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28 Champions Design 68 Advertising
by Ellen Shapiro 81 Books
This New York design studio digs deep into
research to create meaningful brand solutions. 107 Editorial
123 For Sale
36 Anita Fontaine
by Grace Dobush 128 Institutional
While weathering the pandemic in New Zealand, 141 Animation
the artist and director helps others escape reality
in order to imagine a better one. 146 Self-Promotion
152 Unpublished
44 FRED & FARID
COVER by Rebecca Harris
The creatives at this ad agency’s four global
164 Student Work
One from a series of cover
illustrations for Tokyo Medical offices focus on concepts that the heart can
and Dental Cooperative’s easily understand.
publication Ishikyo Mate, by Ryo
Takemasa, p. 131. 52 Samantha Casolari
by Will Matsuda
A New York photographer blends a documentary
MEAD SHOW AWARD • ROSEY AWARDSstyle with mysterious
• LURZER'S 200 BESTmoods in portraits
ILLUSTRATORS and
• NATIONAL ADDY AWARD • AIGA 365: DESIGN EFFECTIVENESS
fashion editorials.
60 Exhibit
by Michael Coyne
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The latest and best in visual communication
from here and abroad.
FRESH
Editor/Designer
Patrick Coyne
Executive Editor
Jean A. Coyne
Managing Editor
Esther Oh
Associate Editors
178 180 182 Michael Coyne
Pánico Victoria Semykina Dan Larocca Michelle Yee
A design firm in Quito, Ecuador, This Bologna, Italy–based The passion and craftsmanship of Editor At Large
remixes myriad influences into illustrator’s lush vignettes the automotive world fuel this Anne Telford
powerful visual harmony. are part of her ongoing Illinois-based photographer.
Production Director
development as an artist. Lauren Coyne
Design/Production Associate
Julia Wilkins
Production Assistant/Customer
COLUMNS Service Representative
Khader Yanni
12 13 14 Competition Coordinator/
Design Culture Advertising Design Details Administrative Assistant
Wendy Richmond asks creative If a vehicle for a very big Ellen Shapiro looks to how the Rachel Whitaker
colleagues how they practice idea ever comes along, don’t tourism industry has adapted
the art of courage. be afraid to climb in, Ernie to the fast-evolving pandemic. Archivist
Nancy Clark Lewis
Schenck writes.
Software Engineer
Srividhya Gopalakrishnan
20 24 184 Technology Administrator
Emerging Media Typography Insights Michael Hoyt
Sam McMillan discovers What are the legal issues In a Q&A, creative director Advertising/Circulation Director
how ad agencies are finding surrounding fonts? Thomas Oriel Davis-Lyons shares how Dirk Moeller
more uses for artificial Phinney introduces designers he’s helping Black creatives
intelligence as a creative and to what they need to know. build their portfolios—and the Accounting
Cesar Queirolo
strategic tool. future of the ad industry.
Contributing Editors
Sam McMillan
Wendy Richmond
DEPARTMENTS Ernie Schenck

Founder
6 Contributors/Directory Richard Coyne (1926–1990)
8 Editor’s Column
186 Favorites
188 Book Reviews
190 Index to Illustration Annual 62
194 Overheard
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CONTRIBUTORS DIRECTORY
Features Featured in this issue
Grace Dobush (gracedobush.com) is a freelance journalist based in Berlin. She has Samantha Casolari samanthacasolari.com
written about design, tech and cities for publications including WIRED, Quartz and Fortune, Champions Design championsdesign.com
and in a past life worked for HOW and Print. For this issue, Dobush interviewed creative Anita Fontaine anitafontaine.com
director, artist and director Anita Fontaine about how she’s projecting a brighter future FRED & FARID fredfarid.com
with immersive worlds.
Rebecca Harris is a former longtime writer and editor at Toronto-based Marketing Exhibit
magazine. She is currently a freelance writer for a variety of business publications and AUGE augehq.com
B2B companies. In this issue, she reveals how ad agency FRED & FARID has taken global Estúdio Kuumba estudiokuumba.com.br
expansion at its own pace. LAMAR+NIK lamarplusnik.com
Will Matsuda’s work as a writer and photographer (willmatsuda.com) focuses on the The Panics thepanics.com
intersections of race, capitalism and the environment. He is based in Portland, Oregon. Paprika paprika.com
For this issue, he interviewed Samantha Casolari, a New York–based photographer Pavement pavementsf.com
capturing the poetic moments during fashion and editorial shoots. TBWA\Belgium tbwa.be
Ellen Shapiro (visualanguage.net) is a graphic designer and writer based in Irvington, TBWA\Helsinki tbwa.fi
New York. She is the author of The Graphic Designer’s Guide to Clients (Allworth Press) and Wilkinson Studio wilkinson.studio
more than 200 magazine articles and posts about design, illustration, photography and Young & Laramore yandl.com
visual culture around the world. In this issue, she profiles Champions Design, a New York
design studio rooting its work in core brand truths. She also writes about destination
marketing in the time of COVID for this issue’s Design Details column.
Fresh
Dan Larocca secretweaponphoto.com
Columns Pánico wearepanico.com
Victoria Semykina semykina.com
Sam McMillan (wordstrong.com) is an East Coast–based writer and brand strategist, and
a regular contributor to Communication Arts. In this issue’s Emerging Media column, he Advertiser’s Index
uncovers how ad agencies are further investing in artificial intelligence as a creative and
Commarts Daily 25
strategic tool.
Creative Hotlist 23, 185
Thomas Phinney is a type designer who has made fonts for Google and Adobe, and is theispot C2, 5, 7, 9, 15, 17, 27, C3, C4
the proprietor of Font Detective LLC (thefontdetective.com), where he investigates
potentially forged documents involving historically inaccurate fonts, and other actual Call for Entries
crimes against typography. Previously, he was chief executive officer of FontLab and Advertising 2021 21
a product manager at Extensis and Adobe. In this issue’s Typography column, he
introduces designers to what they need to know about fonts and the law. Submitting Work
Wendy Richmond (wendyrichmond.com) is a visual artist, a writer and an educator commarts.com/submissions
whose work explores public privacy, personal technology and creativity. Her latest
book is Art Without Compromise* (Allworth Press). In her Design Culture column, she asks Writer’s Guidelines
artists to share their acts of courage. commarts.com/write-us
Ernie Schenck (ernieschenck.myportfolio.com) is a freelance writer and a creative No responsibility will be assumed for
director. He is an Emmy finalist, a three-time Kelly nominee, and an award winner at unsolicited editorial contributions.
Cannes, the Clios, D&AD, the FWAs and the One Show. In his Advertising column, he
writes about the thrill of seizing creative opportunities.
Book Reviews
Isis Davis-Marks (isisdavismarks.com) is a writer and artist based in New York City.
Her work has been featured in publications and platforms including Smithsonian,
Elephant, Artsy, the Columbia Journal, King Kong Garçon and the Rumpus.
Dr. Jaleen Grove (jaleengrove.com) is assistant professor in Illustration at the
Rhode Island School of Design and an associate editor of History of Illustration
(Fairchild Books/Bloomsbury).
6 Illustration Annual 2021

JEFF HINCHEE • theispot.com/jhinchee MARK SMITH • theispot.com/msmith
FEDERICO GASTALDI • theispot.com/fgastaldi JOEY GUIDONE • theispot.com/jguidone
featuring Salzman International Illustration

EDITOR’S COLUMN Patrick Coyne
D espite, or maybe because of, the social, political and

economic turmoil of the last twelve months, we were
pleased to see a 5 percent increase in entries over last
year’s Illustration competition. A few surprises: the significant
growth in the number of entries selected in the Books and
“So much talent!
I really
appreciated the
“There was a good, healthy mix
that included diversity across the
board in subjects, portraits and
mediums,” says juror Dian Holton.
“I was glad to see the variety.”
For Sale categories created by illustrators based in Asia
and Europe.
international “There was wonderfully diverse
representation in the character
“Overall, the entries were very inspiring and showcased the high submissions.” illustrations,” juror Jay
level of illustration talent out there today,” says juror Brian Grandin says.
Danaher. “I really enjoyed the range of styles for portraiture.
—Nok Sangdee
“I was relieved to see so many
The editorial category had many entries that combined great diverse entries,” says juror Maria Middleton. “Pieces that uplifted
execution with a strong concept, and there were a number of marginalized voices, not just in calling out injustices, but also
fantastic entries for children’s books.” portraying the joy of diversity. Seeing slices of life from a variety
“I was thoroughly impressed with the work done for advertising, of perspectives was refreshing and encouraging.”
an area that has suffered from being very self-conscious,” juror After reviewing thousands of entries, several jurors commented on
Whitney Sherman says. “I was heartened to see the warmth and some of the visual trends they saw in the work.
caring in many entries—a real sense of knowing the audience
“This year, the entries in general skewed toward two areas: a colorful
without pandering to them.”
graphic feel, and imagery that let us sink into the details,” Sherman
“I was very impressed by the quality of work submitted for the says. “Did a year of living life onscreen shift our eyes to images that
competition,” says juror William Gicker. “The professionalism and are easier to decode as we also yearned for alternate complexities
expressiveness of the work was quite moving. I was especially to the political strife we endured?”
impressed with the quality of the student work.”
“The few entries that were spontaneous, exuberant, loose and
“There were some beautiful noncommissioned works in response painterly stood out as a breath of fresh air,” says Buchanan.
to the COVID lockdown with the common themes of isolation, “Perhaps a result of the times, but there were many dark,
“There was self-reflection, and a new
examination of nature and
foreboding and slightly gothic images that were meticulous in their
execution. They formed a large subsection of overall entries.”
generally a high our place in it,” juror Nigel
“I love seeing the shift back to realism and more ‘traditional’-looking
standard of Buchanan says.
media,” Middleton says. “And illustration that embraces 3-D space
“I noticed a pressing urgency
illustration with to ‘say’ something—to spread
is really exciting.”
“Like all creative industries, it feels like there’s a giant pendulum,
a wide range of a social message, from
but I do really appreciate the lean toward classical, well-crafted
exhorting people to vote to
styles. It was taking care of the elderly,” says
illustration that we’re currently seeing,” says Grandin.
great to see a juror Gloria Pizzilli. I asked the jurors if anything surprised them about the entries.
“It made sense, but I didn’t realize we’d see so many COVID- and
range of media “Many entries dealt with the
events of the last year and election-themed submissions,” says juror Nok Sangdee.
used to create gave heartfelt responses to “I thought I’d see more political entries, specifically as it related
the artwork.” suffering and to social and

racial injustice,” juror Mirabel
to president Trump,” Holton says. “I’ve judged other compe-
titions within the past four years, and that theme saturated
—Mirabel Fawcett Fawcett says. some categories.”

JULIA KERSCHBAUMER • theispot.com/jkerschbaumer MIRKO CRESTA • theispot.com/mcresta
BENEDETTO CRISTOFANI • theispot.com/bcristofani JUAN BERNABEU • theispot.com/jbernabeu
featuring Salzman International illustration

EDITOR’S COLUMN
NIGEL BUCHANAN BRIAN DANAHER
is a New Zealand– is an art director,
“Illustration on packaging is every- based illustrator designer and
where these days and is used to great who recently illustrator based in
effect, so I was surprised at the small moved back to that St. Paul, Minnesota,
number of entries in that category,” country after living where he runs the
says Danaher. and working in Sydney, branding and design
Australia, for more than 30 years. He began his studio Made for Ending. He has more than two
“I was surprised how few institutional
career with conceptual work for magazines, but decades of experience creating strategic
pieces were selected in the final cut,”
demand for his portrait work has been constant branding, design, packaging and illustration
Sherman says. “Editorial, Books and since Buchanan’s bold, colorful, graphic portraits initiatives for numerous clients including General
Advertising yielded the most images were showcased in Eight by Eight, the award- Mills, the Guthrie Theater, Minnesota United FC,
making it through the judging. Perhaps winning quarterly soccer magazine edited and Nestlé, Target, 3M and the University of
we were all immersed in news, reading designed by Priest + Grace. Other clients include Minnesota. In addition, he also works as an
and purchasing from our homes and Der Spiegel, the Economist, Fast Company, the editorial illustrator and has worked with
apartments while pandemically isolated.” Financial Times, Golf Digest, the Hollywood Reporter, a number of bands designing tour posters. His
the New York Times, The New Yorker, Newsweek, work has been consistently recognized by AIGA
I also asked the jurors to describe their
Pentagram, Rolling Stone, TIME, Universal Pictures, Minnesota, American Illustration, Communication
biggest disappointments with the entries.
Variety and the Wall Street Journal. Arts, Graphis, the Society of Illustrators and 3x3.
“2020 was a rough and lonely year for
many,” says Gicker. “There was a great
deal of expression around the many
DIAN HOLTON is MARIA T.
troubles that preoccupied our media and
senior deputy art MIDDLETON
daily lives. I would have liked to see director at AARP, is art director of
more expressions of hope throughout where she oversees Candlewick Press
the work.” creative for and Walker Books
“To be honest, I felt a bit distressed by TheGirlfriend.com, US. She began her
Sistersletter.com and career at HarperCollins,
the trauma of the year, which a lot of
The Ethel. Holton routinely contributes designs spent a decade creating award-winning books at
the work was created to emphasize—
to AARP The Magazine, specifically for cover stories Abrams, and then led the middle-grade team at
Black Lives Matter, Trump, COVID,”
and other features. Her background includes Random House Children’s Books. As art director
Grandin says.
integrated marketing, book design, branding, of imprints at Candlewick Press, Middleton
“Most COVID-related submissions were retail installation, styling and footwear design. currently works across a variety of children’s
pretty generic,” says Sangdee. She currently serves as co–programming director book genres. She’s a fan of quirky characters,
for the AIGA Washington DC chapter board and hand-lettered type, serial commas, strong coffee
“The majority of the entries were focused
as a mentor for several mentorship programs and the color red. Middleton received a BFA in
on just the ‘beauty’ side of the picture, including SHINE, a peer-to-peer AIGA DC mentor- communication design from Parsons School of
forgetting the importance of content ing program she launched that is embarking on Design | The New School, and currently lives
and avoiding the repetition of well- its tenth year. Her passions include education, with her partner and their rescue pup, Wyla,
known stereotypes,” Pizzilli says. philanthropy, fashion and pop culture. in Brooklyn, New York.
“There’s a cookie-cutter editorial style
that, in repetition, and especially given
our current circumstances, feels void
of emotion,” says Middleton. “While a demand there as well. There are many more opportunities
I always appreciate problem-solving and intelligent concepts, I hope available for illustration than there were even a few years ago.”
there’s room for that style to evolve.” “From an editorial perspective, with everything now on digital
Lastly, I asked the jurors for their perspective on what may be in platforms as well as print, illustrations need to become adaptable
store for the field of illustration. to all the different formats: app, web, social media and so on,”
says Fawcett.
“The traditional avenues of advertising, marketing and editorial
seem to be more open to illustration than ever before, but there are “I think the essence of illustration is storytelling, so I see the field of
also many areas outside of those where illustration is making illustration continuing to be a gathering place to tell our diverse,
inroads,” Danaher says. “Illustration works so well in digital media, human stories,” Middleton says. “And perhaps we’ll see more in the
and not just for editorial or marketing content, but for other areas 3-D space with everything from escaping to fantasy lands, to
like interactive, animation and product design, that we’re seeing advocating for a more just world.”

