For an article about a woman who was constantly ‘corrected’ after coming out as bisexual and prevented from expressing herself at work.” Florian Bachleda, creative director; Fast Company, client. 3. “For Light Grey Art Lab’s exhibition Camouflage.” Light Grey Art Lab, client. 4. “Following the high-profile cases of sexual harassment in Hollywood, women in science are coming forward to confront harassment.” Michael Mrak, design director; Scientific American, client. 5. “For a book review of S. A. Chakraborty’s The City of Brass, a dramatic story set in the Middle East in which a young magician and her djinn (supernatural creatures in Arabian and Muslim mythology) fight zombies and travel across dangerous lands.” Matt Dorfman, art director; The New York Times, client. 6. “A Google Doodle to celebrate Dr. Rukhmabai Raut, one of the first practicing woman doctors of India, on her 153rd birthday.” Erich Nagler, art director; Google, client. Communication Arts | commarts.com

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FRESH ORI.STUDIO

The identity for Wuhan, China–based teahouse Teaspira is striking. Its color palette recalls cups of calming green and bright fruit teas, and studded throughout the identity are the characters that make up the brand’s Chinese name. “We are influenced by relevant contextual elements, which we then interpret, decode and incorporate into modern design,” say Maxim Cormier and Xuechen Fan, cofounders of ori.studio, the design studio behind the identity. The name ori—short for “orientate”—reflects the duo’s commitment to helping brands communicate their ideas and distill their ethos into distinct identities. Recently, Cormier and Fan moved to Beijing, China, where inspiration strikes from their neighborhood. Full of hutongs, or narrow streets, the studio’s environs clue Cormier and Fan in to the developing culture of China. “The raw, culturally sound, human-scaled and focused area is enlightening at every turn,” the cofounders say. “We’re sure its imprint will be seen within our future assignments.” ori.studio

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1. “Identity for a contemporary teahouse. We incorporated a blend of modern elements to represent a traditional craft in an unexpected way.” Teaspira, client. 2. “For Campus Montreal, a former startup led by two architects. We visualized individuals as shapes for the two-volume book set Community Systems.” Campus Montreal, client. 3. Personal work. “An experimental typographic poster printed on A1-sized paper. Merging the two Chinese characters enables them to coexist via a futuristic custom typeface.” 4. “For Tsinghua University Press for Beijing Design Week. Lab is a conceptual magazine about technology. Our design, which focuses on personal interactions, is manifested in the material of the cover and the perforations on it.” 5. Personal work. “Lunar New Year is normally represented with red and gold. A broader interpretation of color theory enabled us to reinterpret tradition for our 2018 Chinese New Year card.” 6. “For Tsinghua University Press for Beijing Design Week. Our design for the conceptual book Intersect Origins masks artifacts under a screen to reinterpret past cultural vestige, enabling readers to visualize culture devoid of preconceptions.” Communication Arts | commarts.com

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INSIGHTS Jennifer Hood and Amy Hood The Healthy Hustle

When the local coupon-clipper magazine that twin sisters Jennifer and Amy Hood were working at folded, they did what any designers with gumption and portfolios full of coupon mailer ads would do— they struck out on their own. Getting more and more work led them to launch Hoodzpah, their Newport Beach, California–based branding firm, opening their inbox to commissions from the likes of Facebook and 20th Century Fox. With that same moxie, the duo founded products company Odds and Sods to flex their creative muscles (and diversify their income stream) with California-cool pins, prints and goods. All the while, they’ve been mastering the art of business, and—as their book, Freelance, and Business, and Stuff, shows—they’re not shy about sharing their nuts-and-bolts advice. Here, they dispense real talk, not Red Bull–fueled platitudes, to help designers hustle their way to great work—and make it back home in time for dinner. —Esther Oh When you were first getting Hoodzpah off the ground, was there a defining moment that helped you cement the studio’s work or style? Jennifer Hood: It sounds way sexier if there’s an a-ha moment, but success is more often a slew of trials and errors while you sift through opportunities. Just saying “yes” was key to us surviving early on. We were not choosy. It was more important for us to build our credibility and portfolio. So we did catalogs for mops. We did production work. And peppered throughout were passion projects for friends that proved we had a unique style. Some of our seemingly boring jobs were the ones that paid good money, so we could also take time to do low-budget projects that we were excited about. And no matter what, we always did right by our clients and made every effort to make the experience fun and exciting for them. Working as contractors for larger agencies also helped us build our credibility. This enabled us to work on projects for bigger names that we couldn’t gain on our own. Getting that one recognizable client logo on your site can mean a lot. It’s just perception, but it’s powerful. You also cofounded goods company Odds and Sods. How do you balance your time spent on designing and running your other projects? 194

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Jennifer: It’s tough. The company grew out of our enjoyment of making physical products and us wanting to create an income stream that wasn’t solely service based. Design services are a trade of time for tender. Product, if successful, is an initial time investment that can then sell over and over again—without us having to be involved in every transaction. We have a company manager who runs the dayto-day for us, and we just stay involved in the creative and overall business strategy. It’s a fun way to make side cash—so long as we don’t put in more than we get out. With all that you have going on, what are your ingredients to maintaining a positive, productive studio environment? Jennifer and Amy Hood: Healthy work boundaries are a must! Keep clients off your direct messages and prorate messages if at all possible. Clients texting you about projects at 10 p.m. is not OK—it makes you angsty and makes them feel like you should be responding immediately to any whim. Keep it to emails or scheduled meetings during business hours. Beyond that is only for emergencies. We’ve also been trying to save emails for the second half of the day so we can spend our most energized hours doing actual work. Even if you work from home, keep regular work hours and stop when the day is done. Working late eats into your next day, throwing your whole week off. It leads to you caving to bad impulses because you “deserve” them.