MIRABEL FAWCETT WILLIAM GICKER JAY GRANDIN is
is an editorial is director of stamp cofounder and
designer at the services for the creative director
Economist in United States of Giant Ant, an
London, United Postal Service in animation studio in
Kingdom. She studied Washington, DC. Vancouver, Canada. As
at the London College Gicker sets the direction creative director, Grandin
of Communication for a postgraduate diploma in for all Postal Service stamp program initiatives, oversees nearly every project in the studio,
Design for Visual Communication, putting her including design development, rights clearance, leading the conceptual development and
hands to screen printing, letterpress and litho- production, fulfillment, distribution, inventory scriptwriting processes, and is actively involved
offset printing. During her studies, she was one management and marketing. Working closely in design and animation. For their work in
of the recipients of the Print Futures award with Postal Service art directors and serving as entertainment and advertising, Giant Ant has
given by The Printing Charity. In 2015, Fawcett an art director himself for some of the most received a Daytime Emmy and four ADC Gold
joined the graphics department at the Economist. popular stamps issued, Gicker has managed the cubes, including a Best in Category award for
Since then, she has worked on the weekly paper development of more than 900 stamp issuances Illustration, as well as honors from the Clios,
and everything involved in it, from page layouts and 2,000 stamp designs since joining the Postal Communication Arts and the One Show. The
to commissioning illustrations. More recently, Service in 1998. A native of Pennsylvania, Gicker studio has shown up four times on Working
she has taken on the animation of illustrations graduated from West Chester University with Not Working’s list of 50 companies freelance
commissioned by herself and her colleagues. a Bachelor of Arts degree in English literature. creatives would kill to work for full-time.
GLORIA PIZZILLI NOK SANGDEE WHITNEY

was born in 1983 is a creative director SHERMAN is an
in Italy and at VMLY&R Chicago. award-winning
started her career Driven by human illustrator whose
as a professional insights, as they work has been
illustrator in 2010. connect consumers to exhibited at Giant
She has had the pleasure brands on much deeper Robot, the Norman
of working with clients like Arnoldo Mondadori levels, Sangdee is a believer in culturally, visually Rockwell Museum, Nucleus and in the Library of
Editore, the Boston Globe, Èditions Didier and emotionally relevant advertising. She has Congress exhibition and book Drawn to Purpose:
Jeunesse, Éditions du Seuil, Éditions Milan, more than a decade of experience working on American Women Illustrators and Cartoonists. At the
Feltrinelli, GQ, Il Corriere della Sera, L’Espresso, big brands including Jim Beam, Kimberly-Clark, Maryland Institute College of Art, Sherman is the
La Stampa, the New York Times, The New Yorker, Clorox, Jack Daniel’s, Dial, SC Johnson, Kraft, MFA Illustration Practice founding director and
Scientific American and WIRED Italia. She has Motorola, Smuckers and Wrigley, and niche codirector of Dolphin Press & Print. She was
received numerous international awards from brands like the Museum of Contemporary Art a contributing writer and associate editor of the
Communication Arts, Illustratori Italiani, Scenari Chicago and Radio Flyer. Her work has won at History of Illustration textbook and conducts
di Innovazione, Spectrum Fantastic Art, 3x3 and the ADDYS, Cannes, the London International workshops based on her book Playing with
many others. Pizzilli has illustrated multiple Awards, the One Show and the Radio Mercury Sketches. Her limited edition work for Pbody
books and has also exhibited her work at Awards. She also has mean knife skills and Dsign represents her view of the expanding role
exhibitions in Milan, Paris, Rome and Tokyo. speaks fluent toddler and Thai. of illustrators.
“I think illustrators are embracing ideas that may go against the seen a resurgence, showing us how we can learn and care about
grain—ideas that are nontraditional and unconventional,” says others. Most high-touch illustration is found in illustrated books we
Holton. “They are growing more comfortable with implementing can hold or letterpress prints, yet we may find our senses enlivened
new mediums to their work. I also see traditional illustrators by 3-D printed characters or small and large softies. So, what’s new
exploring digital and animation. Not all of it is polished, but may be what’s old, but reconsidered for the new world we will
I commend them for dipping their toe in the water.” enter postvaccination.”
“With us all so quickly thrust into our homes and the zoomisphere, A minimum of seven out of ten votes was required for a project to
and the last twelve months testing our patience at dealing with the be awarded in this year’s competition. Judges were not permitted
virtual world, we may find that our hunger for real contact, with to vote on projects with which they were directly involved; I voted
people and things, will drive us toward things less virtual and more in their stead. I would like to extend our grateful appreciation to
tangible,” Sherman says. “Humans need stories, and the pandemic our jurors for their conscientious efforts in selecting our 62nd
has created more for us to write and hear. Visual journalism has Illustration Annual. ca
Communication Arts | commarts.com 11

DESIGN CULTURE Wendy Richmond
The Question of Courage
O ne of my neighbors is a doctor. He has spent almost every

day of the past year at the hospital, administering care to
COVID patients. A member of my book club is a public-school
teacher, and her work seems to grow more complicated every
week. Another acquaintance owns a restaurant, and she continues
But she continues to have unresolved conflicts. “I’ve always had
one foot in, one foot out of the establishment,” she said. “It’s
hard to rock institutional boats. I still want validation, but I’m
feeling uncomfortable.” Courage, for her, means taking a stand.
“It would absolutely be an act of courage to not be in art fairs.”
to struggle to keep her staff employed. I told a friend about these
people, and how awed I am by their courage. She is a painter, and
Courage and self-knowledge
I asked her if she feels that her work as an artist is courageous. We often witness courage as acting in response to the present
She emailed back, “It’s hard to think of it that way when I compare moment: an adrenaline-fueled confrontation with adversity. But
it to Big Courage.” courage can also be the result of awareness gained over time.
What does it mean to be a courageous artist? Does your art have to Monique, a painter, described an experience in her career that she
put you at risk? Does it have to make a contribution to society? If it had not previously identified as courage. “I had an instructor
is focused on self-expression, can it still be considered courageous? who told me, ‘You must have self-confidence.’ I didn’t have it, and
I couldn’t figure out how to get it. After a decade of this struggle, one
When I’m intrigued by a thorny subject, I like to ask other people
day I simply said to myself, ‘I won’t have self-confidence, but I’m not
their thoughts. So I contacted a selection of creative colleagues
letting it stop me.’ It was a defiance of the message. I off-loaded the
and posed this question: What, in your life as an artist, was your
huge boulder.” With that, she removed a ten-year impediment.
most courageous act?
I asked my friend Jai, an art historian and a keen observer of artists,
Courage and the unknown for her perspective. She wrote, “Courage is accepting that you are
Mary, a photographer, answered without hesitation. “I was asked not Michelangelo and (after a deep sense of failure) being OK with
to be in a show, and I decided to present new work that was very that. And still, you continue to work.”
important to me.” But there were huge hurdles, especially technical
unknowns for printing on large-scale, multilayered pieces of silk Courage and authenticity
fabric. She wrote in her email, “I did not have the software skills to At the beginning of the pandemic, Andrea, a multimedia artist,
achieve the desired effects I envisioned.” Nor did she know how was addressing COVID-related themes. But when winter set in, she
she would hang the work. She was also worried about the content, began a series that was more introspective. She wrote, “This is
which was still raw: Would people get it? An added stress was more about emotional sanctuary, even survival, if I’m honest … and
introduced when the exhibit date was moved up. “I was close to I’m cutting myself some slack given the circumstances.” She
breaking out in hives.” described this decision to pursue internal rather than external
I asked how it all turned out, and she wrote back, “It came out great.” exploration as one of her least courageous. But for me, her response
was one of the most courageous I’d heard. And her commitment to
Courage and disruption pursue authentic self-expression helped me to find mine.
Tanja, another photographer, has had numerous large solo shows.
Art making encompasses vulnerability and personal exposure.
She is frequently invited to participate in art fairs. She’s grateful
It requires prolonged devotion to challenging, honest and un-
for her success, but her ongoing concern is the injustice of the
self-censored work. Artistic courage sits alongside Big Courage;
gallery system, especially for women artists and artists of color.
together, they sustain a population’s well-being and freedom of
Even successful artists who have museum shows are typically
expression. Because what, in the end, is courage for, if not to
barely compensated. “When,” Tanja asked, “did we learn to be
protect freedom? ca
grateful for not being paid?” She is actively working on making her
art accessible outside of the conventional gallery structure. © 2021 W. Richmond

ADVERTISING Ernie Schenck
When Someone Offers You

A Ride In A GT40, Take It.
INT. GT40 - DAY will never materialize. The right client will never cross our path.
But, for some, it will be because when a GT40 showed up at our door,
Henry Ford II is unceremoniously lowered into
we looked the other way. Intimidated. Afraid to take the ride.
the car by every executive in his entourage.
Shelby pours a handful of pills into his hand EXT. TRACKSIDE - DAY
and knocks them back.
Everybody watches. Remington leans in to two
HENRY FORD II: Couldn’t you make these things Ford executives.
a little easier to get into?
REMINGTON: It’s round about now the uniniti-
SHELBY: We’ll bear that in mind for the next ated have a tendency to soil themselves.
model. Ready?
As thrills go, landing on a big idea can be as emotional a rush as most
HENRY FORD II: The word in the middle of that creatives will ever know. Not as pulse-pounding as feeling the
steering wheel should tell you I was born ground ripping through every organ in your body, maybe, but adren-
ready Mr. Shelby. Hit it. aline is adrenaline. As creatives, we’ve been there. Sometimes in
O ne of my favorite movies of the past couple of years is Ford small ways. Sometimes, a little bigger. But what if you’ve never really
felt the big one? Not because you never had the opportunity, but
v Ferrari. Well, of course it is. I’ve been a Carroll Shelby fan
because you failed to rise to the moment when the moment came.
forever. And the GT40, aka the Ferrari Killer, well, don’t get
me started. EXT. AT THE END OF THE RUNWAY - DAY
I’ve seen this movie more times than I can remember. And yet, it Shelby turns. The car is sideways. Can prac-
wasn’t until recently that I learned something that never occurred tically see his tailpipes. Anchors into
to me before. Right there on the tarmac at Los Angeles International backwards doughnuts, churning clouds of smoke
Airport. Right there sitting next to Matt Damon in that übercool before whipping the runway, reaching 200 mph
black GT40. and then running a zero-tolerance slalom
Technically, Henry Ford II was a car guy. Like his father before him, between oil drums. The Deuce’s eyes have rolled
he liked to believe that oil ran in his blood. But the truth was into his skull. His mouth a fixed rictus. Only
something else. The Deuce, as he was known, could just as easily a low groan indicates he’s still alive. They
have been running a potato chip company as he was the Ford skid to a stop on the tarmac, far from every-
empire. He could tell you all about the car that was going to crush one. The Deuce sits, panting. Suddenly, he
bursts into tears.
the Italians at Le Mans. The facts. The specs. The data.
But it wasn’t until he climbed into that car, that very big idea, that GT40 moments are few and far between in advertising. They might
he came face-to-face with what the GT40 really was. never come. They might come tomorrow. But if it ever happens for
you, if the skies open up and that GT40 pulls up in front of you, do
INT. INSIDE THE GT40 - DAY not hesitate. See it for what it is. A moment that will turn your face
Shelby gives it everything. The hefty Henry to kneaded dough, that will have your eyes popping out and that
Ford II is pushed back, his face like fresh will shake your career to the core. Do not question it. Do not shrink
dough kneaded by invisible hands, his eyeballs from it. Do not second-guess yourself. Climb in, buckle up and pour
out of their sockets. A primal gurgle comes yourself into that assignment with your creative throttle wide open
from his gullet as speed reaches 140 mph. and, as Ford said, “Hit it.”
HENRY FORD II: Ooohhhhhhhhhhhhhhhh!!!! EXT. THE END OF THE RUNWAY - THAT SAME MOMENT
Who gets into this business without thinking that, one day, they’re SHELBY: Mr. Ford... You OK?
going to blow it wide open. Do something so monumental, it lives HENRY FORD II: I had no idea. (sobs) No idea!
on in the annals of advertising history long after we’re gone. For Goddamn. If my father, Edsel, could see this,
a meager few, it will happen. For most, it won’t. The right assignment feel this... beast! ca

DESIGN DETAILS Ellen Shapiro
Destination Marketing in the Time of COVID

Countries and cities are gearing up to reopen safely. In the meantime, videos and other immersive
experiences are bringing travelers to places they can’t visit right now.
In addition to offering a resource guide for visitors, the Aspen Chamber Resort Association’s website (left) lists resources to help the local business
community. SingapoReimagine (right) is an initiative by the Singapore Tourism Board to engage its international tourism partners on how to reshape global
travel, and to work with local tourism partners to co-create ideas and spur the renewal of Singapore tourism.
O pposing forces. On one side of the big game board of life:

COVID-19, ever spreading with new surges and variants. On
the other side: countries, cities, hotels, airlines and cruise
lines, hoping to fit themselves into postpandemic travel plans or
trying to entice us to make reservations and book now. Open
Alvarado, a travel photographer based in Mexico City. “I would
highly advise against any travel to Mexico from the USA,” he
responded via email. “The medical system here is exhausted with
a rising number of cases. Promoting travel to a third-world country
during a global pandemic is irresponsible and quite tone-deaf.”
a newspaper and read that Florida has nearly 20,000 new cases.
I’m not promoting. Only asking questions, and partly for personal
Turn the page, and there’s an ad offering “a warm winter welcome”
reasons. I hope to soon be in Bali, Indonesia, where my son’s
at the Breakers resort in Palm Beach, asking us to “take comfort in
family lives, playing with the baby granddaughter I’ve met only
knowing that the highest standards of comprehensive health and
on FaceTime. Like most people I know, I’ve been living in a bubble,
safety precautions are in place to protect our team, guests and
staying distanced, scheduling my vaccinations and trying to find
community.” Which message is more enticing, or less scary?
out when the country I want to visit will let me in.
A January 2021 New York Times article titled “Americans in Search of
“It could take two-and-a-half to four years for international tourism
Normalcy Flee to Mexico City” painted a disturbing picture of
to return to 2019 levels,” reported the World Tourism Organization
unmasked tourists crowding the city’s historic center and taking
(UNWTO) in January 2021, just as vaccines were being rolled out.
off for revelries in Cancún and Los Cabos while overwhelmed local
According to the UNWTO, “destinations worldwide welcomed 1 billion
hospitals lacked oxygen and other essential supplies. Federico
fewer international arrivals in 2020 than in the previous year,
Hernández-Ruiz, principal of asimetagraf, a brand consultancy
due to an unprecedented fall in demand and widespread travel
based in Querétaro, says that his workday is interrupted by phone
restrictions.” If the trend continues, that statistic—a 74 percent
calls from hotel chains and credit card companies offering special
drop in international arrivals from 2019’s high of nearly 1.5 billion—
resort packages. “People in my cloud are renting beach houses to
would mean massive bankruptcies and disaster for every region
be in open spaces with distance,” he says. “If you travel by car,
that depends on tourism for economic stability and growth.
there are road-inspection stops where your temperature is taken,
you are told about precautions and must show a reservation that Thus, countries and cities are forming committees, coalitions and
indicates you have a safe place to stay.” Are Mexican beaches safe consortiums to revive their economies, restore some kind of
for international visitors too? To find out more, I contacted David normalcy, and rethink their brands and offerings. In Catalonia, for

MARCO MELGRATI • theispot.com/melgrati DARIA KIRPACH • theispot.com/dkirpach
GIULIO BONASERAI • theispot.com/gbonasera OIVIND HOVLAND • theispot.com/ohovland
featuring Salzman International illustration

DESIGN DETAILS
In 2020, Tourism Australia released a series of immersive videos aimed at the international market to keep future tourists dreaming of all of the experiences
awaiting them when they are able to travel to Australia again. The series, titled Australia in 8D, and created by Sydney, Australia–based Connecting
Plots along with its sister production house Infinity Squared, features 8-D spatial audio technology that immerses online visitors in the unique sights
and sounds of destinations such as Uluru, the Sydney Opera House, Fraser Island and Daintree. Since launching, the videos have been viewed more
than 200 million times.
example, the Barcelona City Council launched Barcelona Never The typical destination website, though, with its links to attractions
Stops, a campaign that outlines the city’s plan to reactivate its and hotel reservations—except for the small print and content
economy via “shock measures” like giving immediate loans to about safety precautions and COVID-related updates—seems to be
small businesses, as well as its long-term plan to diversify its pretending that 2020–2021 is like every other year. Other, perhaps
economy, in part by reopening the city to investment and visitors. more prescient destinations, hoping to be foremost in the minds of
A rebus-like, animated graphic on the campaign’s website relates future travelers, are highlighting experiences that can be enjoyed
to the concept of moving forward by reviving neighborhoods, once travel resumes through ambitious campaigns that say “We’re
supporting restaurants, giving grants to cultural institutions and worth waiting for” and “We’ll be waiting.” One example is Australia
increasing international promotional efforts. Are the efforts working? in 8D, a series of immersive virtual experiences commissioned by
It’s not easy to find out. I decide to check on Spain’s current travel Tourism Australia. Sydney-based creative communications agency
situation online and am confronted with pages of official closings Connecting Plots created six short videos “designed to transport
and reopenings, regulations, and notices like “UK visitors returning viewers from around the world into the heart of some of Australia’s
from Spain will need to self-quarantine for fourteen days.” When? most breathtaking destinations and keep them dreaming of all of
Last summer? How about now? What about US visitors? I check the experiences awaiting them when they are able to travel to
Tripadvisor and find no helpful answers. Australia again,” according to the agency’s website. Connecting
In Singapore, businesses, the government and the hospitality Plots and its sister production company, Infinity Squared, partnered
industry are involved in what they’re calling SingapoReimagine. with Sydney-based music and sound design company Song Zu
“We’re inviting global communities to join our collective efforts to to provide viewers with journeys of sights and sounds. Put on
shape the future of tourism,” says Gina Ng, senior brand and headphones, click play, and you’re inside a green jungle with
communications manager at the Singapore Tourism Board, which twittering birds and monkeys, watching pink skies as water gushes
published a press release that describes SingapoReimagine as into a limpid pool, or diving underwater with singing whales. “At
“a new initiative to reimagine travel for Singapore and the rest a time where people are craving travel experiences, but physically
of the world,” including through a series of forums with global can’t, we wanted to create the next best thing, a moment of
partners as well as engagements with members of the local escapism,” Connecting Plots’ cofounder and managing director Tom
community and tourism partners. Among the efforts underway: Phillips told AdNews and Campaign Brief, two publications that
requiring all establishments to uphold stringent levels of hygiene covered the campaign.
and sanitation; transforming experiences like nightclub visits into New York City, too, is taking it slow, but seasoning the current pre-
virtual dance parties; and developing offerings like sustainability- dicament with a big dash of creativity. In July 2020, NYC & Company,
themed online tours. Changi Airport, the release claims, has the city’s destination marketing organization, published a 52-page
already succeeded in becoming contactless by eliminating touch- document entitled All In NYC: The Roadmap for Tourism’s Reimagining
screens, and is testing the use of ultraviolet light technology to and Recovery. From governor Andrew Cuomo and mayor Bill de Blasio
disinfect handrails. to museum directors, Broadway theater stars and celebrity restau-

DALE STEPHANOS ILLUSTRATION • theispot.com/stephanos
DESIGN DETAILS
The Coalition for NYC Hospitality & Tourism Recovery, an initiative of NYC & Company, introduced the All In NYC campaign to help jump-start tourism
and economic sectors impacted by the COVID-19 shutdown in New York City. The creative, developed by New York City–based agency Aruliden, serves as
an ode to the city and its colorful and iconic neighborhoods. Aruliden won the pro bono assignment after pitching against more than 60 submissions
from branding companies around the world. Aruliden produced brand guidelines, promotional assets, merchandise designs, a social media initiative and
a series of videos providing an intimate look at local New York businesses.
rateurs, it seems like every boldfaced name in town is involved, a strategy and rallying cry around the spirit of New York City.
joined by 700 organizations in the tourism, entertainment, sports, The solution: “ALL IN,” as in “It’s all here in New York City: all the
lodging, dining, retail, and meetings and events sectors. The pro- cultural attractions, the neighborhoods, the music, the people,
gram is organized into three phases—Rise, Renew and Recover— the smartness.” Aruliden’s work culminated in a tool kit with
with a plan to gradually expand its reach from local residents to assets designed to be easily used by NYC & Company’s internal
regional, domestic and international travelers. An ambitious pro design team and by the many business partnerships involved in the
bono campaign by 60-person branding agency Aruliden—whose effort. The current phase is a video campaign featuring images of
presentation won out over those of more than 60 other firms that New Yorkers, well-known and ordinary, living, working and suc-
competed for the gig—has brought bold black-white-and-red ceeding through the pandemic—and, it is hoped, inspiring others
messages that celebrate New York City sights, sounds and flavors to do the same—with footage donated by photographers that
to buildings and Link screens all over town. “This was a passion Bagley calls “friends, family and great photographers we follow,
project,” says creative director Spencer Bagley, who led a team of who showcased the grit and the goodness.”
six who donated months of work as “a gift to the city we call To increase their chances of survival, New York cultural institutions
home.” The assignment, Bagley explains, was to first create have also been developing their own virtual programming. The

Since On Site Opera, New York’s pioneering site-specific opera company, was unable to produce live performances in late 2020, director Eric Einhorn
and graphic designer Stephanie Reyer created The Beauty That Still Remains: Diaries in Song, a three-part production delivered by mail that provided ticket
holders with an immersive audio and tactile experience. The envelopes unfold to reveal program notes and artist biographies, and in the center are diary
facsimiles with ephemera-like family photos and dried flowers. Each envelope also contains a QR code and URL to the music, which was recorded at New
York’s Merkin Concert Hall.
Dance Theatre of Harlem launched DTH On Demand, an online who said she couldn’t provide her last name but told me that
streaming series that presents highlights of past seasons, and also Colorado is open “at 25 percent capacity.” She emphasized that
put on a special virtual performance of masked dancers in iconic face masks are required everywhere and that “overnight visitors
uptown locations like the 145th Street subway station. On Site to Aspen must complete an affidavit with proof of a negative
Opera, a company that usually performs in venues that fit the COVID-19 test.” Colorado isn’t telling us to keep away, though.
settings of the stories, like parks and museums, chose to present “When you’re ready, we’ll be here,” proclaims aspenchamber.org,
some of its 2020–2021 offerings via traditional graphic design. For a site that, in addition to presenting awe-inspiring images of
a special three-part series of performances based on diary texts mountain vistas, provides links to everything from “Business
by Anne Frank, Ozef Kalda and Virginia Woolf, a “ticket” bought Recovery Toolbox” to “Community Food Distribution” to “Mental
a “keepsake diary”—a folder containing an imaginatively designed Health Support.” When I spoke to ski aficionado Jeff Spillane of
Gorman Spillane & Friends, a Denver consultancy that provides
libretto based on the performance lyrics, portraits and bios of the
creative direction to ad agencies, he told me that Colorado towns
singers and subjects of the opera, and a scholarly essay, all printed
and resorts are serious about safety and that local entrepreneurs
on papers of various weights and textures and delivered by the US
are being super creative. He forwarded an article about how
Postal Service. A QR code linked to prerecorded music. “The goal
Steamboat Springs restaurateurs are reusing old ski-lift gondolas
was to meet the audience where they were—in their homes—and
as outdoor dining pods.
create an experience that sets the stage for listening,” the designer,
Stephanie Reyer, a Philadelphia-based museum and exhibition Despite how hard they’re trying, and despite the creativity and
design expert, told me in the interview I originally conducted marketing muscle and public relations that countries and cities
about the project for Print. “It’s a museum in a box, with intrigue, and travel-related companies are exerting, it still looks like the
relevance, media, curatorial context … all in significantly smaller best advice is to stay home. Stay home and put on those head-
phones, watch the videos and dream about future in-person visits.
square footage.”
Just like how this mostly successful year of working from home—
Across the country, Colorado is taking a different approach: empha- for those fortunate enough to have that option—may change how
sizing safety and “responsible tourism.” Yes, colorado.com has tabs offices are designed and how jobs are structured, it’s likely that
like “Hotels & Lodging” and “Festivals & Events” under the words travel will also emerge from the pandemic changed: more efficient,
“Come to Life Colorado,” but the site is topped by a banner leading cleaner and safer for everyone. Imagine wheeling your baggage,
to a “What’s Open” page with detailed health and safety guidance sanitized by ultraviolet technology, into a van waiting to transport
that even includes a link to a social distancing space calculator for you to that green jungle with twittering birds or into the open
businesses and communities. “Call 1-800-COLORADO to speak with arms of family members you haven’t seen since before their
a live counselor,” the page instructs. I did, and reached “Claudia,” two-year-old was born. ca

EMERGING MEDIA Sam McMillan
The Emotional AI
Beyond Time, by R/GA Tokyo, is an interactive installation that leveraged Shiseido’s scientific research on aging to develop a fully 3-D, real-time age simulation
engine. Participants can instantly experience the spectrum of aging with a partner, in the hope they may reassess their relationship with time through the
lens of their closest relationships.
W hen it comes to artificial intelligence (AI) and advertising,

the writing is on the wall. According to a 2017 prediction
from Servion Global Solutions, “by 2025, AI will power
95 percent of all customer interactions.” As AI matures beyond
chatbots, ad buying and creating hypertargeted audiences based
than a thousand data points, compare it to a vast data set of
Shiseido face models, then create a visualization to represent
how that person’s face would look decades into the past or
future. As two friends or loved ones gaze at each other through
a digital screen, they can see the other age or grow younger in
on massive data sets, savvy ad agencies are asking, “How can
the blink of an eye. Confronting issues of aging and bias can raise
we exploit this technology for the aims of our clients? How can
provocative questions, especially in a country with an aging
we use it to position our clients at the center of customer conver-
population like Japan’s. For Shiseido, the experience turned into
sations? How can we harness it to build an emotional brand
connection, making customers smile, laugh and perhaps even cry?” a public relations coup, generating press and bringing thousands
into the Shiseido center.
Some agencies are already finding answers.
To ensure R/GA continues to wield AI for the benefit of its clients,
R/GA creates a time-travel machine John Tubert, senior vice president of Technology at R/GA, held
Since its earliest days, when it was creating the teaser trailer and a workshop recently for R/GA creatives. His goal was to “up-level
opening title sequence for the 1978 film Superman, R/GA has made everyone on the creative team” so they can effectively pitch R/GA’s
a name for itself working at the intersection of digital technology, secret sauce combining AI and creativity to prospective clients.
design and advertising. So it’s no surprise it would embrace AI.
Working with marquee clients like Nike’s On Demand fitness First, Tubert’s team provided an overview of AI. “We looked at
program and Samsung’s augmented reality promotion Invasion examples of what had already been done in the world, and also what
#withGalaxy, R/GA is finding new ways to extend brand reach, build we’ve done at R/GA,” he says. Then attendees began brainstorming
loyalty and create emotion using a technology not known for warm around briefs for clients in banking, finance and technology. “We
and fuzzy feelings. asked, ‘What are the problems we are trying to solve, and how can
For Beyond Time, an interactive “time-travel” experience installed we use AI to solve them?’” During the third part of the workshop,
in a booth in the Shiseido “global innovation center” in Yokohama, the group selected “the best idea we can solve for, generated the
Japan, which opened to the public in 2019, R/GA deployed computer data required to train an AI, then actually built a functioning
vision technology to scan a visitor’s face in real time using more prototype AI in real time to show [that AI] can work in real time.”

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EMERGING MEDIA
BRAIVE guides brands from efficiency Heat AI predicts the future

to empathy After San Francisco–based ad agency Heat was acquired by Deloitte
“As good brand stewards of our clients, it became clear that we in 2016, there was a recognition that Heat’s creativity could be
needed to have AI be a part of our holistic strategy,” says Kate married to Deloitte’s toolbox of cutting-edge technology. In 2019,
the agency launched Heat AI. Jocelyn Lee, head of AI, was able to
Jeffers, partner and president at Venables Bell + Partners (VB+P).
open the toolbox and ask her favorite question: “What if?” As in,
That led to VB+P partnering with Trace Cohen, a strategy expert
“What if we took Deloitte Digital’s risk-prediction tools and used
focused on emerging technologies, and Joe Kleinschmidt, a tech-
them for advertising?”
nology entrepreneur, in 2020 to launch BRAIVE, a brand AI firm that
One answer has been a pattern-matching tool that Heat AI uses to
specializes in working with marketers to develop and implement AI
examine 100 million posts per day from more than 50,000 separate
experiences that reflect the brand’s purpose and personality, and
data sources, like blogs and social media. Instead of predicting risk,
best serve the needs of its consumers and communities.
Heat AI’s algorithms key in on certain words to determine trends
The firm offers a series of workshops called the BRAIVE Academy, and conversations that will peak in the next 72 hours. And, according
which convenes a client team of marketing experts, customer to Heat AI, it can do this with up to 70 percent accuracy. As Lee
service experts, designers and, in Cohen’s words, “a cross section of says, making air quotes, “This is its ‘superpower.’”
employees who can provide metaexpertise. We’re looking for real It’s a superpower that Heat AI is using for clients who want to be
inputs from people who live the brand.” Clients can expect eight part of relevant consumer conversations. By using predictive and
sessions—four with the brand’s executive team leader and four with propensity modeling to look at what customers are discussing
its broader team and key stakeholders—conducted via Zoom over online, Heat AI can create content around a topic and, as Lee says,
the course of roughly a month. “The promise of the academy is to “[place] it in social while [the topic] is trending so we can reach the
right person with the right message at the right time.”
align on a brand challenge up front, then ideate ways that AI can
solve for it,” Cohen says. Lee says this ability is resonating with entertainment and gaming
clients. One example Lee points to is Heat AI’s work for Sony’s
Ideation begins early in the process, and once the brand team launch of the sequel film Zombieland: Double Tap in 2019. “We were
leader has identified the primary business challenge, Cohen explains, looking for a new way to engage with the audience, so we looked at
“we identify community pain points, the role that AI can play to what Zombieland viewers were searching for: gaming, sports and
solve for the challenge and the authority the brand has to occupy entertainment. We used the predictive algorithm to look at relevant
that role. From there, we deliver a recommendation on how we trends at the time the sequel would launch. Then we created social
can leverage AI to bring the brand to life, and then build a prototype media posts that tapped into trending conversations and married
to pilot the concept. them to Zombieland,” Lee says. “The result was memorable conver-
sations around a title people cared about, a recall-rate lift of
“Currently, AI solutions are being driven by tech and operations teams 16 percent and a performance that was 41 percent better than
and with a focus on efficiency alone,” says Cohen. “For BRAIVE, that’s business-as-usual ads.”
considered to be table stakes. Instead, we work with marketers
Today, thanks to efforts from agencies and companies working on
to build a more differentiated AI strategy that is aligned with the the cutting edge of technology, AI is on the cusp of “business as
brand—and ultimately develop AI experiences that can tell the un-usual.” Although that might worry creatives, Tiffany Rolfe, R/GA’s
brand’s story on a broader scale.” global chief creative officer, doesn’t see AI coming for their jobs
Thus far, four clients have completed BRAIVE Academy workshops. anytime soon. “Creatives have a unique advantage that will take AI
For “people and culture” startup Culture Amp, BRAIVE conducted decades to match: insight and ingenuity, both human traits that are
extremely difficult to mimic,” she says. Once the sheen of AI wears
a fifteen-person workshop that revealed how much stress human
off, Rolfe thinks the technology will increasingly be seen as just
resources (HR) managers were under in the midst of a pandemic. In
another workaday tool. “As the demand for more deliverables
response, the BRAIVE team built “Enso,” an AI-driven “knowledge in shorter times rises,” she says, “creatives will be managing AI
keeper” that facilitates connections amongst HR leaders, and enables processes to support their workloads.” And as the novelty of
them to share their stories and best practices. Cohen says that chatbots and other current AI applications wears off, customers
“instead of a ‘know-it-all’ AI, we built a ‘listen-to-it-all’ AI that holds can expect AI to fill the roles of brand builder, soothsayer and
the collective vision and learnings of this human community.” even empathy generator. It’s just getting started. ca

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Fonts and the Law

What designers need to know
Note: Consult your attorney for advice on any particular legal matter. No 2000s. Afterwards, Emigre’s Rudy VanderLans told Fontzone’s
reader should act, or refrain from acting, on the basis of this article, without Clive Bruton, “We have never lost any of these type of lawsuits.
seeking advice from legal counsel in the relevant jurisdiction. Granted, many of the lawsuits to protect our font software are
W hether you use fonts as a graphic or web designer, or are settled out of court. Our goal is to stop people such as Apostrophe.
perhaps starting to make fonts, understanding the legal We’re in it to protect our work, not to clog up the legal system
issues around them is important. What are font lawsuits and/or fatten the wallets of lawyers. This settlement gave us exactly
about, what legal protections do fonts have and how does it affect what we asked for.”
you—whether you use fonts or make them? Such “piracy” can have consequences besides lawsuits. In the United
Font lawsuits take many forms. Some are within a company, such as States, under the Digital Millennium Copyright Act (DMCA), copyright
when Tobias Frere-Jones sued Jonathan Hoefler. Some are business holders can complain to infringers’ internet service providers.
disputes between companies in the font business, whether around Repeat infringement after warnings can lead to loss of internet
distribution/relicensing deals, making derivative fonts and selling service—although this is rare.
them (Adobe v SSi), making similar fonts (ITC v Monotype), or allowing Whether you’re using fonts or making them, the main risks are
fonts to be embedded in documents (Monotype v Adobe). around underlicensed or unlicensed font use. Only one or two such
Lawsuits over font “sharing” via websites are rare. Going after file lawsuits a year reach public awareness, but in countless more cases,
sharers is like a game of whack-a-mole, offering minimal rewards. a foundry or its lawyer contacts users about improper usage of fonts,
Most foundries stop after getting their fonts removed from the font- and they settle out of court. Often, these users are either partly
sharing website, if even that. One egregious case that did go to legitimate customers, or just made a mistake. For example, in 2010,
court in Canada was someone using the online alias Apostrophe the French anti-piracy agency Hadopi’s new logo, created by an
getting sued by a group of type designers and foundries in the early outside design firm, used a Porchez font that had been created for
around underlicensed or unlicensed font use. Only one or two such