Break your work routine when you’re stuck. Work remotely. Go get coffee. Take a trip and work from an Airbnb. A change of scenery can get you focused in a new way and give you more inspiration.

What advice do you have for people just entering the profession?

Finally, hold regular critiques at specified dates and times. It discourages coworkers, clients and bosses from approaching you to offer thoughts when you’re not prepared and the project is not ready.

hands dirty with real work at those companies. As an entry-level designer at a small outfit, you’ll likely work on things that make a real

How have you seen the value of design change in the business world since starting Hoodzpah? Jennifer: Whole industries have changed seemingly overnight due to a great idea that’s made better with quality design and creative strategy. None of us would ever have dreamed of ordering a mattress online that arrived in a box—till Casper proposed the idea in a fun, compelling way. Casper made the experience easy, trustworthy and alluring through a great site, great messaging, funny illustrations and unique in-person experiences at events like South by Southwest. That was a carefully designed shift in how we thought about buying a good mattress. But the key to success is not design alone. The underlying team and idea also have to be solid. Looking good on the surface falls apart if the product and service fail or if we lose trust in the company delivering the product and service—think Samsung Galaxy Note 7 combusting into flames, Uber’s culture crisis or US Airways’ customerservice fail. Design can only add long-term benefit if the brand and product it serves are worthy. 2pg.pdf

1/9/18

Amy: Larger, really well-known companies look great on paper, but you might not get as much responsibility and opportunity to get your

impact on the company. All this to say: don’t be embarrassed if your first job isn’t your dream job. Just learn as much from it as you can, and know when to spread your wings and advance to a new position. Jennifer: Rightly or wrongly, more and more companies are outsourcing their creative work “as needed” to contractors rather than keeping a person or team on staff. So being aware of the business side of things will make you a better asset to any company, no matter where you end up working. If you have a healthy freelance side hustle and aren’t being treated well or getting the kind of work and pay you want, you can start turning your side hustle into your main hustle. The freelance life isn’t for everyone, but even doing it a little gives you an edge, an understanding of the project management and business development side, and a gratitude for the people keeping work on your desk. Amy: Know what constitutes everyday value to you. If you can’t find it in the world, see if there’s a demand for your work as a freelancer and create the position yourself. ca

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Five Photographers Share Their Treasured Finds ORIANA KOREN Los Angeles, CA

Toronto, Canada

Inspirational read: I read an average of 40 books a year. The one that’s been on my mind lately is The Cooking Gene: A Journey Through African American Culinary History in the Old South, by Michael W. Twitty. It’s part historical document and part personal narrative, and it traces, through Twitty’s family history, the impact of chattel slavery on how we eat, specifically as southerners and as Black folk.

Splurge-worthy investment: Last year, I purchased a Prusa i3 MK2S 3-D printer, which I’m currently using to modify and create camera parts, specifically fitted cine-style lens gearing for still photo lenses. In the future, I plan on printing portions of complex props.

Organizational tool: The Passion Planner helps me tremendously. If I don’t write things down by hand, it’s easy for me to forget. It forces me to plan out my week by day and then by hour.

Play and repeat: Although it’s five years old, the short film “Box,” by design and engineering studio Bot & Dolly, inspires and wows me now just as it did back then. More recent work that’s tickled my brain: Bonobo’s “No Reason” music video, directed by Oscar Hudson; Sherwin-William’s “Epiphany” commercial, by commercial production company Psyop; and Lil Jon and DJ Snake’s “Turn Down for What” music video, by directing duo Daniels.

Emerging talents: Jabari Jacobs, whose sense of color and playfulness is matched by his strong technical execution and singular vision. Kayla Reefer, who, as a director of photography and photographer, brings a sense of intimacy and connection to the portraits she makes. Also, Heather Sten, who shoots people on film with such weight and honesty; each of her images is just luscious.

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Photography Annual 2018

Forecasting: Photogrammetry is going to be the next “hot” creative ask. It’s the logical intersection of photography and 3-D renders.

Treasure trove: The site thingiverse.com has a multitude of open-source 3-D models available for 3-D printing. Need a lens cap? Need a GoPro mount? Need an octopus-shaped memory-card holder? You will find it there.

DANIELLA ZALCMAN

HENRY HARGREAVES

ASHIMA NARAIN

New York, NY, and London, United Kingdom

Brooklyn, NY

Mumbai, India

Smart purchase: I just bought an iPhone X—it’s the first time in my life that I’ve had the most current iPhone. Given that it’s my main camera at this point, it’s about time.

Words of wisdom: Never go cheap on lunch for your team! Feeding people well has so many positive follow-up effects.

Mind-blowing photographs: I saw Alejandro Cartagena’s Carpoolers a few years ago, and it stuck with me. It is a series of images shot from an overpass, looking down into the backs of open trucks ferrying workers down a highway in Mexico. I love the creative treatment Cartagena has given to a subject that is often covered—but never like this.

Quirky destinations: I like to visit very quirky and esoteric museums, like the La Brea Tar Pits, a group of tar pits in Los Angeles; the Tom of Finland House, a home in Los Angeles dedicated to homoerotic artist Tom of Finland; and Velveteria, a museum of velvet paintings. The site Atlas Obscura (atlasobscura.com) is a good place to start finding oddities.

Unexpected resource: Medical and science conferences. There is a wealth of new cutting-edge tech and research available. The problem is that the science community isn’t good at publicizing its work in an easy-to-understand way, so a lot of it gets lost without journalists to act as translators. I was at AIDS 2014 in Melbourne, Australia, and reading a random statistic in a UNAIDS report led me to what’s now my most important body of work, Signs of Your Identity.