Kinds of Legal Protection for Fonts
lawsuits a year reach public awareness, but in countless more cases,
a foundry or its lawyer contacts users about improper usage of fonts,
The end-user license agreement (EULA) is a font consists of text-format code dump required applicants to explicitly claim that
and they settle out of court. Often, these users are representing
either partlyeverything, even glyph shapes.
a legal contract that says what you can and they had in fact input the code as text to
legitimate customers, or just made a mistake.
cannot do with the fonts. Excepting fonts For example, in 2010, create font glyph shapes (as opposed to
Since then, the US Copyright Office’s
the French anti-piracy agency Hadopi’s
you have designed yourself or commis-new logo, created by an using a drawing interface, as is nearly
Compendium of Practices has said that
sioned, or those from “warez” sites with no a computer program that generates a par- universally done). But copyright registra-
license at all, most fonts on your computer ticular typeface or “typefont” may be tions for fonts-as-software have quietly
are licensed to you, not owned by you—even registered, but not the typeface/typefont resumed since, and neither the Office nor
open-source fonts. itself (§723). However, as intellectual multifoundry lawyer Frank Romano, who led
Copyright is contentious for fonts in the property lawyer Karen Shatzkin explains objections to this, would comment on the
United States, but the companies making it, “computer programs are entitled to record, leaving the situation murky at best.
fonts, and their lawyers, have long acted as copyright only if they contain new creative From a software perspective, this—typing
if fonts are protected by copyright. The elements, which the Copyright Office is not code versus drawing vectors on the com-
details are complicated. equipped to judge, and your registration is puter—is an arbitrary distinction with no
only prima facie evidence. Prevailing in difference in the output. Indeed, as chief
In 1976, a new Copyright Act was enacted
litigation may well require that you prove its executive officer of FontLab at the time,
by Congress that specifically excluded fonts
entitlement to copyright, which, even if you I consulted with FontLab engineering vice
from copyright protection. In the mid-’90s,
succeeded, would cost a fortune.” And, of president Yuri Yarmola, and he promptly put
Cynthia Hollandsworth Batty led the type
course, this would protect the font-file- the “source” text-based glyph editing mode
community in convincing the Copyright
as-software, not the appearance. into FontLab VI. You could then edit any
Office that digital fonts might be considered
software, and be treated as such for copy- For more confusion, the Copyright Office in glyph either as source code text or via the
right. So instead of showing what the font 2018 started sending letters to some font visual editor—and changes made in either
looks like, a US copyright application for copyright applicants saying copyright affect the other, in case anyone wanted to

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TYPOGRAPHY
the exclusive use of France Télécom, and couldn’t legally be used licensing! This relies on dedicated staff as well as automated bots
by anyone else. Designers’ Lesson: Track your usage and segregate any that can scan for font usage in web pages and posted PDFs.
fonts you have only because of a specific client, perhaps by utilizing Sam Berlow, previously general manager of Font Bureau and
a font-management app. Remember that few licenses, aside from open chief executive officer of Type Network, says “license enforcement
source, allow you to give the fonts to third parties doing design work ‘can’ be a substantial percentage of foundry income. It can also be
for you—sometimes with an exception for output services. soul-killing and maddening. I recommend outsourcing it whenever
License wording and terms are hard for foundries; they have to possible.” Berlow suggests foundries take a gradual escalation
decide whether to keep things simple and generous, or to charge approach to license enforcement, starting with a company-to-
extra for additional rights. Emigre, for one, has an especially modular company letter before involving lawyers.
and clear license where users pay separately for various different What’s in a font license? Most, except open source, cover a specific
areas of use. number of users or computers. Desktop licenses often exclude or
Proceeding to an actual lawsuit is expensive for everyone. In most limit web fonts, while web font pricing often scales based on usage.
cases, the additional licensing fees involved, which go from users to Incorporating fonts into an app is often extra. Some font licenses
foundries, are small compared to potential legal fees on both sides. charge extra for various other things, such as use in advertising, in
And that’s not counting time on both sides, lost from actual work. logos or on T-shirts. Many foundries don’t allow modifications, or
require that they do modifications themselves. One foundry’s license
This is why filed lawsuits are rare, but getting contacted over even says that you may not use its fonts for a political or religious
unlicensed font usage is very common. Said contact may not even purpose without additional permission! A few offer some sort of trial
be an actual problem! In a previous job, my company got a letter use. Designers’ Lesson: Font license generalizations are just that—font
from a well-known foundry about what they thought was two cases licenses can differ and usually do, which is why you must read them!
of unlicensed font usage—but they were mistaken. Designers’
Fonts from the same foundry or under the same open-source license
Lesson: Keep records of your font licensing, as well as who you hired for
will generally have the same license, which helps. With practice, you
outside design work.
can scan a license quickly. If you don’t like it, don’t license under
Two foundries that are especially active in pursuing unlicensed those terms. I know this may sound excessive. Even I don’t usually
or underlicensed font usage have told me—under condition of read software licenses… except for fonts, because there’s a real
anonymity—that they might get as much revenue from enforcement chance of the license not allowing what I want to do. You need to
(which one of them called “retroactive license sales”) as from normal read font licenses, too. ca
convince the Copyright Office as to the teen years and must be actively applied didn’t start with Hypatia Sans’s font code
irrelevance of the distinction. for, with noticeable fees on top of any or outlines.
Why do foundries badly want copyright to lawyers’ fees, and are only relevant in the Trademark requires registration, protecting
apply to fonts? Copyright is automatic and United States. Result? Font design patents just the name, in the registered domains.
inherent in authorship, without even re- are uncommon; Adobe routinely applies for Thus there are three active US trademarks
quiring registration, and copyright on new them, but few others do. Unlike copyright, on Arial in different domains: one for the
works generally lasts for 70-plus years, though, there is no question that design font, but also for climbing/mountaineering
depending on the country, author’s lifetime, patents can be applied to fonts. In fact, US ropes and a wireless call system. Anyone can
etc. Additionally, registering one’s copyright design patent number one was for a font, claim a trademark (™), but only registered
has the advantage in the United States that issued to George Bruce of the Bruce Type trademarks can use ®. Trademarks last
it can make infringers liable for “statutory Foundry in 1842! In the European Union, forever as long as one uses the name in
damages”—a range of cost per work, registering a “Community design” gives commerce and pays renewal fees.
regardless of the actual damages (actual protection for up to 25 years. In some Which protections matter? Font lawsuits
loss to the copyright owner). circumstances, an “unregistered Commu- often rely on as many areas as can be
nity design” may also be protected, for brought to bear, including copyright and
Design rights protect the abstract design of
a period of three years. trademark—and design rights, where appli-
the typeface; they are the only legal protec-
cable. But the complexity and uncertainties
tion that protects the appearance alone. What does it mean that design rights of US copyright for fonts has led a few
Design rights vary in form by country. In the protect appearance? If you sell a font in the lawyers and foundries—such as Shatzkin
United States, design rights take the form United States that looks too much like and her longtime former client Darden
of a “design patent,” which is a different Adobe’s Hypatia Sans (designed primarily by Studio—to conclude that both foundries
category than the usual “utility patent.” me, but owned by Adobe), it could infringe and users are best off relying solely on
Design patents only last for fourteen or fif- Adobe’s US design patent—even if you a fair but highly enforceable license.

MICHAEL DIMILO ILLUSTRATION • theispot.com/mdimilo
portfolio represented by Salzman International

T hey’re young. They’re bold, ambitious and supertalented.
There are only six of them, yet they’re taking over the
design world.
Usually, when they’re not visiting clients at top cultural and
Bierut’s team at Pentagram. Six years after cofounding
Champions, she took a hiatus to lead the design efforts for
Hillary Clinton’s presidential campaign. She still cites the
“Love Trumps Hate” slogan as one of her favorite projects.
entertainment institutions or traveling around the country to Martin, a graduate of Virginia Commonwealth University, came
consult or present, they’re working in a small storefront office to New York at the same time as Kinon, for the same reasons.
on Avenue A in the East Village in New York City. At the time of After receiving his MFA, he worked with Brian Collins at Ogilvy’s
this writing, however, due to COVID-19—like the teams at every Brand Integration Group and alongside Wynton Marsalis as
other design firm and ad agency—they’re working remotely. design director of Jazz at Lincoln Center. He then spent two
The firm was founded in 2010 by Jennifer Kinon and Bobby C. years in London, leading Nokia’s packaging design team,
Martin Jr. as OCD | The Original Champions of Design. When before returning to New York. He’s been elected to the boards
the partners concluded after a long internal debate that the of both the Type Directors Club and AIGA/NY. In 2017, Fast
acronym OCD, while cheeky, had hurtful implications, they Company named him one of the “most creative people in busi-
underwent the same kind of rigorous rebranding they engage ness.” Yet he still refers to himself as “a Virginia country boy.”
in with their clients, a process that last year led to renaming At SVA, MFA Design cochairs Steven Heller and Lita Talarico
themselves Champions Design. It’s an apt name for a firm noticed an affinity between them. “When the chemistry
whose client list is filled with the kind of boldface organiza- works, like it does with these two, you could just sense it,”
tions known to gravitate toward global firms that have Heller says. “You could also sense that with her talent and
been around since “graphic design” first made it into the skills, Jennifer was destined for success,” Talarico adds. “And
mainstream dictionary. Bobby was the first student in the program who collaborated
Kinon is a University of Michigan graduate whose college with an actual client for his thesis, rebranding the Abyssinian
claim to fame was varsity athletics—the rowing team—not Baptist Church in Harlem.”
winning student design awards. Inspired by a short-term Now they both teach in the program, guiding the next genera-
consulting gig, she came to New York in 2001 to attend the tion of students to become design leaders and entrepreneurs.
MFA Design program at New York’s School of Visual Arts Their secret sauce is made of many ingredients; after talent,
(SVA). After graduation, she became, in rapid succession, art there’s the right kind of design education and an incredibly
director at Graphis, design director for New York City’s bid positive, can-do attitude. Martin can speak at length about
to host the 2012 Olympic Games and a member of Michael design as a profession, a practice and a craft—and about the
Captions supplied by Champions Design.

Right: “Champions worked with the incoming president and chief executive officer of the Memphis River Parks Partnership, Carol Coletta, to develop
brand strategy, naming, brand identity design, digital design, merchandising and a signage system that would welcome Memphians back to the river.
Our work with Coletta on the Reimagining the Civic Commons initiative and creative placemaking dates back to 2011. The new concept plan turned previously
fragmented public property into one connected riverfront. The icon is a minimap of the new configuration. It captures the six-mile River Line running
through the five park districts: Greenbelt, Mud Island, Fourth Bluff, Big River and MLK.” Talia Cotton/Hanah Ho, designers; Andrew Freeman, afreeman,
signage designer; Jennifer Kinon, creative director; Memphis River Parks Partnership, client.

CHAMPIONS DESIGN
drive to be the best The Girl Scouts of the USA project is another example. What
at it. “Our strategy was wrong with Saul Bass’s iconic 1978 logo? Very little. Thus,
is to overdeliver,” he when the Girl Scouts called, saying, “We need a new logo,”
asserts. “If a client Champions replied, “Let’s do some research and work on
asks us to do three a brief together,” a response that builds trust and collabora-
things, we do five. tion. The changes Champions ultimately made are subtle
And we only take but important: the trefoil comes to a graceful, more distinctive
on projects we point, and the girls’ profiles that fill it are more stylish,
believe in, the ones with perky noses and youthful bangs. More importantly, the
that get us really research from the deep dive culminated in a program that
© Maria Spann
excited to work on.” includes a poster Kinon calls “the synopsis of the whole
Kinon says, “From identity system.” Also referred to as “the cheat sheet,” the
the beginning, we poster could be described as a representation of eight key
envisioned ourselves pages of a brand guidelines manual—one designed and
as a bold, unapologetic team, with a focus on social justice written from the point of view of a friendly adviser. That cheat
and diversity—a team that could take on the world.” sheet, Martin jokes, “brought us about 75 percent of our
business. If everyone wants one, it’s for good reason.” For
According to Laurel Richie, chair of Dartmouth College’s
example, a Girl Scout troop leader can learn from the poster
board of trustees, who’s worked with Champions on projects
how to use the colors, the signatures of the various grade
for several clients, “What sets Champions Design apart
levels of members—daisies, brownies, cadettes—the typog-
from all others—and I have worked with many leading design raphy and even the imagery; the sketchbook-like line drawings
firms—is their process: deep research into the brand’s created by her troop could be ideal illustrations, because
history and DNA, an inclusive engagement process, a crisp they’re “personal and on-brand.” And all that information is
articulation of client aspirations, and the creativity and on her wall in a clean, accessible format.
precision required to deliver big brand ideas.”
Right now, the results of the work for the Studio Museum in
Carina Sandoval, Champions’ lead strategist and a graduate Harlem are only on the walls of the people working on the
of SVA’s Masters in Branding program, describes that process project. But both designers and client talk excitedly about it.
as “four phases: research, strategy, design, implementation.” Says the museum’s director and chief curator, Thelma Golden,
There’s nothing revolutionary about the phases, but the “Champions Design consistently exceeds expectations,
difference is the fire in their belly, and their need to do them delivering thrilling, innovative designs that affirm the Museum’s
more thoroughly, wholeheartedly and as a close-knit team. mission of being the nexus for artists of African descent.
“We dive in and get immersed in the brand,” Sandoval Throughout our multiyear collaboration, Champions have
explains, “then condense it to the essence or core and create provided design direction that honors our history while
a strategic framework.” propelling the institution forward.”
However, getting projects and nurturing client relationships
That deep dive is what clients who want differentiation—not
worthy of accolades like “thrilling” isn’t always easy, Martin
another easy answer—are after. Thomas Berger, head of
admits. A firm headed by a White woman and a Black man
creative at MTV, calls Champions’ work “dynamic” and “rooted
has its challenges. “We encounter explicit and implicit bias
in strong concepts that transcend trend.” He chose them whether we’re running our company or sitting on boards of
to bring a fresh point of view to the MTV Video Music Awards organizations. It’s the world we live and work in. We address
(VMAs) logo. “The work they presented immediately resonated, bias and discrimination when we can. And when we can’t,
and it’s one of the few times I’ve been sure of something right we roll our sleeves up and figure out how to get stuff done.
out of the gate,” he says. “The mark we use today is virtually The hope is our work will open doors to make it easier for
unchanged from the first round they proposed.” Champions’ those coming after us,” he explains. “Basically, we have to
VMAs mark pays tribute to Manhattan Design’s 1981 MTV logo, work harder. We have to do more. We have to be smarter.
but its typographic forms are 2021, loud and clear. Especially now, with the virus. It’s a juggling act to keep the
This page: From left to right: Founding partners Bobby C. Martin Jr. and Jennifer Kinon.
Right: “Since 1968, the Studio Museum in Harlem has been the global leader of Black artistic culture and research. Since 2010, Champions has worked with
director and chief curator Thelma Golden and her team to develop design and branding in support of the Studio Museum’s events, exhibitions, programming,
publishing and more.” Taylor Hale/Hanah Ho/David Shatan-Pardo, designers; Jennifer Kinon/Bobby C. Martin Jr., creative directors; The Studio Museum
in Harlem, client.

CHAMPIONS DESIGN
right bodies in the right place. We turned on a dime from being

together every day, collaborating in person and having regular
‘coffee and creative’ meetings, to successfully interacting with
each other and our clients on our screens.”
A good part of that success can also be attributed to project
manager Haley Kattner Allen, who, before joining Champions,
worked on the agency side as well as in-house. “I keep a bird’s-
eye view of all projects so we can balance workloads and
timelines to ensure each project receives the care and attention
it deserves,” she says. “I also work directly with clients to
maintain clear lines of communication. I’m proud to be part of
every project not only because of the incredible caliber of work,
but because each project really stands for something.” The staff’s
ability to work together successfully can also be attributed to
the workplace the partners cultivate, according to Allen, “which
gives everyone ownership of their projects and plenty of
room for advancement.” Case in point: design director Michael
McCaughley began as an intern and “moved up the ranks to
where I’m at now.”
And then there’s the aspect of fun that Slack can’t duplicate.
The East Village, though gentrifying, is still one of the hippest,
most happening places in New York City, with a vibe that’s
remained since the days Allen Ginsberg read his poetry at St.
Mark’s Church. Just outside the office, there’s no shortage of
entertainment venues and interesting places to eat. Inside, a Swiss
mountain dog sleeps at the designers’ feet while they work to
the rhythms of an eclectic playlist everyone helped curate.
All of them are hoping that by the time you read this, they’ll be
back there again, together, continuing to prove that they deserve
being named by Fast Company as one of “the 30 most important
design companies of 2019.” ca
Left: “Dean Sarah Whiting’s vision for Rice Architecture was to create
a meeting point for discourse, theory and practice, as well as for Rice University
and the world. The new mark combines the R of Rice and the A of Architecture.
The point where the two letters meet becomes the anchor point for the design
system as a whole.” Daniel Hennessy, designer; Michael McCaughley, design
director; Bobby C. Martin Jr., creative director; Sarah Hermalyn, strategist;
Sandbox, developer; Rice Architecture, client.
“In 1972, Rice Design Alliance (RDA) was established within the Rice School
of Architecture to develop the school’s outreach and public programs. RDA is
a network. The RDA identity system picks up the elements of the Rice Architecture
identity system and turns them outward.” Talia Cotton/Rebecca Matt, designers;
Michael McCaughley, design director; Bobby C. Martin Jr., creative director;
Sarah Hermalyn, strategist; Sandbox, developer; Rice Design Alliance, client.
This page: “The Moody Center for the Arts identity takes inspiration from
the center’s main building, designed by renowned Los Angeles–based architect
Michael Maltzan. On campus, the bold geometric shapes work like beacons.
In the design system, they spotlight the many experiences at play at Rice.”
Rebecca Matt/David Shatan-Pardo, designers; Bobby C. Martin Jr., creative
director; Sarah Hermalyn, strategist; Russell Delacour, developer; Moody
Center for the Arts, client.

CHAMPIONS DESIGN
This page: “In 2018, the Atlantic published a special

edition to mark the 50th anniversary of Martin
Luther King Jr.’s assassination. The creative team
at the Atlantic came to Champions to art direct
and design the special issue celebrating the life and
words of Dr. King.” Bobby C. Martin Jr., designer/
creative director; Shaquille Kessi, researcher; The
Atlantic, client.
Right: “In its storytelling, Kilter Films, the production
company behind HBO’s Westworld, pushes, blends
and bends the boundary between art and technology.
With its mechanical performances of complex
musical pieces, the player piano delivers exactly that
sort of experience. To bring it into and beyond the
present day, we compared the process of player
piano transcription to digitally recording music. The
narrow place where they overlap gave us the guiding
logic for the Kilter identity system.” Taylor Hale/
Rebecca Matt/Kavya Singh, designers; Jennifer Kinon,
creative director; Kilter Films, client.
“The Girl Scouts of the USA is the nation’s preeminent
organization dedicated solely to girls. In 2010, the
Girl Scouts revised its programming and advertising
to better engage girls today. To support this shift,
it approached Champions to reassess its identity. The
original pointed trefoil was never fully abandoned
by the Girl Scouts; it coexisted with the softened
trefoil profile logo created by Saul Bass in 1978. For
consistency, we needed to create one iconic shape
that worked across the whole system, and, for
meaning, we needed to infuse youth and power into
the profiles.” Jennifer Kinon/Bobby C. Martin Jr.,
designers/creative directors; Joe Finocchiaro/Jasper
Goodall, illustrators; Girl Scouts of the USA, client.
“The MTV Video Music Awards (VMAs) has produced
some of TV’s most memorable moments. In 30 years,
the VMAs had produced no less than 30 logos.
Redesigning every year allowed the art to be on
trend but forfeited brand recognition and often
dissociated the show from the network. In 2017,
Champions worked with the in-house creative
team to build the show’s first identity system. The
successful system celebrates MTV’s iconic network
logo and forges a wholly new, made-to-be-dynamic
mark just for the VMAs.” Scott Allen Hill, design
director; Thomas Berger/Catherine Chesters,
MTV/Bobby C. Martin Jr., creative directors; Sarah
Hermalyn, strategist; MTV, client.

VIRTUAL REALITIES ARE MORE THAN GREAT ESCAPES—THIS CREATIVE
DIRECTOR BELIEVES THEY CAN HELP US CREATE A BETTER FUTURE
E scapism often gets a bad rap. You think of avoidance,

laziness, frivolity.
But speculative-future artist and creative director Anita
She’s done a lot of work with pop stars and fashion labels,
which makes sense—they’re all about creating their own
realities. Now that she’s 41, Fontaine wants to work only with
entities that share her ethics, like sustainable footwear and
Fontaine believes the escapes of augmented and virtual reality
can be used for good. Creative tech of this sort can help apparel company Allbirds, for which she directed a stop-mo-
create empathy, she says. “It’s quite a powerful technology. tion-esque video for the April 2020 launch of its new running
You can be put in someone else’s shoes in a book, but you shoe, the Dasher. “I’m inspired by apocalyptic visuals, but in
can literally be in another person’s shoes in VR.” a way, it’s to make sure we don’t go there,” she says. “I think
we all have a chance to figure out what the future is. If we
Fontaine is calling from the future. The Australian currently don’t, someone else will.”
living in New Zealand is already experiencing Wednesday
morning—for me, it’s still Tuesday night in Berlin. In portraits, Internet explorers
Fontaine’s eyes are often illuminated, as if the future is When she first played futuristic racing game Wipeout 2097 as
being beamed directly into her corneas. a teenager, “I was like, ‘I want to do that. I want to make
Fontaine’s future is feminine psychedelic chic. “I’ve been these worlds people can step inside,’” she recalls. She went
thinking lately about how I like to mash up the feminine with to art school to study photography but found that she kept
a hyperreal sci-fi energy,” she says. Like the trippy video she wanting to use what she captured as textures in virtual worlds.
directed for Auckland singer Benee last fall; released in Octo- She first learned about VR at a residency at the Banff New
ber 2020, “Snail” is a mushroom-infused Alice in Wonderland Media Institute. “This experience was very arty and very
with heavy vaporwave vibes. esoteric, very early 1990s,” she says. She found that she felt
Gen Z’s grungy, glitchy aesthetic is right up her alley. “I like quite at home within 3-D digital environments, creating
my work to have a bit of a punk imperfection—it feels more fantasy worlds that felt just as real to her as the real world.
relatable. I’m not really a minimalist,” she says. “It’s so exciting Her first commission was an art installation in Second Life,
to me that there are these icons emerging who are just for an Australian digital arts group.
antieverything. They’re anti–glossy pop star. It aligns with It was in Banff that she met Geoffrey Lillemon, who was
what I’ve been creating my whole life.” also playing with tech and art. He and Fontaine started
Right: Paraíso Secreto. “We fitted out a once-abandoned mansion in the middle of Mexico City with a journey from urban to paradise, involving hundreds
of plants, a virtual reality (VR) installation, set design and live theater elements. After being welcomed by costumed hummingbirds, invitees needed
to find a gold coin in order to access a secret and transformative space in the middle of the venue, where the VR experience lived. Once they had access,
each person was fitted with a VR headset and backpack to allow for a fully untethered experience where all of the senses were triggered, including
touch and smell. When they took the headset off, they were on a beach at sunset, the coin transformed into a necklace and they could join a party raging
in another space. It was nuts, especially one night when a monsoon hit. So much technology anxiety!” Anita Fontaine, creative director; Wieden+Kennedy
Amsterdam, ad agency; Corona, client.

ANITA FONTAINE
a research lab within ongoing investment to build and maintain,” Fontaine says.
ad agency Modernista! “Everything’s temporary.”
in Boston, and then Still, the experience was invaluable for Fontaine. Exploring
established their own future territory with new technologies and self-initiated
digital agency, Cham- ideas enabled the unit to push creative culture. Its purview
pagne Valentine, and was less classical advertising and more about showing clients
ran it for six years in and people things they’ve never seen before.
Amsterdam, creating
© Virginia Woods-Jack
“Brands sometimes don’t know what they want, so we’d create

sensory art experiences
these prototypes and show them what they didn’t know
for brands and museums.
they wanted. It was the perfect playground to create those
In 2016, the two launched
things,” she says. “You’re always thinking of how you can
the Department of New be on the edge and bring as many people with you. But you
Realities, a creative tech need the time in-between to build and research for the
unit within Wieden+Kennedy Amsterdam. next version of that.”
“We have been kindred spirits dancing the cosmos for eons,”
Lillemon says of Fontaine. “Most fondly, we have always been
Reboot
And so Fontaine reset, moving from Amsterdam to New
able to understand each other without needing to ask why.
Zealand in late 2019, planning to bounce from that home base
She works with her soul more than her voice.”
to Asia and Los Angeles for work. But we all know what
Studies have shown that being in nature helps hospital patients happened to any plans made for 2020. Still based in Welling-
heal, but, surprisingly, VR nature can help just as much as ton, Fontaine has a view of the bay, and she’s surrounded
being in nature IRL does. One of the campaigns that Fontaine by nature. Sometimes she works from home with her cat by
and Lillemon created at the Department of New Realities, her side; sometimes she works from a downtown studio
for Corona beer, drew on the healing properties of nature. for the buzz of being around other people.
Working with The Mill, Wieden+Kennedy used theatrics, The initial lockdown—though it was short in New Zealand—
VR and set design to transform the interior space of a building was a time of reflection for Fontaine. She found herself feeling
into a secret paradise: Paraíso Secreto. Entering via a hidden more creative than usual. “I’m inspired to think about how
door disguised as a Corona vending machine, visitors wearing we can solve some of these issues,” she says. “Are we the last
HTC headsets followed a virtual path that was accompanied group of people who can save the planet?” The pandemic
by scents, sounds and heat to enhance the experience. reinforced her direction of using her abilities for good. “There’s
Paraíso Secreto was “not about replacing nature—that’s no room for soul-destroying projects at the moment.”
creepy and futuristic,” Fontaine says. “It was more about One project she’s been preparing for 2021 is an augmented
reconnecting with something positive and pure so when reality ferry tour in Liverpool that’s set 150 years in the
[visitors] left the VR world, they’d be inspired to pursue that.” future. This new take on a tourist boat ride will combine AR,
The Department of New Realities closed its doors in 2019. theatrics and sound elements to expose passengers to
“The agency was pivoting to focus more on content production, “mystical connections in the future.”
and it’s one of those things where agencies really try to do It seems to me like VR has been on the cusp of going main-
interesting technology art labs, which requires quite a lot of stream for decades. There are waves of interest, and then
Right: “Snail” 3:08

“Benee is a new kind of pop star based in New Zealand. She wrote the track ‘Snail’ while trapped in her bedroom during the 2020 lockdown. I loved the crazy
world she created with the lyrics, and, together, we collaborated on a narrative that enabled her to escape this reality and transform into a BMX-riding elf.
Of course, the video needed to have giant snails too. The video doesn’t feature much, but there were rooms filled with Nickelodeon green slime—we had
four full buckets of slime that we smeared inside an abandoned, haunted psychiatric hospital. We had to shoot in partial lockdown, which complicated
everything, and I directed with a face mask on—a first and hopefully a last! The final result is a shining example of how I love to mash up live action with
CGI graphics to create a surreal mood.” Anita Fontaine, director; Benee, client.
“Louis Vuitton x Stephen Sprouse” 1:14
“Louis Vuitton was releasing a new collaborative collection with the legendary New York City punk artist Stephen Sprouse and asked me to direct a fashion
film that felt true to Sprouse’s universe. It was a match made in heaven for me, being a fan of his work, but also because I’ve always aspired to push a gritty
pop aesthetic with my own practice. The idea was to create a virtual runway where the model literally struts through Sprouse’s designs with a New York
City attitude. The client let me run with it!” Anita Fontaine, director; Louis Vuitton, client.

ANITA FONTAINE
the final product doesn’t deliver, or the buzz just

doesn’t congeal. While processors have improved,
expensive VR headsets remain a big hurdle to adapta-
tion, and people often don’t want to spend more
than ten minutes in a virtual world, Fontaine says.
But augmented reality is ready to go, she says, holding
up her iPhone. “As AR gets more complex and as the
computers on devices get more powerful, I think it
will turn into VR,” she says.
Upgrades
I went into my first conversation with Fontaine as
a VR skeptic. It was after the summer of racial justice
protests and just before the US presidential election,
in the middle of a global pandemic. It felt like real
reality needed more of our attention, not less of it.
But during the week of the election, escape was
necessary for my health. I allowed myself to look at
news updates no more than fifteen minutes per day,
instead working on craft projects and reading Seveneves,
a 900-page novel I had already read three times that
is literally about humans trying to escape Earth.
“I’ve spent most of my life and career trying to escape
reality and helping others escape reality, and I’m
trying to decide if I’m proud of it,” Fontaine explained
at the Semi Permanent Auckland event in November
2020. In the end, she has decided, yes, she is proud
of her work. And that made me realize that my aversion
to escapism has more to do with the guilt-driven
American Protestant work ethic than anything else.
Left: “This was a self-initiated project that was created during my

time at the Department of New Realities. Longtime collaborator
Geoffrey Lillemon had written a nonsensical poem that I had
started illustrating, and we thought, ‘Why not turn it into a virtual
reality (VR) game experience for kids?’ We invited children to
come into the studio and help direct the kind of experience they
thought would be cool, which was mostly hitting things to make
music and ‘doing whatever they wanted.’ Essentially, the expe-
rience allows the player to step inside the shoes of a child princess
and go into an absurd kingdom where not much makes sense!
The project ended up being exhibited throughout Europe, for
which we created a physical installation to match the magical
cutout illustration style of the virtual world.” Anita Fontaine/The
Department of New Realities, creative directors; Anita Fontaine,
illustrator; Wieden+Kennedy, ad agency.
This page: “Future MAC” :59
“I was living in London and received a brief to create a space-age
fashion film for a new line of space-themed cosmetics that MAC
was launching. I took it one step further and put the models on
a futuristic alien planet, then created a unique optical animation
effect to give an otherworldly alien feel. I loved that a makeup
brand was willing to lean in to something so sci-fi. It would have
been fun to expand this universe with a series of films.” Anita
Fontaine, director/animator; MAC Cosmetics, client.

ANITA FONTAINE
Escapism is not only essential for our survival, but

also necessary to shape our future realities, Fontaine
says. We can’t imagine a better world unless we let
our brains play around in the possibilities. “I think it’s
in our human nature to escape,” she says. Escapism
is a spectrum—at one end might be drug abuse and
self-destruction, and at the other end is the creative
state of flow.
Fontaine believes VR can lead to transformational
experiences, ones that shape how we see the world.
“I think people in the future will … be able to create
their own universes and invite people into them.
Instead of Instagram, it’ll be people creating immersive
worlds I can step inside,” she says. “If we can go
inside these worlds and dream up greater possibilities
for the future and come back with a clearer view, it’s
so valuable.
“We’re living in quite dark times, but you’ve got to have
radical hope.” ca
This page: App for the band Necessary Explosion. “We wanted to
invent a new way of experiencing music that was part lava lamp
and part music video. I love that this project feels like a throwback to
retro times when people used to sit around listening to records, but
is also a vision of the future, when augmented reality layers help
redefine a new reality.” Anita Fontaine/The Department of New
Realities, creative directors; Wieden+Kennedy, ad agency; Necessary
Explosion, client.
Right: “The Dasher” :30
“We had two hours to shoot this commercial on a black-sand beach
outside of Auckland, New Zealand, and it was pretty stressful. The
entire team was nervous as the concept—a stop-motion capture for
150 people running toward us on sand—was technically challenging
to achieve within the time frame. But beyond the tribulations, it was
a real highlight to collaborate with a sustainable company like Allbirds,
which aligns with my own intentions for creating conscious content.”
Anita Fontaine, director; Mythology, ad agency; Allbirds, client.
“Divine Love” 3:41
“After working in San Francisco as a full-time creative director, I landed
in Los Angeles and really needed to shake things up in my imag-
ination. The band Victoria+Jean had contacted me about making
a music video, and as soon as I heard the track, I started visualizing
an absurd science fiction–style love story, starring budgies. I got
introduced to a great producer, Jordan Harkins, who helped transform
my surreal ideas into reality. It was a wild ride that introduced me to
a stellar creative community in Los Angeles, where anything seemed
possible, from finding budgie wranglers to borrowing cars and
covering them with broken-heart stickers to working with amazing
talent like Annabelle Wallis. I enjoy getting my hands dirty, so found
myself doing lots of After Effects animation in the final stages of
production to ensure my signature look and feel were fully executed.”
Anita Fontaine, director/animator; Victoria+Jean, client.