Analog to-do list: I still have an old diary that I write everything in and then cross out when I’m done. Being able to flip through the pages helps me keep on top of things and have a better sense of the whole picture.

Travel essential: I spend about ten months of the year on the road in a variety of hotels, motels, Airbnbs and friends’ couches, so I always have a small self-care kit in my suitcase with bath salts, Earl Grey tea and lavender essential oil.

Dream collaborator: Peggy Sirota. When I started out in photography, I did some celebrity portraiture, and I always found inspiration in her ability to present people who are constantly photographed in a new and unusual way. I would love to work for her. Thirteen years ago, I wrote to her asking her if she needed assistants, but I never heard back!

Latest fascination: I’m actively obsessed with Karen MirandaRivadeneira’s recent photo series In the Mouth of the mountain jaguar everybody is a dancing hummingbird.

Fresh trend: Glitter beards.

Ways to unwind: One is Netflix! The second is leaving Mumbai, India, on the weekends to go to our place in rural Maharashtra, India. Watching my kids playing in the river as the sun sets literally lifts all the week’s stress out of my body.

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Analogue Photography

Feast for the Eyes

Reference manual for shooting film

The Story of Food in Photography

By Andrew Bellamy

By Susan Bright 304 pages, hardcover, $60.00 Published by Aperture aperture.org

Despite their ubiquity and often utilitarian function, photographs of food are never merely factual. Every picture of food, from a fast-food hamburger to a technicolor layer cake, is imbued with a host of different political, personal, social and cultural meanings we often take for granted. While social media has foregrounded the popularity of food photography, the varied ways in which food can and has appeared as a photographic subject is less often considered. Drawing on a rich variety of examples from fine art to commercial and vernacular photography, Susan Bright’s Feast for the Eyes: The Story of Food in Photography traces the evolution of food in photography from the 1840s to the present. As Bright demonstrates, whether it’s being used to signify class or functioning as a cheeky sexual metaphor, food is a surprisingly mutable subject. While examples by well-known photographers fill the book, it is the commercial and vernacular images that are the most surprising and revealing. Unexpected inclusions, like the Soviet Union’s Pishchyevaya Industriya (Food Industry) and Weight Watchers recipe cards, are reminders that innovative photography can be found in unexpected places. Bright’s eclectic and international selection underscores the reality that food has always been a proxy for shifting tastes, desires and values. Given the pervasiveness of food photography (as well as the obvious importance of food), it is hard to believe this is the first comprehensive survey of the subject. A fascinating sociological study and sumptuous visual history, Feast for the Eyes is a welcome corrective to this longstanding omission in the medium’s history. —Adam Bell

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This handsome book aims to harness the recent excitement about analog photography and turn vintage camera owners into film photographers. A guide to using mechanical cameras from the 1930s to the 1960s, the book presents sections on camera bodies, lenses, exposure and film, designed in a spare, hip style. The lessons are compact too, compressing subjects that elsewhere might have called for extended explanations into short paragraphs and clean line drawings. The result is a book that will look sharp next to that cool camera you bought at a thrift store, and one that might even teach you to take great photos. 192 pages, softcover, €19,90, Vetro Editions. —Rebecca Robertson

Paparazzi Photographers and Stars: from the Dolce Vita to the Present By Walter Guadagnini and Francesco Zanot

Stalking celebrities like exotic prey, paparazzi play a vital role in our fame-obsessed culture, their images the lifeblood of supermarket tabloids. Full of fascinating details about our insatiable hunger for celebrity gossip, Paparazzi: Photographers and Stars: from the Dolce Vita to the Present traces the phenomenon from its retrospectively benign beginnings in Italy during the late ’50s to its aggressively voyeuristic nature in the ’70s and today. An important early history of an often-maligned genre, the book illuminates the ways in which this invasive style of photography altered our visual relationship to fame and encouraged our more sordid expectations of the famous (especially female celebrities). Whether the genre’s a guilty pleasure or an unapologetic addiction, there’s much to be learned from this compelling book. 136 pages, softcover, $35.00, Silvana Editoriale. —A.B.

Avedon Something Personal By Norma Stevens and Steven M. L. Aronson 720 pages, hardcover, $40.00 Published by Spiegel & Grau penguinrandomhouse.com

Written by his longtime studio manager, this fun, gossip-filled book does not pretend to tell an objective version of Richard Avedon’s glamorous life. Norma Stevens clearly adored Avedon, who was perhaps the world’s most famous fashion photographer turned artist, but neither does she sugarcoat his life; instead, she tells glittering, celebrity-filled stories about his complicated relationships and relentless ambition. For years before his death in 2004, Avedon encouraged her to write his biography after he was gone, urging her, “don’t be kind—I don’t want a tribute, I want a portrait, and the best portrait is always the truth. Make me into an Avedon.”

recall Avedon’s six-decade career among the shapers of 20th-century culture. Chapters cover his transformation from merchant marine to Harper’s Bazaar star photographer, and his series In the American West, which confirmed (for some) his status as a bona fide artist. Others describe the breathtaking assignments, campaigns, parties and exhibitions that filled his life. And one surprisingly candid chapter reveals Avedon’s homosexuality, a secret he could not bear to expose during his lifetime, even as the stigma of being gay receded. Together, the book’s contradictory but brilliant portraits depict Avedon the same way he recorded his subjects, showing the whole, messy picture by paying attention to the perfection of its surfaces. —R.R.