I f great culture and creative is all about heart, FRED & FARID
has its head in the right place. Cofounded by Fred Raillard
and Farid Mokart, the global creative boutique lives by the
mantra “Think with your heart,” applying that mindset to
its company culture and creative work.
this is a constant battle for us. Creatives must lead this
industry again.”
FRED & FARID’s staunch, creative-first ethos has clearly worked,
and it continues to drive the agency’s success and notoriety.
Over the years, FRED & FARID has worked with more than 250
“We truly believe the human heart has a brain,” says Raillard, brands across 30 sectors, including luxury, apparel, technology
whose agency employs 150 people in four international offices: and telecommunications. The agency has also amassed hun-
Paris, Shanghai (2012), New York (2015) and Los Angeles dreds of international awards and industry titles, including
(2017). “You can literally think with your heart, if you try. For numerous Cannes Lions awards and Ad Age’s International
that, you must transfer your energy from your brain to your Agency of the Year, awarded to the Shanghai office in 2016,
heart, and allow yourself to be an emotional thinker. Emotion and Gold Newcomer of the Year, awarded to the Los Angeles
is the best sensor, and it’s the best creative director.” office in 2020.
Emotion also sets the tone for FRED & FARID’s workplace While FRED & FARID’s capabilities include creative consulting,
culture, which is described as a mix of “the French sense of brand strategy, branding, content and social activation, Mokart
craft and taste, the Chinese sense of tactic and digital, says the agency’s staffers are “radical listeners and media
and the American sense of vision and strategy.” The element agnostic.” “They don’t apply methods or formulas, but rather
that strings all three together, says Raillard, is emotion. adapt and tailor their work to a brand’s respective genre
“It’s our compass.” and business challenge—from branding, tech, social media,
Being guided by emotion may seem antithetical in a marketing content or innovation solution,” he says. “The process is more
world increasingly ruled by numbers. But the approach is ‘couture’ than prêt-à-porter.’”
key for an agency that’s relentlessly focused on creative and Mokart adds that to solve those core business challenges, the
grounded in its roots. agency needs to have close, collaborative partnerships with its
“Our secret sauce has many ingredients, starting with the tal- clients. Because of its smaller size, FRED & FARID can do just that.
ents of the unique people with us. But in addition to that, our “As a creative boutique network, we are small and intend to
group was founded by two creative guys, and each FRED stay small,” he says. “To us, this allows for human scale, creative
& FARID office has a Creative CEO,” says Raillard, who, along quality control, maintaining a sense of craft… and it allows us
with Mokart, held creative roles at major agencies in their the ability to build proper partnerships, grounded in trust, with
native Paris, as well as at BBH London and San Francisco’s our clients. We try to find ideas that can change the world.”
Goodby, Silverstein & Partners, before launching their own This was certainly evident in 2020, when real-life issues
agency in 2007. became the subject of a few notable campaigns FRED & FARID
“The final decision is always made by a creative, on every single designed to help create change. For example, the agency
topic,” continues Raillard. “This makes a major difference developed a campaign for Fridays for Future, the global climate
compared to some other agencies that look creative, but strike movement started by teenage activist Greta Thunberg.
where the lead is an account person or a financial guy. And The spot portrays a family going about their morning routine,
Captions supplied by FRED & FARID.

Farid Mokart and Fred Raillard were chief creative officers on all projects shown.
Right: “Our House is on Fire” :60
“According to the Intergovernmental Panel on Climate Change, we are less than twelve years away from not being able to undo our mistakes as it relates to
climate change. This film for global climate strike movement Fridays for Future portrays a family in their morning routine, acting as if everything is normal
despite fires burning all around their house. The campaign was inspired by a famous quote from Greta Thunberg, the founder of Fridays for Future. During her
speech at the 2019 World Economic Forum in Davos, Switzerland, she said, ‘I want you to act as if our house is on fire. Because it is.’ At the same event the
following year, Thunberg repeated her plea: ‘Our house is still on fire. Your inaction is fueling the flames by the hour.’ Fridays for Future launched the film
during an unprecedented 24-hour climate change livestream, featuring countries from all around the world.” Radouane Guissi/Chelsea Steiger, art directors;
Radouane Guissi, writer; Matt Welch, Flame artist; Andrew Bruntel, director; Pat Scola, director of photography; Hayley Simpson, casting; Ben Walsh, visual
effects director; Kyle Brown, editor; Colin Alexander, sound designer/audio mixer; Mira Cho/Laura Francis, stylists; Robert Fox, production designer; Shawn
Loh, producer; Amanda Van Caneghem, agency producer; Lana Kim/Jett Steiger, executive producers; Scott Boyajan/Pip Malon, visual effects producers;
Ways & Means, production company; EXILE, editorial company; Method Studios, visual effects company; FRED & FARID Los Angeles, ad agency; Joe
Hobbs, Fridays for Future, client.

FRED & FARID
acting as if everything social, print and OOH. According to Fred & Farid, HP saw a sig-
is normal, despite fires nificant uptick in premium laptop sales, and the brand received
burning all around their an overwhelmingly positive lift in consideration and preference
house. Released on Earth among the Generation Z target audience.
Day, it was inspired by HP’s Meant To Move campaign followed in 2020 and featured
Thunberg’s famous quote recognizable influencer talent who demonstrated that on-the-
on climate change: “I want go youth don’t need anything slowing them down. The
you to act as if our house campaign culminated with “The Most Fabulous Unboxing,”
is on fire. Because it is.” a video featuring beauty influencer and social media personality
In the fall of 2020, FRED Bretman Rock.
& FARID partnered with outdoor advertising company JCDecaux “FRED & FARID helped us push outside of our comfort zone to
to address the emotional weight many Americans were collec- connect Gen Z with our newest device,” says Aki Martin, global
tively feeling during the pandemic. Positive and encouraging marketing, HP. “Their knowledge of the Gen Z audience and the
messages were displayed on JCDecaux’s digital street-furniture social channels that they thrive in emboldened us to take on
network in four US cities: New York, Los Angeles, Chicago and a fresh approach to influencer marketing. We believed in
Boston. Under the tagline “We keep going,” the agency crafted Bretman Rock’s authenticity and his deep connection with his
150 slogans promoting resilience and embracing the spirit of followers. And together, we reinvented the unboxing video to
each city, like “The sun will shine again,” for Los Angeles; be more entertaining, informative and relevant.”
“We’ve had tougher winters,” for Chicago; “We waited 86 years
Bringing humanness to a tech company isn’t a stretch for FRED
for a World Series win. We keep the hope alive,” for Boston;
& FARID—the agency has a similar “keep it human” sentiment
and “Big Apple bites back,” for New York City. FRED & FARID also
built into its culture. “We love technology, but we love people
made the posters available online to browse, download or print.
more,” says Raillard. “Our talent is to attract the most talented
Jean-Luc Decaux, president and co–chief executive officer at creative people to us—and the most original personalities. We
JCDecaux North America, says his company had a great collabo- nurture and grow creative talents, like a tree nursery. We act
rative approach with FRED & FARID. “The circumstances and like a human accelerator, inviting them to become who they
the brief were unique, but the team responded brilliantly are. We don’t need to create programs or policies aimed at
with great passion,” he says. maximizing employee happiness.”
When FRED & FARID isn’t trying to change the world, it’s Its pursuit of creative excellence also means fostering a strong
challenging the status quo for its clients—and delivering sense of teamwork, even though employees are spread across
results. For Hewlett-Packard (HP), for example, FRED & FARID different cities and time zones. There are international teams
connected with a Generation Z audience to showcase tech- for almost every client, and Mokart says the four agency offices
nology intended to make them feel safer, more connected and are “super connected” and operate like one single agency. “Our
inspired. Its global Keep It Human campaign, which launched leadership is about connecting human spirits on every level,
in 2019, conveyed HP’s belief that humanity should lead in every single way,” he says. “We connect about projects and
technology—not the other way around. The first commercial life in general in person [before COVID], in WeChat groups,
featured a cast of around 20 young people, not actors, authen- WhatsApp chains and now on Zoom. We constantly think
tically living everyday experiences with their laptops, in true together. We don’t think in a silo.”
moments and in honest ways. Across all four offices, agency leaders encourage staffers to
Supporting HP’s premium personal computer category, the share out in the open and not keep their thoughts and ideas to
initial push was launched in fifteen countries and featured more themselves. “By sharing, you have power, meaning we build
than 400 individually produced assets across broadcast, digital, upon the idea to see where it can go and ultimately reach the
This page: Cofounders Farid Mokart and Fred Raillard.

Right: “After months of fear, uncertainty, tragedy and division, JCDecaux—the world’s biggest advertising out-of-home company—wanted to lift people’s
spirits. Rather than post more ads, the company’s available inventory was used to launch positive, supportive messages across the United States under the
line ‘We keep going.’ Appearing in Los Angeles, Chicago, Boston and New York City, 150 posters—forming four separate poster series—celebrated citizens’
resilience, encouraged hope and spread goodwill. Headlines and designs took inspiration from each city’s look, tone and attitude to embrace the spirit of
each unique place and personally speak to the people. There were no hashtags or calls to action. The initiative was created with the understanding that
COVID-19 will have long-lasting effects, many of which we’re just beginning to fully understand. The objective was to convey a simple, honest sentiment:
we keep rallying, smiling, believing and fighting for a better day.” Laura Beck/Bridget Callahan/Jocelyn Lam/Hajung Song, art directors; Ranjana Naik/Hilary
Smith, writers; Nicolas Berthier/Chelsea Steiger, creative directors; Laurent Leccia, executive creative director; FRED & FARID Los Angeles/New York, ad
agencies; Gabrielle Brussel/Jean-Luc Decaux/Maggie Eisenhardt/Jamie A. Morrissey/Sam Scaglione, JCDecaux North America, clients.

FRED & FARID
most unexpected output,” says Mokart. “No one is a full-time

genius, but together we are.”
Their emphasis on teamwork is also evident in how Raillard and
Mokart approached their expansion plans over the years. The
founders have personally opened each new office and have
moved their lives and families to each new city. Raillard moved
from Paris to Shanghai and, later, Los Angeles, where he currently
resides, while Mokart made the move from Paris to New York,
where he currently lives with his family.
“We’ve created our international boutique network organically,”
says Raillard. “We go slow. We give a lot of attention to imple-
menting our DNA within each office. We could have developed
much faster, with external growth and acquisitions, but that
would have been against our values.”
As for FRED & FARID’s next chapter, it’s not about expanding the
network’s geographic footprint, but staying true to creative
integrity. “The most important thing is to be proud of our work,
whatever the industry or the client thinks about it,” says Mokart.
“This is what makes us happy in the end—the feeling of doing
the right thing, creatively. We want to be proud of every single
piece of work we produce. It’s impossible, but it’s a utopia
worth fighting for.” ca
Left: “Young Black men are three times more likely to be shot by trained shoot-
ers than their White peers. There is a disturbing potential correlation: the most
popular target for shooters to learn to use their firearms is a black silhouette.
What if unconscious bias is deadly? No More Black Targets is an artistic project
that seeks to raise awareness of the danger of unconscious bias and eliminate
the use of the ‘human black silhouette’ target in shooting ranges. In order to help
replace the targets, more than 50 artists painted them with artistic interpre-
tations that turn them into beautiful, colorful and optimistic art.” Ibn Anderson/
AvisualBliss/BilliKid/Uta Brauser/Brolga/Denton Burrows/ButtSup/Julien Calot/
Daine Carter/Castelbajac Creative/Steven Cogle/ConsumerArt/Tats Cru/Cypha/
Bernadette Delany/Dertism/Felipe Echeverry/Mason Eve/FKDL/Greg Frederick/
Fumero/Gazoo/Gil Goren/Michael Hess/Iconic and 2cents/JCBKNYC/Pamela Jean
Tinnen/Jenna Krypell/Damien Mitchell/Alice Mizrachi/Vahram Muratyan/Thomas
Raillard/Sacsix/Lane Scarano/Sines/Streetsmartguidenyc/Sean Sullivan/B.D.
White/Adrian Wilson/YesOne/Augustin Zeller/Zimer/ZroPro, art directors; Laurent
Leccia, creative director; Karim Naceur/Felix Vroegop, producers; FRED & FARID
New York, ad agency; New York Society for Ethical Culture, client.
This page: “Developed for the nonprofit association Committee to Protect Jour-
nalists, The Last Column is a memorial that raises awareness of the human
cost of journalism. The murder of journalists is a heinous form of censorship.
The integrated initiative featured a logo made of the names of the 1,337
journalists who, since 1992, have been killed in action while on assignment;
a book featuring the final articles and photos of more than 20 murdered
journalists; and video and audio interviews with the journalists’ friends and
families.” Kate Ji-Yeon Kim, art director; Gabriel Sehringer, writer; Jack Hwang,
designer; Laurent Leccia/Colin Nagy, creative directors; Austin Meyer-Ferris,
strategist; Bullpen, animation; Anna-Maria Egisto, producer; Amanda Van
Caneghem, executive producer; HarperCollins, publisher; FRED & FARID New
York, ad agency; Committee to Protect Journalists, client.

FRED & FARID
This page: “All in 1” :60
“Tmall is the biggest business-to-consumer e-com-
merce platform in China. It gathers more than
360,000 local and international brands, and contains
the spirit and lifestyles of all the brands. This
campaign was created to support Alibaba’s 11.11 event,
on November 11, also called Singles’ Day. It is the
world’s largest 24-hour online shopping festival, and
is four times bigger than Black Friday and Cyber
Monday sales days combined. We created ‘All in 1,’
a manifesto ad written only with brand slogans. We
united 31 of the world’s most iconic brand taglines
and put them in a specific order to tell one story
within the flow of the voice-over.” Uty Chen/Adrien
Goris, art directors; Adrien Goris/Luna Zhang,
writers; Adrien Goris, creative director; Feng Huang,
executive creative director; Salomon Ligthelm,
director; Christophe Collette, director of photo-
graphy; Audioforce, music; Julien Du Tertre/Gabrielle
Guan, strategists; Louis Kwan/Desmond Loh, pro-
ducers; Tilda He/Jessie Huang, agency producers;
Thomas Suess, music producer; Charles Renard,
post-production producer; Stink Shanghai, pro-
duction company; Volt, post-production company;
FRED & FARID Shanghai, ad agency; Tmall, client.
Right: “An awareness campaign to bring attention to
the overwhelming plastic pollution of the oceans,
which reaches new records every year, with patches
of plastic debris the size of entire countries. More
than one million ocean animals are stuck in this
plastic ocean and die each year because of it,
yet few people seem to be conscious of this scourge,
which is a real danger to biodiversity and the
environment. Plastic Ocean was launched to put
this subject on the front page of social media and
to help create a mindset embracing sustainable
usage of plastic, especially amongst millennials and
Gen Zers. The campaign includes three visuals and
a video, which are dreamlike and colorful at first
glance, but highlight the sad reality of sea animals
trapped in plastic waste.” Michael Hess, associate
creative director; Laurent Leccia, creative director;
Geoff Bailey, director; Pete Hamilton/Adam
Stockholm/Dave Zeevalk, 3-D artists; Brendan
Fitzgerald, visual effects supervisor; Lucas Andrei,
editor; Amanda Van Caneghem, producer; Jason
Sonner, production company producer; Alkemy X,
production company; FRED & FARID New York, ad
agency; Heather Stimmler, Sea Shepherd, client.
“The Wrangler We Are Animals campaign focused on
the idea of primal urges, the animal buried within us
all. The iconic photographs portray young people as
animals in the wild, emphasizing core messages:
natural, wild, tough-wearing and adventurous.” Ryan
McGinley, photographer; FRED & FARID Paris, ad
agency; Wrangler, client.

BY WILL MATSUDA
S amantha Casolari’s photographs shimmer with a warm

haze that feels like flickering candlelight. The rich amber
tones are serene and beautiful, so I laugh when she
tells me that her biggest influence is classic black-and-white
war photography. Calling from her home in Brooklyn, New
the subject wasn’t given enough attention, contacted an editor
at Vanity Fair Italy, and they decided to publish the images.
At the time, Casolari’s photographs looked very different
from the way they do now. She embraced the reportage
photojournalism style she had been looking at. “I thought, ‘I’m
York, on a cool November morning in 2020, she explains, never going to crop. I am going to be a pure photographer,’”
“War has been one of my main interests since I was a young she recalls. “Eventually, I found that constraining. I wanted
kid. In college, I studied conflict resolution and security more freedom. I’m a more complicated person than that
studies. I went on to work in refugee camps.” She tells me allows, so I let go and started experimenting.”
that if I saw her bookshelf, I would run out the door.
This turned out to be a very good idea. Her experimental
Born in Modena, Italy, Casolari is drawn to the extremes of work caught the eye of clients like Prada, Nike, Apple, Vogue
human experience. “I was interested originally in the politics and more. But having never formally studied photography,
and psychology that produce wars—how humans can adapt the learning curve was steep in commercial settings. “I didn’t
to such extremes,” Casolari says. “This led me to look for ways know anything about photography as a career,” says Casolari.
that people had visualized conflict.” She studied the war “I didn’t know what a portfolio was or how the photography
photographs made by the early members of Magnum Photos, world works.”
the iconic agency created by Henri Cartier-Bresson, Robert
On an early-career Nike shoot in Italy, she recalls how she
Capa, George Rodger and David Seymour. She later interned
didn’t know what to expect while working on a set. “I didn’t
at Magnum two days a week while she was an exchange
have an assistant, so I was changing my own rolls of film.
student at Sorbonne University in Paris. “They were digitizing
I didn’t have anything—no reflectors, nothing. I knew the
their archive, and it was a dream for a beginner like me to
creative director, and he fully trusted me. But the Nike people
be able to dig into these massive archives,” she says. “It was
there were speechless. They couldn’t believe it was just
my photo school in a way. I would study them, going through
me and a backpack and a camera,” she says. “But they loved
the contact sheets during my lunch breaks.”
the pictures.”
Casolari’s proximity to the icons of reportage photojournalism
She has since photographed rapper Cardi B for the cover of
inspired her to pursue photography more seriously. Her photo
a Fader summer music issue, actress Dakota Fanning for a Miu
book collection grew with titles from the likes of Dorothea
Miu campaign and even former White House chief strategist
Lange and Berenice Abbott, and, as a result, she set out to
Steve Bannon for a Bloomberg Businessweek cover story. I note
make her own documentary images. how she frequently collaborates with musicians and ask if
Casolari’s career began with a story about young people she is a musician herself. “Music is one of my biggest passions,”
coming out of Sing Sing Correctional Facility, the maximum- she says. “I listen to music pretty much the whole time I am
security prison in New York. Her best friend in New York awake. I studied violin at a conservatory for six years when
had been working with incarcerated people and introduced I was a kid. So I think music is really in my photos, even though
her to the realities of life after prison. Casolari, who thought I don’t play anymore.”
Right: “I was called on for this project by David Hallberg, at the time a principal dancer at the American Ballet Theatre. I had previously photographed David
for GQ, and we had great creative chemistry. This shoot would promote both ABT Incubator, a choreographic program to generate ideas directed by
David, and its sponsor, the Howard Hughes Corporation, which was also the developer of the new Seaport district. The brief was to use the Seaport as
the set, so I chose a few different places that could be the right canvas for the dancers, where I could play with both the geometry of the new site
as well as the historical streets and buildings. Dancers are some of my favorite people to shoot as they are so professional and focused.” David Hallberg,
creative director; American Ballet Theatre, client.

SAMANTHA CASOLARI
Casolari laments that her for me to photograph her,” says Casolari. “I have iPhone photos
work is often described as of my daughter, but not really any photos with 35mm film or
“dreamy.” “I don’t like to medium-format film, like I use professionally. She was never
be confined to a style. I want my subject. It was strange, and I felt bad about it. But this
to be more poetic than year has forced me to slow down and photograph my child.
dreamy. Poetic work doesn’t We have this connection from the umbilical cord, so photo-
have to be dreamy,” she graphing her is almost like taking a selfie.”
says. “Especially nowadays, Some of these images are collected in a new series titled
we need to really deal with Quarantine Diaries. They are slower, more-intimate views
reality. There’s less space than the rest of her work. Close-up shots of skin, windows,
for dreaming. We have to flowers and her family emerge from an enveloping darkness
be realistic.” in the frames. The images are a record of interiority in
Casolari’s pragmatic drive a strange time, and, in a way, her ethereal and hazy aesthetic
pushed her to organize is the perfect medium to reflect the fluctuating nature of
a print sale for New York City’s Elmhurst Hospital Center in time during the pandemic. Days drag on and simultaneously
April 2020, during the height of the COVID-19 pandemic in months fly by.
the city, when it was a global epicenter of the virus. Casolari, The escalation of the Black Lives Matter movement this year
with the help of a few friends, set up a website where prints has also impacted Casolari’s approach to image making. “Not
from 187 contributing artists were available for $150 each. The being politically engaged right now is complacent. I have
Pictures for Elmhurst sale raised a stunning $1,380,000 for been thinking about racial issues in America since my first
the hospital. “The city was being devastated by the pandemic, project at Sing Sing, because most of the people I was
but at the same time, we needed to stay inside, so it was photographing were Black. But I want to do more. My work
quite difficult to help,” says Casolari. “I got inspired by a similar will need to be more political than before. There has to be
fundraiser that took place in Italy and to which I donated more urgency,” she says.
a print, so I decided to try and replicate the sale here. We had
I ask what “doing more” means for her. She tells me about
no idea it would be this successful. It was very heartwarming
a new body of work reflecting this desire, and tying back to
and humbling to see the results.”
her earlier work at Sing Sing. Casolari is photographing
I ask her how her past year has been, which I wince at, teenagers who are coming out of prison, or who have parents
because it feels a little cruel to ask that question in 2020. in prison, as part of a UNICEF program. Both projects examine
She describes an isolated and intimate journey. “It’s been the structural and institutional causes of incarceration on
hard. Really, really hard. I have a daughter, and she’s young, a personal level. This time, she is photographing the teenagers
so I have been taking care of her while my partner works. in her studio, which is frequently used for fashion and edito-
I’ve had to slow down and look inside. As a woman during rial shoots. The photos are complicated, blurring the lines
the pandemic, we have been hit so hard because we are between documentary and fashion photography.
often responsible for childcare, on top of whatever else we
For Casolari, this is what makes a photograph successful.
are doing in our lives,” says Casolari.
“If you give the viewer all of the information in a photograph,
Earlier, she had apologized for delaying our call—she had then it turns into something that is purely an aesthetic
been busy taking care of her daughter. But the lockdowns experience,” she says. “But if you want something beyond
have also enabled Casolari to make new kinds of photographs. the purely aesthetic, then the photograph must make the
“Since my daughter was born, it has always been difficult viewer ask questions.” ca
Right: “I was asked by ICON magazine to shoot a fashion story. I thought it would be interesting to shoot it in a real boxing gym, and the magazine loved
the idea. I chose Gleason’s Gym, the oldest active boxing gym in the United States, as you cannot find a more old-school boxing gym. Our models were not
boxers, so we got a couple of professional boxers to help us with their movements as we wanted to capture the shoot as if it were reportage. The gym was
operating through the whole shoot, and it was amazing to see all the boxers training around us. Everyone wanted to help and give us suggestions. I started
taking boxing classes right after because of how much I loved it!” Riccardo Ruini, creative director; ICON, client.
“When I was asked by Bloomberg Businessweek to photograph Steve Bannon, I had to sit down and thoroughly debate it, asking myself whether giving a voice
to such a man would be the right thing to do. I had been following his steps since he first was appointed Trump’s chief strategist, and the man and his
personal philosophy simply appalled me. I decided to go only because it was Bloomberg Businessweek, and the accompanying article was written by Joshua
Green, who I knew was not going to write propaganda for Bannon. Having read so much by and on Bannon, I was not very comfortable being in the same
room as him, but it was a few weeks after he was removed from the White House, and his boldness seemed to be gone. It was not easy, but it was news,
and news has to be told.” Donna Cohen, photo editor; Bloomberg Businessweek, client.

SAMANTHA CASOLARI
Left: “Photographing Cardi B was surely one of the most surreal

and entertaining projects I have ever done. Emily Keegin, the
Fader photo director at the time, wanted something that conveyed
the idea and warmth of summer, as the cover story was coming
out in June. We decided to use really warm colors in the backdrops
and mix them with outdoor scenes. Cardi B came with a big
entourage of friends, agents and managers who were coming and
going throughout the day. She is very petite and bold and a natural
entertainer. It was basically a daylong party. We left the studio to
go shoot on the waterfront, and we had her whole entourage
with us, and a group of kids on bikes recognized her, so we literally
had a procession that grew bigger and bigger the more people
recognized her. It was astonishing to look at.” Emily Keegin, creative
director; The Fader, client.
“I shot these stills on the set of a Miu Miu winter video campaign.
The list of talent was pretty stellar: Chloë Sevigny, Elle and Dakota
Fanning, Julia Garner, and Sadie Sink. Like with dancers, I love
working with actresses and actors as they are very focused and
so present in front of the camera. The light design on set was
beautiful—lots of candles and mood-colored lights to remind viewers
of the coziness of a room during the holidays.” Miu Miu, client.
This page: “Back in March 2020, at the beginning of the pandemic,
my partner, my daughter and I went to isolate in Montauk for
a couple of weeks. Feeling safe but away from the city that I call
home was incredibly strange. Being used to being out there to
photograph, I found myself, like the rest of the world, between
four walls, and turned my lens on my family. It felt very intimate
to observe them through my lens, isolated from everyone and
everything. There was a lot of silence, thoughts and fear, but also
ocean air and so many beautiful sunsets.”

SAMANTHA CASOLARI
This page: “This is one of my favorite shoots, something I’ve
definitely never done before. It was for an article about pubic hair
grooming and how women choose to go about it. Apart from my
assistant, we were an all-women team, and the talent was a group
of really strong girls in their early twenties, each with a different
body type and grooming choices, and all so comfortable in their skin.
It was beautiful to watch them carrying their bodies in such
a powerful way and be so relaxed and confident.” Rhianna Rule,
creative director; Allure, Condé Nast, client.
Right: “This is a campaign shot for BalletCollective, a nonprofit
arts collective founded by choreographer Troy Schumacher from the
New York City Ballet, and with dancers from the New York City
Ballet. I am a big fan of ballet, which I follow and practice, and it
was a dream commission to work with these incredible dancers.
I was given lots of freedom when creating this project and decided
to play with light and shadow to highlight bodies and their inter-
sections; in visualizing it, I was inspired by the chiaroscuro of
Renaissance paintings. I did not direct as much as other projects
I’ve worked on with dancers, but just followed their movements
and choreographies as I wanted the shoot to be a real collaboration,
and also wanted to create a feeling of intimacy and be the least
intrusive I could be. It made me feel like I was painting the scenes.”
Luke Crisell, creative director; BalletCollective, client.

1

2
1 Thalita Garcia Arq. identity

Celebrating the architect’s potential to bring ideas into reality,
Brazilian design firm Estúdio Kuumba created a new identity sys-
tem for architect Thalita Garcia that communicates her creativity
to new clients. “We needed to create a visual brand for [her]
that carried a contemporary structure as a way of representing
a modern language, with a design typography [that had] a subtle
and intelligent front in the transmission of the act of measur-
ing,” says David Silva, graphic designer at Estúdio Kuumba. “With
intentional cores, the entire graphic identity system is simplified
to translate visual clarity within the architectural context.” Full of
references to common urban elements, such as the pattern on
manhole covers, and a color palette taken from the coppers, tans
and grays of building materials, Thalita Garcia’s identity positions
her as an immediately recognizable contemporary architect.
Estúdio Kuumba (Varginha, Brazil), design firm; Thalita Garcia Arq., client.
2 Translated short film

“Lara” 2:09
Translated, a translation service agency, wanted to inform a wider
audience of its services. In its first brand campaign for Translated,
Milan-based ad agency AUGE created this short film that follows
Lara, a young girl and natural polyglot living in southern Italy who,
when asked how many languages she speaks, replies “All of
them.” In the film, Lara solves all kinds of problems, from
operating German appliances or explaining menu specials to
English-speaking tourists, and shows how transcending language
barriers connects us to others. “We wanted to create a campaign
that connects with the most precious human element of all:
language,” says Federica Ariagno, partner and executive creative
director at AUGE. “Despite the basic framework of the organization
being powered by sophisticated technology, Translated’s output
is very much human, and this is the message we wanted
to communicate.”
Stefano Summo, senior art director; Federico Anelli/Antonio Mitra, senior
writers; Federica Ariagno/Giorgio Natale, executive creative directors;
Eleonora Cao, editor; Grimm Vandekerckhove, director of photography;
Francesco Colucci, art buyer; Koen Mortier, director; Top Digital, audio
mixer; Martina Perversi, producer; Roberta Caimi, post-production
producer; Luca Fanfani, executive producer; Roberta Brambilla, production
manager; Daniel Pallucca, colorist; Cristina Maiorano, stylist; Applemint,
post-production company; Mercurio Cinematografica, production
company; Jaja Film, production service company; AUGE Communications
(Milan, Italy), ad agency; Isabelle Andrieu/Patrizia Boglione/Daniele
Patrioli/Marco Trombetti, Translated, clients.
We’re looking for new, outstanding collateral, packaging, print ads,

television commercials, direct mail, books and exhibits. For submission
details, visit commarts.com/submissions.

EXHIBIT 1
1 adidas video
“Futurecraft” 1:35
A manifesto for adidas’s plans for innovation, Futurecraft presents the
athletic gear brand’s commitment to using environmentally friendly
practices and avant-garde technology. To communicate this ethos to
consumers and adidas’s partners alike, Amsterdam-based production
company The Panics created a short film that delves into what
Futurecraft represents. “We have a long-standing relationship with
adidas, working directly with its internal teams,” says Ania Markham,
executive producer at The Panics. “We are best known for our mixed
media visual narratives, which are not technique-led but seamlessly
transport viewers into the fantastical. So this was a perfect brief as it
let us play around and draw upon all our skills.”
Federico D’Urzo, motion graphic designer; Hessel Waalewijn, director of
photography; Amy Holst/Idun Sjödin, contributing artists; Jeroen Aerts/
Dieuwer Feldbrugge/Matteo Giorni/Doma Harkai/Davide Raymondo/Kim
Taylor/Tim van der Wiel, visual effects artists; Fons Schiedon, director; Birdo/
Fons Schiedon, animators; Antfood, sound designer/music composer; Jennifer
McKinley-van der Zee, voice talent; Kristian Stoykov, producer/visual effects
producer; Liene Berina, line producer; Ania Markham/Jules Tervoort, executive
producers; Bruce Bigg/Androniki Nikolaou, production managers; Guido Ekker/
Chris Staves, digital imaging; Ivor Goldberg, visual effects supervisor; Post
Panic, post-production company; The Panics (Amsterdam, The Netherlands),
production company; adidas, client.
2 McDonald’s Belgium OOH ad

Lockdowns to combat the COVID-19 pandemic have been hard,
especially on children who don’t have much to get excited about.
However, McDonald’s Belgium’s drive-throughs—or McDrive’s—are
still open and available, and to convey this messaging to customers,
TBWA\Belgium and photographer Jef Boes created a series of OOH ads
that remind us of how exciting a treat can be. “The photos … are
almost entirely post-production free. We actually drove past a real
McDonald’s,” say Geert Potarget, client service director, and Jérémie
Goldwasser, creative director at TBWA\Belgium. “The challenging part
was catching those magical yet very real looks the children gave out
the window right there on the spot.”
Thibaut Castaing, art director; Gil Gauniaux, writer; Jérémie Goldwasser,
creative director; Jef Boes, photographer; Line Martens/Geert Potargent,
project managers; TBWA\Belgium (Brussels, Belgium), ad agency; Laurence
Anckaert/Xavier Gerard/Anthina Manirakiza/Laurie Struyf/Philipp
Wachholz, McDonald’s Belgium, clients.
3 Unity Place installation

For Unity Place, its new tech hub in Milton Keynes, United Kingdom,
Santander Bank commissioned Wilkinson Studio to create a graphic
for its construction barrier. Drawing from Milton Keynes’s historical
importance as the headquarters of Alan Turing and his team of
codebreakers, the design firm incorporated Morse code patterns on
the barrier. “The patterns were created from four different words:
explore, sustainable, adventure and possibility—everything the new
building wants to represent,” says creative director Kyle Wilkinson.
“In total, more than 400 meters of code were created, framing the
construction site as both a public art piece as well as a challenging
code-cracking opportunity people of all ages can enjoy.”
Ryan Herbert/Daniel Ocock/Kyle Wilkinson, design team; Liam Prior,
photographer; Wilkinson Studio (Sheffield, United Kingdom), design firm;
Santander, client.