To that end, Stevens is helped by writer Steven M. L. Aronson and a wide cast of characters—including models, editors, clients, employees and friends—who fondly or bitterly but always vividly

Firecrackers Female Photographers Now By Fiona Rogers and Max Houghton 240 pages, hardcover, $45.00 Published by Thames & Hudson thamesandhudsonusa.com

Before there was Firecrackers the book, there was Firecracker (firecracker.org). Established by Rogers in 2011, the online network promotes female photographers revitalizing the industry today. As Rogers writes in the book’s introduction, “I’d like Firecracker to be a means of celebration. A celebration of photography, a celebration of game changers, a celebration of women and, above all, a celebration of great work now.” —Esther Oh

While Firecrackers: Female Photographers Now is handsome enough to be a coffee table book, good luck flipping through its pages lightly. The images will sweep you in. You’ll see the sparks of the 2011 uprising in Cairo, Egypt, as photographed by Laura El-Tantawy. The eyes of Behnaz Babazadeh gazing at you from inside a burka constructed out of Twizzlers. Portraits of the LGBTQ community in South Africa, taken by visual activist Zanele Muholi, and the mothers of ISIS fighters, documented by Poulomi Basu. By the time you get to Chen Zhe’s images of selfharm, you are jolted not so much by her photo of a bloody bandage, but rather by the blank white page that signals the end of the fascinating journey through Firecrackers. In total, 33 photographers are featured in Firecrackers—all are fresh voices in the documentary photography community, and all are women. To flesh out the eclectic compilation of images, the book’s curators and editors, Fiona Rogers and Max Houghton, provide short profiles of each photographer. These economical servings will whet your appetite for more. Communication Arts | commarts.com

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INDEX TO PHOTOGRAPHERS

Adel, Daniel 166 daniel.q.adel@gmail.com danieladelphoto.com Almås, Erik 180 studio@erikalmas.com erikalmas.com Als, Christian 115 info@christianals.com christianals.com Represented by Panos Pictures valeria@panos.co.uk panos.co.uk Anderson, Troi 132 troi@troianderson.com troianderson.com Apostolidis, George 168 george@heavenpictures.com georgeapostolidis.com Archibald, Timothy 117 tim@timothyarchibald.com timothyarchibald.com Ayllon, David 126 david@davidayllon.com davidayllon.com

Badura, Jorg 93 studioinfo@jorgbadura.com jorgbadura.com Beavis, Peter 80 peter@peterbeavis.com peterbeavis.com Represented by SCHierke Artists laura@schierke.com schierke.com Bell, Richard 106 bingbell@mac.com richardbellphoto.com Bhatia, Dilip Vishwamitra 158 dilip@dilipbhatia.com dilipbhatia.com Blais, Christian 83 info@christianblais.com christianblais.com Represented by FH Studio faycal@fh-studio.com fh-studio.com Boniface, Steve 86 steve@stevenboniface.com stevenboniface.com Bramley, Mark 170 mark@markbramley.com markbramley.com Represented by Tim Mitchell Artist Representative info@tmar.com tmar.com Breiehagen, Per 94 per@breiehagen.com breiehagen.com Brown, Quinn Russell 148, 160 quinnrussellbrown@gmail.com quinnrussbrown.com Brown, Ross 73 ross@rossbrownphotographer .com rossbrownphotographer.com Buck, Chris 110 chris@chrisbuck.com chrisbuck.com Represented by Apostrophe Reps kelly@apostrophereps.com apostrophereps.com

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Burn-Forti, Dan 70 dan@danburnforti.com danburnforti.com Represented by Exposure NY stacy@exposureny.com exposureny.com

Chapman, Jonathan 173 studio@jonathanchapman.com jonathanchapman.com Clark, Michael 79 info@michaelclarkphoto.com michaelclarkphoto.com Cole, Ty 146 info@tycole.com tycole.com Represented by Brite Productions info@briteproductions.net briteproductions.net Consoli, John T. 160 jconsoli@umd.edu Crisman, Chris 80 chris@crismanphoto.com crismanphoto.com Represented by Heather Elder Represents heather@heatherelder.com heatherelder.com Cutler, Craig 144 studio@craigcutler.com craigcutler.com Represented by Bernstein & Andriulli emily@ba-reps.com ba-reps.com

Dimitrov, Ianni 160 iannidimitrov@me.com iannidimitrov.com Dukovic, Pari 132 pari@paridukovic.com paridukovic.com Represented by Bernstein & Andriulli susan@ba-reps.com ba-reps.com

Edson, Steven 157 steve@stevenedson.com stevenedson.com Edwards, Jason 146 info@jasonedwards.co jasonedwards.co Represented by National Geographic Creative natgeocreative@natgeo.com talent.natgeocreative.com Elledge, Paul 76 studio@paulelledge.com paulelledge.com Represented by Candace Gelman & Associates candace@candacegelman.com candacegelman.com Emmite, David 176 david@davidemmite.com davidemmite.com Represented by Sidecar susan@sidecarww.com sidecarww.com

Eriksson, Marcus 179 email@themarcus.com themarcus.com Represented by Art & Motion billy@artandmotion.com artandmotion.com Eschliman, Dwight 123 studio@eschlimanstudio.com eschlimanstudio.com Represented by Apostrophe kelly@apostrophereps.com apostrophereps.com Evans, Benedict 129 benedict@benedictevans.com benedictevans.com

Fantl, Justin 184 studio@justinfantl.com justinfantl.com Represented by Giant Artists jen@giantartists.com giantartists.com Farnum, Alex 144 accounts@afarnum.com afarnum.com Finke, Brian 112 studio@brianfinke.com brianfinke.com Flach, Tim 109 tim@timflach.com timflach.com Frankel, Laurie 101 info@lauriefrankel.com lauriefrankel.com Represented by DS Reps deb@dsreps.com dsreps.com Frazer Smith, Chris 151 chris@chrisfrazersmith.com chrisfrazersmith.com Frishman, Richard 183 rich@frishphoto.com frishphoto.com Represented by Clark Gallery dana@clarkgallery.com clarkgallery.com Fullerton-Batten, Julia 93 julia@juliafb.com juliafullerton-batten.com Represented by Art Department info@art-dept.com art-dept.com

Galton, Beth 163 studio@bethgalton.com bethgalton.com

Guzy, Carol 131 Represented by ZUMA Press, Inc. licensing@zumapress.com zumapress.com

Hashlamoun, Wisam 125 Represented by ZUMA Press, Inc. licensing@zumapress.com zumapress.com Henderson, Jim 148 jim@jimhendersonphoto.com jimhendersonphoto.com

Hewitt, Aaron 84 hewitt@aaronhewittphoto.com aaronhewittphoto.com Holder, Chad 148 chad@chadholder.com chadholder.com

Laita, Mark 174 studio@marklaita.com marklaita.com Represented by Heather Elder Represents heather@heatherelder.com heatherelder.com Land, Gary 74 gary@glpcreative.com garyland.com Represented by JK& info@jkand.com jkand.com Lawton, John 180 john@johnlawton.com johnlawton.com

Hewett, Lucy 89 lucy@lucyhewett.com lucyhewett.com

Hughes, Jim 160 studio@jimhughesphoto.com jimhughesphoto.com Represented by Pinkstaff Photographers marsha@pinkstaff.com pinkstaff.com

Lipkin, Callie 164 callie@callielipkin.com callielipkin.com Lozowchuk, Markian 125 info@markianlozowchuk.com itsmarkian.com Represented by Redux Pictures marcelsaba@reduxpictures.com reduxpictures.com

Iswarienko, Kurt 83 kurtiswarienko.com Represented by Walter Schupfer Management walter@wschupfer.com wschupfer.com

Jeffries, Lee 151 lee.jeffries@btinternet.com lee-jeffries.co.uk Judge, Jen 138 jen@jenjudge.com jenjudge.com Represented by Toba Z Represents toba@tobazrepresents.com tobazrepresents.com

Kafka, Evan 180 kafka@evankafka.com evankafka.com

Garn, Andrew 96 andrewgarn1@gmail.com andrewgarn.net

Kaplan, Sam 90 sam@samkaplan.com samkaplan.com Represented by Sarah Laird & Good Company joyce@sarahlaird.com sarahlaird.com

George, Daniel 183 daniel@danielgeorgephoto.net danielgeorgephoto.net

Kern, R. J. 101 rj@rjkern.com rjkern.com

Goldsmith, Scott 117 scott@scottgoldsmith.com scottgoldsmith.com

Knowles, Jonathan 83 jk@jknowles.co.uk jknowles.com

Greenfield, Lauren 102 jennifer@laurengreenfield.com laurengreenfield.com Represented by Institute frank@instituteartist.com instituteartist.com

Krantz, Jim 126 jim@jimkrantz.com jimkrantz.com Represented by Massif Management jonathan@massifmanagement .com massifmanagement.com

Martin, Cade 121 cade@cademartin.com cademartin.com Represented by Brite Productions matt@briteproductions.net briteproductions.net Mc Kiernan, Scott 121 Represented by ZUMA Press, Inc. licensing@zumapress.com zumapress.com McFadden, Joshua Rashaad 146 jrm@joshuarashaad.com joshuarashaad.com McGuinness, Myles 83 go@mylesmcguinness.com mylesmcguinness.com Michienzi, Shawn 79 shawn@michienzi.net shawnmichienzi.com Represented by Heather Elder Represents office@heatherelder.com heatherelder.com Miles, Raeff 157 raeff@raeffmilesphoto.com raeffmilesphoto.com Milstein, Jeffrey 98 jmilstein.studio331@gmail.com jeffreymilstein.com Minchin III, James 70 james@jamesminchin.com jamesminchin.com Represented by Fox Creative paige@foxcreative.net foxcreative.net Molnar, Patrick 173 pat@patmolnar.com patmolnar.com Represented by Held & Associates cynthia@cynthiaheld.com heldandassociates.com Moore, Jeff 148 jeff@jeffmooreimages.net jeffmooreimages.net Moran, Karsten 123 karsten@karstenmoran.com karstenmoran.com

Morris, Adam Ryan 179 adam@adamryanmorris.com adamryanmorris.com Mueller, Adrian 115 adrian@amueller.com amueller.com Represented by Elizabeth Pojé + Associates anne@elizabethpoje.com elizabethpoje.com Myers, John 76 john@myersci.com myersci.com Represented by Randy Cole Represents randy@randycole.com randycole.com Myers, Tadd 152 tmyers@taddmyers.com taddmyers.com

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Neibert, Dana 79 info@dananeibert.com dananeibert.com

Ockenfels 3, Frank 123 jackie@fwo3.com fwo3.com Represented by Eye Forward Inc carol@eye-forward.com eye-forward.com

Parsons, Chris 148 tincrownphoto@gmail.com tincrownphoto.com Poulsen, Justin 137 j@justinpoulsen.com justinpoulsen.com

Prince, Michael 125 michael@michaelprince.com michaelprince.com Represented by Riad Represents sherry@riadrepresents.com riadrepresents.com

Schoeller, Martin 123 info@martinschoeller.com martinschoeller.com Represented by Art + Commerce yperes@artandcommerce.com artandcommerce.com

Straley, Chris 89 chris@chrisstraley.com chrisstraley.com Represented by Fox Creative paige@foxcreative.net foxcreative.net

Varaksina, Kristina 142 kristina@kristinavaraksina.com kristinavaraksina.com Represented by WIB Agency amelia@wibagency.com wibagency.com

Pugliese, Joe 137, 142 studio@joepug.com joepug.com Represented by Bernstein & Andriulli info@ba-reps.com ba-reps.com

Seckler, Zack 160 zs@zackseckler.com zackseckler.com Represented by Brite Productions info@briteproductions.net briteproductions.net

Streiber, Art 146 art@artstreiber.com artstreiber.com Represented by foureleven michelle@foureleven.agency foureleven.agency

Varney, Jason 134 jason@varneyphoto.com varneyphoto.com

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Qin, Tianran 186 qintianran@yahoo.com qintianran.com

Rosales, Ramona 131 info@ramonarosales.com ramonarosales.com/portfolio Represented by Anderson Hopkins steph@andersonhopkins.com andersonhopkins.com Rou, Jon 157 jon@jonrou.com jonrou.com Ryan, Nate 79 photography@nateryan.com nateryan.com

Saloutos, Pete 154 pete@petesaloutos.com petesaloutos.com Samuels, Peter 146 peter@petersamuels.com petersamuels.com Sandro 129 sandro@sandrofilm.com sandrofilm.com

Segal, Gregg 131 studio@greggsegal.com greggsegal.com Seguin, Jean-François 84 info@jeanfrancoisseguin.com jeanfrancoisseguin.com Sharp, Liam 141 liam@liamsharp.com liamsharp.com Simhoni, George 84 george@westsidestudio.com simhoni.com Represented by Somlo Talent carolyn@somlotalent.com somlotalent.com simon+kim 80 kim@werbefotografie.ch werbefotografie.ch Smith, Dana 168 d@danasmithphotography.com danasmithphotography.com Sorensen, Chris 179 chris@chris-sorensen.com chris-sorensen.com Spataro, Dave 174 davespataro@mac.com davespataro.com Staub, Olivier 86 info@olivierstaub.com olivierstaub.com

Sulin, JJ 170 jj@jjsulin.com jjsulin.com Represented by Pinkstaff Photographers marsha@pinkstaff.com pinkstaff.com

Walsh, Frank 166 frank@walshphoto.com walshphoto.com Will, Victoria 105 victoria@victoriawill.com victoriawill.com Represented by Fox Creative info@foxcreative.net foxcreative.net

Tadder, Tim 80 mail@timtadder.com timtadder.com Represented by Heather Elder Represents heather@heatherelder.com heatherelder.com

Telfer, Alex 137 alex@alextelfer.com alextelfer.com Represented by i2i Photography frank@i2iphoto.com i2iphoto.com Tremblay, Martin 73 martin@lepinch.com lepinch.com

van Bruggen, Jason 176 info@jasonvanbruggen.com jasonvanbruggen.com Van Osdol, Scott 84 scott@vanosdol.com vanosdol.com

Williams, Shevaun 118 shevaun@shevaunwilliams.com shevaunwilliams.com Wilson, Christopher 90 info@christopherwilson photography.com christopherwilson.photography Wilson, Robert 121 robert@robertjwilson.com robertjwilson.com Represented by Tim Mitchell Artist Representative info@tmar.com tmar.com

Zibert, Mark 174, 176, 179 mark@markzibert.com markzibert.com Represented by Scouts Honour rita@scouts.tv scouts.tv

INDEX TO INDIVIDUALS AND FIRMS

Aanagram 73 Abrams 109 Abranson, William 84 a52 176 Alberty, Tom 146 Albuquerque, Dario 79 Aldar Properties PJSC 79 Alkema, Brigid 86 Allianz Suisse VersicherungsGesellschaft AG 80 Alvarez, Jesus 89 Amelia Island Tourist Development Council 90 American Way 134 Andrew, Rob 84 Angelo, David 79 Apfelbach, George 89 Aran, Christopher 173 Aruba Tourism Authority 83 Asao, Paul 151 Ascent Protein 74 Ashwell Show 151 The Atlantic 144 Aubrey, Bryce 173 Avedon, Elizabeth 105 Avery, Mark 121, 125, 131 AXA UK 174

Bader, Sara 102 Bajohr, Donny 123 Bakker-Arkema, Haley 84 Baldock, Leon 86 Bali, Ayse 93 Banda, Gabriela 157 Bani, Leila 179 Banks, Steven 137 Baravalle, Giorgio 110 Bassett, Anna 121 Bayer, Jamie 89 Beautrais, Emily 86 Behr, Roxanne 146 Bell, Nick 174 Bell, Richard 106 Beramendi, Rolando 101 Bernard, Vincent 86 Beveridge, Erin 84 Bhatia, Dilip Vishwamitra 158 Billboard 142 Biondi, Bob 106 Blackwell & Ruth 109 Bliss, Steve 186 Boggs, Steve 86 Bonaccorso, Nicole 157 Booth, Lance 123 Boschen, Ali 83

Boss Print 93 Bowden, Jordan 84 Bowman, Glenn 90 Brach, Philippe 83 BrandHealth 84 Breiehagen, Per 94 Brody, Karen 89 Brown, Lauren 160 Leo Burnett 89

Calvit, Christina 80 Campagna, Jeff 115, 121, 129, 132, 146 Capola, Colleen 89 Casey, Heather 123 Casey, Shannon 134 Casillas, Robert 79 CHAOS SixtyNine 123 Chapman, Jonathan 173 Jonathan Chapman Photography 173 Chow, Allan 154 Christiansen, Craig 173 Clemenger BBDO Wellington 86 Colton, James K. 121, 125, 131 Columns 148, 160

Commonwealth Edison 89 Concept Farm 83 Condé Nast Entertainment 173 Corcoran, Kevin 173 Cossette 176 Cotton Council International 80 Cramer-Krasselt 80 Crispin, Marilou 83 Crompton, Charlie 174, 179

Dauw, Bram 79 David&Goliath 79 Davidson, Tony 179 Davin, Tim 137 DDB Amsterdam 70 de.MO 110 Dean, Teriasia 118 Deng, Alakiir 179 Dent, Mike 141 DiCesare, Kathy 76 Diprose, Andrew 141 Dorn, Jennifer 137 DOT DOT DASH 176 DOUBLEtruck Magazine 125, 131 Dryer, Jeff 112 Dsane, Betsie 83

Du Sault, Luc 86 Ducks Unlimited 148 Dunbar, Scott 174

Edwards, Toby 83 Elinchrom 79 Elliott, Simon 83 Ellsworth, Katie 117 English National Opera 83 EraserFarm 174 Eshelman, Mindy 166 ESPN The Magazine 123, 129, 131, 132 Estrin, James 117 Evers, Frank 102 Evert, Lori 94

Factory Studios 179 Fallon London 174 Farrell, Liam 160 Fédération des coopératives funéraires du Québec 73 Feher, Erin 144 Final Cut 179 Fischer, Miriam 80 Fish, Adam 179

Communication Arts | commarts.com

201

INDEX TO INDIVIDUALS AND FIRMS Flannagan, Kaitlyn 179 Fontana, John 173 Forbes 125 Frank, Karen 123, 129, 131, 132 Freuler, Matthias 80 Frishman, Richard 183

Klassen, Erin 179 Klotzbach, Brittany 76 Kochman, Michael 70, 83 Kowaleczko, Natalia 89 Kravis, Dana 173 Kroneck, Tadd 80

Gaertner, Wolf 174 Galac, Nick 123 Garn, Andrew 96 Gavit Design 152 Geisler, Kristen 132 Gelia 76 Gellos, John 83 Gens, Trever 101 Giardina, Ross 174, 179 Gibb, Cameron 109 Godfrey, Carne 86 GOOD Stills 79 Goodhero Submarine Sandwiches 157 Goodman, Stephanie 125 Goodman Theatre 76 Graham, Paul 86 Grand Central Recording Studios 174 Greenberg, Seth 121, 125, 131 Grice, Jeremy 157 Gulley, Aaron 138

Ignazi, Peter 176 Ink 134 Irving, Desireé 118 Japan National Tourism Organization 173 Jean, Paul 125 Jho, Eugene 90 Kastan, Kathy 76 Keehan, Maria G. 115, 121, 123, 132, 146 KEEN Footwear 89 Kemp, Rick 84 Kenney, Matthew 115 Matthew Kenney Cuisine 115 Kern, R. J. 101 Keskin, Sebnem 93 King, Jason 86 Kirby, Stephen 179 Kirsch, Karen 80

202

Photography Annual 2018

LaFarge, Pokey 79 Laita, Mark 174 LaMarsh, Alex 142 Lane, Kristin 84 Laski, Jennifer 142 Lavey, Kathryn 179 Lawson, Skyler 173 Le Nicol, Melissa 80 Lebowitz Hanger, Becky 123 Lépine, Guillaume 73 lg2 86 L’Heureux, Martine 73 Linsenbigler, Kerri 76 Ljoenes, Richard 115 LMU Magazine 157 Logan-Baravalle, Elizabeth 110 Lopez, Mélanie 173 Los Angeles 137 Loyola Marymount University 157 Luessen, Robert 80 Luxe East/West 174 Lyall, Katie 123 Lynch, Katie 79

Hac Job 76 Hamza, Muneb 79 Hanson, Heather 118 Harney, Tanja 176 Hatano, Tomo 115 Hayes, Angie 146 Hayman, Harper 142 Hedgecock, Keith 157 Henao, Jorge 79 Hennessey, Jon 179 Hensley, Meg 157 Hernandez, Gabriela 160 Heti, Sheila 110 Hetzler, Lily 80 HNTB Corporation 154 Hoffman, John 148 The Homefront Foundation 174 Homegrown Creative 73 Hooligans 142 Hopper Court, Ailsa 84 Huck, Kathryn 115

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Mably, Chris 176 MacDougall, Clair 141 Mansfield, Robert 125 Married to Giants 176 Marron, Kaitlin 131 Martinez, Didima 90 University of Maryland, Terp 160 Mc Kiernan, Scott 121, 125, 131 McCardle, George 80 McCaughey, Hannah 138 McIntosh, Craig 176 McMahon, Joseph 173 McNally, Michele 123 Meehan, Patrick 173 Merrick, Tom 90 Michaud, Janet 117 The Mill 174 Milligan, Kiel 176 Minami, Sayako 74 Minter, Michael 89 Moakley, Paul 131 Molnar, Patrick 173 Monsour, Jesse 176 Montana, Sally 179 Montanari, Michelle 84 Moore, Anja 148 Moreno, Carlos 176 Morris, Adam Ryan 179 Morris Creative Group LLC 179 Morsly, Malia 73 Motti, Ricardo 174 Murphy, Kyle 84 Musicbed 173

National Geographic Creative 146 Network 93 New Era Cap Company 80 The New Normal 148 New York 146 New York Models 142

The New York Times 117, 123, 125 The New York Times, Lens 117 New Zealand Transport Agency 86 Nike 84, 179 Nordström, PhD, Alison 101 Norman Stuart Publishing 110

Observer 179 The Observer Magazine 137 Ogilvy & Mather Düsseldorf GmbH 80 Outside 138 Øydvin, Espen Gjertzen 142

Pacino, Maureen 157 Papworth, Kim 179 Paradise Advertising & Marketing 90 Parthonnaud, Cindy 141 Paterson, Bill 76 Pautler, Jason 76 Peanut Press 105 Pearce, Bobby 79 Pearson, Blaine 176 Pearson, Georgina 174 Peck, Steve 141 Pentagram 157 Peppler, Rebekah 101 Phaidon 102 ThePicturesoftheDay.com 121 Pinder, Charlie 79 Pineda, Brian Maranan 173 Pitch & Sync 179 Politico 117 Pollack, Rebecca 157 Pooley, Jay 176 Popielak, Rita 176 Poutsma, Wieger 70 powerHouse Books 96, 112 Prince, Rachel 86 Pritchard, Gareth 83 Pro Juventute 80 Project Projects 102 Pulver, Courtney 79 Purcell, Ben 79

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Quintanilla, Ina 118 Quon, Jody 146 Rafineri 93 Random House 94 Rankovic, Marka 176 Raphael, Brian 173 Ray, Jolianne 79 Real Voice Foundation 158 Red Bull Photography 79 The Red Bulletin 126 Reed, Ryan 79 Regan Arts / A Phaidon Global Company 115 Regan, Judith 115 Régie Autonome des Transports Parisiens 160 Remba, Monica 176 Rémy Martin 90 Rice, Alex 74 Rickert, Kelly 76 Roberson, Tracie 89 Rochon, Etienne 73 Rogers, Julie 21, 125, 131 Rogue Films 174, 179

Roman, Heather 76 Rond, Matthew 70, 83 Rose 83 Rosene, James 174 Rossi, Maya 180 Rossiter, William 174 Rousseau, Christian 84 Royal Canin 70 Royal New Zealand Ballet 73 Ruben, Jolie 125 Rupert, Gail 160 Russell, Brian 154 Ryzik, Melena 125

M&C Saatchi 79 St. Martin’s Press 101 Samaripa, Jeff 89 Samuels, Peter 146 San Francisco 144 Sanderud, Mirjam 84 Sargent, Jenny 142 Savannah College of Art and Design 186 Scapanski, Joe 101 Schaefer, Jamie 73 Schiffer, Pete 106 Schiffer Publishing, Ltd. 106 Schnell, Heather 146 Scott, Josselyn 76 Sea, Celica 83 Seattle’s Union Gospel Mission 151 Selman, Robyn 125 SH8 Merino 152 Shafer, Ken 148, 160 Sheridan, Katie 80 Sherwen, Dan 179 SickKids Foundation 176 Silverman, Amy 138 SixtyFour 73 Skin and Bones Film Company 176 Slatky, Tom 174 Slice 174 Smithsonian 115, 121, 123, 129, 132, 146 SNDWRx 176 Société de l’assurance automobile du Québec 86 Spectra Musique 83 Spella, Paul 144 Spinas Civil Voices 80 Splashway Water Park 84 SPLURGE! 118 Spring Advertising 157 Stack, Trudy Wilner 102 Stake, Anders 179 Stallman, Jim 89 Steaffens, Matthew 101 Steinkemper, Andreas 80 Stewart, Ruaridh I. 121, 125, 131 Stewart, Shalan 121, 125, 131 Stockdale, Charlotte 123 Stolfo, Abby 123 Stout, DJ 157 Strategy 137 Strauss, Rob 146 Sutherl&Editions 93 Swagger Agency 84

Tait, Iain 179 Tavares, Ronaldo 174 TDA Boulder 74 Thames & Hudson 98 Thind, Munzie 174

The Thomas Collective 151 Thomas, Liane 176 Thompson, Dena 176 Thor Industries 148 TIME 131 Time Based Arts 179 The Times Magazine 121 TNT + TBS Marketing 70, 83 Toma, Lavi 89 Toronto Environmental Alliance 84 Tran, Tuan 157 Tremblay, Martin 73 Trico 76 Turek, Erik 126 212 Studio 93 Tyler, Mark 84

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Übelhör, Rudi 126 Vaca, David 80 van Bruggen, Jason 176 Vasilarou, Alexia 174 Velasquez, Mariana 163 Velour, Sasha 126 VELOUR: The Drag Magazine 126 Visual Box 86 Vizio 79

Wakelee-Lynch, Joe 157 Walsh, Frank 166 Wasiak, Gregg 83 The Weather Channel 157 Weisman, Nancy 129 Weldon, Sophie Hernandez 174, 179 Welsh, Susan Lynley 102 Westside Studio 84 Whaley, Brenda 89 Wheat, Elizabeth 118 Whitehouse Post 174 Whitewright, Iain 174 Wieden+Kennedy London 179 Williams, Shevaun 118 Winegard, Scott 115 Wingman VFX 176 WIRED UK 141 Wood, Orlando 174, 179 Wright, Eric 80

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Yasgur, Jon 90 Yilmaz, Handan 93 YMCA of Greater Toronto 84 Young, Corinne 83

Zamajtuk, Jason 94 Zeinali, Hamed 79 Zentil, Jaimes 176 Zibert, Mark 174, 176, 179 Ziegler, Timothy 173 Zindren, Jessica 142 ZUMA Press 121 ZUMA Wire Service 131

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.

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