2

1
© Leda & St.Jacques

2

3
EXHIBIT
1 SAGA Grand Gin identity
The first organic gin produced in Québec, Distillerie Grand
Dérangement’s SAGA Grand Gin targets a clientele who enjoys
refined and unique spirits. As the name Grand Dérangement refers
to the British deporting Acadians from Canada, Montréal-based
design firm Paprika saw an opportunity to express refinement
while educating consumers on the human impact of this forced
removal. “The creative process started with historical research on
the matter in order to better understand the main characteristics
of the Acadian people and its history,” says Louis Gagnon, vice
president creation, associate, at Paprika. “Based on our research,
we found four Acadian individuals who truly existed, and filled the
missing pieces of their stories as accurately as possible with the
idea that the boxes would bare their stories, and contain twelve
bottles, three for each character.”
Daniel Robitaille, design/creative director; Louis Gagnon, art director; Leda
& St.Jacques, photographer; Paprika (Montréal, Canada), design firm;
Distillerie Grand Dérangement, client.
2 Merrell OOH ads

Known primarily as an outdoor footwear and apparel brand, Merrell
sought to expand sales of its lifestyle offerings as well. So, the
company tapped Indianapolis-based ad agency Young & Laramore
for a campaign that would appeal to a more youthful, style-aware
audience. “Sturdy enough for the trail yet stylish enough for
everyday life, the Jungle Moc has been a cult classic since ’98,” says
Bryan Judkins, partner and group creative director at Young &
Laramore. “But for Merrell to grow its lifestyle sales and expand
the Jungle Moc audience, the brand needed to win over younger,
more fashion-conscious consumers. [We remade] the Jungle Moc’s
ugly duckling image by giving younger consumers a permission
slip to wear comfortable shoes. The empowering, energetic Make
Your Way campaign shows just how stylish the Jungle Moc can be.”
JaJane Driver, senior writer; Brandon Roosa, designer; Zac Neulieb,
associate creative director; Scott King, creative director; Bryan Judkins,
group creative director; Carolyn Hadlock, executive creative director;
Paul Schreiber/Jeff Vallee, photographers; Jeff Durham/Pam Kelliher,
production designers; Young & Laramore (Indianapolis, IN), ad agency;
Merrell, client.
3 Taylor Bennett music video

“Don’t Wait Up” 4:14
For his new track “Don’t Wait Up,” indie musical artist Taylor
Bennett wanted a playful animated music video to accompany its
release. Commissioned by Danielle Hinde at Doomsday Entertain-
ment, director duo LAMAR+NIK blended a live-action performance by
Bennett with cardboard miniature sets, giving the music video
a low-budget yet distinct aesthetic. “We didn’t have that much
time or money to pull this project off, so we needed to do
something that didn’t involve too many people,” say Jesse Lamar
High and Nik Harper of LAMAR+NIK. “Cardboard was a simple choice
for us to build the sets out of because it’s so readily abundant,
and, structurally, it could handle all of the details we wanted to
add into the scenes.” The pair also constructed several miniatures
for sets throughout the video.
LAMAR+NIK (Norman, OK), creative director/director; Doomsday Entertain-
ment, producer/production company; Taylor Bennett, artist/client.

EXHIBIT
1 Floro Cannabis packaging 1

A new brand that seeks to present the gold standard of
ultra-premium cannabis to Californians, Floro brings the
best products to customers who want to use cannabis
recreationally. In creating Floro’s branding and packaging,
San Francisco Bay Area–based design firm Pavement took
cues from how premium spirits are branded and packaged,
noting that ornamental intricacy and decadence often
communicated quality. “The name Floro combines the
words flora to symbolize the cannabis plant and oro to
represent the gold standard,” says Michael Hester, principal
and creative director at Pavement. “With intricate and
whimsical gold and black foil-stamping details, this package
is a sensory experience to behold from purchase through
consumption. The overall presentation and brand tone
signal to the customer that Floro represents quality, luxury
and attention to detail. This brand exudes confidence on
shelf amongst a very crowded recreational cannabis
marketplace here in the Golden State.”
Anna Ropalo, designer; Michael Hester, creative director;
Pavement (Oakland, CA), design firm; Floro Cannabis, client.
2
2 Cancer Society of Finland OOH ad
People with COVID-19 who smoke are at increased risk for
worse health outcomes than those who don’t. With hopes
to get cigarette smokers to quit during the pandemic, the
Cancer Society of Finland reached out to ad agency TBWA\
Helsinki for an OOH campaign. “During the first wave of
the pandemic, we noticed an alarming trend spreading
online: people smoking through holes made in their face
masks,” says Erno Reinikainen, creative director at TBWA\
Helsinki. “This trend, combined with the fact that smoking
increases the risk of a severe illness from COVID-19, was
the basis for our creative idea.” Leveraging our new,
hyperfocused attention on the word pandemic, the ad
campaign informs on how many deaths tobacco use
causes every year around the world. “Communication
about smoking and its risks often revolve around messaging
such as ‘Smoking kills,’ ‘Smoking causes cancer’ and
‘Smoking causes health issues,’” says Reinikainen. “Togeth-
er with our creative partners FLC Helsinki and Koski
Syväri, we recognized a possibility to communicate to people
about smoking and its risks in a new and current way.”
Tuomas Perälä, writer; Timo Klemola, designer; Arttu Pöyry,
design; Erno Reinikainen, creative director; Jyrki Poutanen, chief
creative officer; Tuukka Koski, photographer; Kasimir Häiväoja,
post-production producer; Anette Michelsson, project manager;
Saana Simander, consultant; FLC Helsinki, post-production
company; Koski Syväri, production company; TBWA\Helsinki
(Helsinki, Finland), ad agency; Juha Heino/Anu Kytölä/Mikaela
Lax/Heidi Löflund-Kuusela/Eeva Ollila/Marika Sorvari, Cancer
Society of Finland, clients.

“ The use of color to evoke
emotion was very prevalent
throughout the competition.”
—William Gicker
ILLUSTRATION
ANNUAL 2021
“
The entries were overwhelmingly strong. As
expected, there were many thoughtful
pieces reflecting on the difficulties of 2020.”
—Maria Middleton
1
ADVERTISING
1 Brad Pickard, illustrator
Ryan McNeill, art director
Grey Canada, ad agency
Salvation Army, client
“During the COVID-19 pandemic, Canadians needed help. This simple piece
of communication had to remind Salvation Army donors that everyone
needs an army, especially now. The iconic shield was illustrated to resemble
our biggest protection from the virus: a face mask.” Digital.
2 Maciek Polak, illustrator

Imagine Nation, ad agency
IQOS Poland, client
“Depicting my vision of the Garden of Eden. I placed characteristic Polish
animals and plants within. For a live event at IQOS Poland, the illustration
was printed on glass plates, which created a three-dimensional image,
in the center of which the product was presented.” 271/2 × 20, digital.
3 (series)
David Plunkert, illustrator/designer
Patton Oswalt, art director
Spur Design, design firm
Netflix, client
“Wraparound art for comedian Patton Oswalt’s Grammy-nominated, double
vinyl album I Love Everything. The art depicts his difficult journey of finding
true love again after the death of his wife, author Michelle McNamara.”
Various sizes, digital, mixed media.

3

1

ADVERTISING
1 (series)
Laimutė Varkalaitė, illustrator
Povilas Daknys, NeoMam Studios, art director
SavingSpot, client
“The brief for this project for SavingSpot was
to research and illustrate one mythological
creature from each country to show their
variety and distinctiveness. One hundred
and twenty-three original characters,
seventy-six adaptations and six continent
maps went into creating this map of the
world of cryptids.” Digital.

1
ADVERTISING
1 Frank Norton, illustrator
Frank Norton Studio, design firm
Observation Pizza, client
“Observation Pizza began as a pop-up concept in early 2021 and
grew into an underground hit overnight. Printed on pizza boxes,
these illustrations draw inspiration from the offbeat nature of
Kansas City’s Arts District, the birthplace of Observation.” 12 × 12.
2 Rory Kurtz, illustrator

Mitch Putnam, art director
Mondo, client
“This officially licensed screen-printed film poster celebrates
filmmaker Bong Joon Ho’s modern masterpiece Parasite.”
24 × 36, digital.
3 (series)
Natee Likitsuwankool, illustrator
Natee Likitsuwankool/Daniel Tingcungco, art directors
Appanna Chetranda/Nghi Vo, writers
Anthony Chelvanathan/Jeremy Lim/Chandu Rajapreyar, creative
directors
2
Anthony Chelvanathan/Paolo Garcia/Steve Persico, executive
creative directors
Lisa Greenberg/Judy John, chief creative officers
Simon Tuckett, graphic artist
Gord Cathmoir, producer
Leo Burnett Toronto/Leo Burnett Vietnam, ad agencies
McDonald’s, client
“People in different professions start their morning at different
times, so we showed that McCafé is ready with fresh coffee 24/7
to wake you up whenever you need it.” 337/8 × 471/4, digital.

3

1

2
ADVERTISING
1 (series)
Pierre Kleinhouse, illustrator
Kyle Eertmoed/Kim Knoll, art directors
Knoed, design firm
Omega Yeast, client
“Omega Yeast creates high-quality yeast strains for breweries, with each
strain having a profile of taste, aroma and other brewing characteristics.
I created character illustrations that represented each strain.” 51/2 × 8, digital.
2 Miguel Monkc, illustrator

Claudiovisual, client
“A logo and poster for a festival of boleros, a genre of sung music that
originated in Cuba. The poster features people doing home activities while
they sing and write songs. It was very important for me to reflect racial
and gender diversity in my characters.” 71/4 × 87/8, digital.
3 Andrea Ucini, illustrator

Martin Dupuis, art director
Les Évadés, ad agency
Cinéma du Parc, client
“This poster pays homage to the original poster for 2001: A Space Odyssey
while bringing in visual elements that felt new and different.” 16 × 24, digital.
4 Anna Balbusso/Elena Balbusso, illustrators

Catch&Release, ad agency
Instagram, client
“Used in an Instagram public awareness campaign. We created this piece to
3 thank all health-care workers on the front lines of the COVID-19 pandemic.
We wanted to convey the fatigue, suffering, compassion and empathy
between frontline doctors and patients.” 113/8 × 141/4, gouache, pencil, digital.

ADVERTISING 1
1 (series)
Sonia Alins, illustrator
Moleskine, client
“Studio Collection is a new series by Moleskine featuring six notebooks,
each designed by selected international artists. Mine is a group of poetic,
dreamlike three-dimensional pieces.” Various sizes, mixed media.
2 (series)
Giovanni Gastaldi, illustrator
Elisa Meineri, art director
Alberto Marchetti, client
“Alberto Marchetti, one of the most renowned gelato producers in Italy,
commissioned me to create illustrations for artisanal ceramic ice cream cups
made by Ceramica Besio 1842, a historic ceramic factory in Mondovì, Cuneo,
Italy.” 7 × 2⅛, digital, screen printing on ceramic.

2

1
ADVERTISING
1 Adara Sánchez, illustrator
Pablo Hernando, art director
Code 7 Pictures, client
“Poster for ‘El ruido solar’ (Solar noise), a short sci-fi film by director Pablo
Hernando about people who see a glimpse of the future. This was displayed
at the Sitges Film Festival 2020 in Sitges, Catalonia, Spain—where ‘El ruido
solar’ premiered—and was also used on social media announcements and for
streaming services.” 195/8 × 271/2, digital, mixed media.
2 Richard Borge, illustrator

Catherine Sippin, curator
Richard Borge Studio, design firm
Gary Lichtenstein Editions, publisher
Mana Urban Arts Project, client
“Mana Urban Arts Project (MUAP) spearheaded Project 270 to increase turnout
among voters aged 18 to 38. To do this, MUAP partnered with more than 70
graphic, street and visual artists to create 65 state- and city-specific Get Out
The Vote posters, made free to individuals and voter organizations in the
lead-up to the 2020 US election. This poster was made to get North Dakotans
out to vote.” 163/4 × 21, digital, mixed media.
3 (series)
Xaviera Altena/Calvin Sprague/Nicola Strada/Raul Urias/Magnus Voll
Mathiassen, illustrators
Mauricio Alarcón, art director/chief creative officer
Gabi Guiard/Carles Puig, designers
Gina Polverini/Jackie Roberto, art buyers
Justin Barnes/Robert Meyers/Brian Sanford, producers 2
Closer & Closer/Hugo & Marie/Versus, production companies
Chris Roan, executive director
Conquistadors, ad agency
Metropolitan Transportation Authority, client
“State Of Respect is an outdoor campaign that features the outline of New
York State as a mask. The campaign—which ran across 8,000 locations in
the Metropolitan Transportation Authority, Metro North and Long Island Rail
Road—helped decrease an 8 percent gap in mask compliance among ridership.”
Various sizes, digital.

3

1

2
ADVERTISING
1 (series)
Shanta Buriya/Jagdish Chitara/Sanuyar Chitrakar/Susama Chitrakar/
Sanjeev Ranga Reddy/D Saikiran/Durgabai Vyam, illustrators
Sheehij Kaul/Ojasvi Mohanty/Sajeev Manikoth Renjan/Shashwat
Shukla/Harmeet Singh/Nitin Srivastava, art directors
Reynold Nalin Anthony, writer
Aryan Dhamecha, editor
Nitin Srivastava, designer/design director/executive creative director
Reynold Nalin Anthony/Jossy Raphael, creative directors
Sonal Dabral/Kainaz Karmakar/Sukesh Nayak/Harshad Rajadhyaksha/
Ritu Sharda, chief creative officers
Prasad Shetty, graphic artist
Vikas Maurya/Ashwani Sinha, executive directors
Padmaja Srivastava, curator
Tanvi Nathyal, artistic director
Ogilvy, ad agency
Anuja Gulati/Kartik Mohindra/Uday Rao/Ishwindar Singh, Pernod
Ricard India, clients
“The Legacy Project provided a platform for India’s dying folk arts. These
traditional illustrations were scanned and printed on 100 Pipers Scotch
canisters with a QR code that educated consumers about the art.”
161/2 × 233/8, paint on cloth.
3
BOOKS
2 Tran Nguyen, illustrator
Alison Impey, art director
Penguin Random House, client
“Cover for Six Crimson Cranes by Elizabeth Lim. The story revolves around
Shiori, the only princess of Kiata, and her six brothers, who have been
turned into cranes by their stepmother. The book is a retelling of the
Hans Christian Andersen fairytale ‘The Wild Swans’ and is set in the same
universe as Lim’s novel Spin the Dawn.” 121/2 × 24, acrylic, colored pencil.
3 David Plunkert, illustrator

Eileen Hunt Botting, art director
John Hubbard, designer
University of Pennsylvania Press, client
“Cover for Artificial Life After Frankenstein by Eileen Hunt Botting. The book
explores the obligations of humanity to the artificial creatures we
make, and the ethics and morals of how humanity will treat ever more
sophisticated artificial intelligence.” 61/2 × 91/2, mixed media, digital.

1
BOOKS
1 (series)
Coralie Bickford-Smith, illustrator/designer
Jim Stoddart, art director
Penguin Random House, publisher
“The Song of the Tree tells the story of a bird and her love of one tree in the
heart of the jungle. Every element of the book has been considered, from
the printing to the clothbound cover to the bird-colored thread to the
utilization of four PMS colors inside.” Various sizes, ink, digital.

1

BOOKS
1 (series)
Goncalo Viana, illustrator
Rui Silva, art director
Carla Oliveira, editor in chief
Madalena Moniz, designer
Orfeu Negro, publisher
“Troca-Tintas (True colors) is my debut book
as both illustrator and author. One day, a tree
and a cloud decide to swap places. Scientists
are baffled, and the local townspeople demand
they return to their places to no avail. A tale
about acceptance, swapped colors and differ-
ent kinds of happiness.” 17 × 11, digital.

1
BOOKS
1 (series)
Yuko Shimizu, illustrator
Cecilia Yung, art director
Eileen Savage, designer
Penguin Random House, G. P. Putnam’s Sons,
client
“From The Cat Man of Aleppo, written by Irene
Latham and Karim Shamsi-Basha. The picture
book follows a man in war-torn Syria who,
instead of leaving, stayed to work as an ambu-
lance driver to help people, and then to start
an animal sanctuary, followed by an orphanage.”
Various sizes, ink and brush on paper, digital.

1

BOOKS
1 (series)
Goncalo Viana, illustrator
Adélia Carvalho, writer
Cátia Vidinhas, designer
Hugo Cardoso, creative director
Livraria Lello, publisher
“For a picture book adaptation of The Wizard of
Oz, retold by Adélia Carvalho for children aged
six to ten years old.” 17 × 10, pencil, digital.

1

BOOKS
1 Anna Balbusso/Elena Balbusso, illustrators
Paul Zakris, art director
Greenwillow Books, HarperCollins, publisher
“Cover for Cinders and Sparrows by Stefan Bachmann. A suspenseful tale
of witches, family and magic as twelve-year-old orphan Zita discovers
what it means to be a witch.” 19 × 12, gouache, pencil, digital.
2 (series)
Olaf Hajek, illustrator
Doris Kutschbach, art director
Prestel Publishing, Penguin Random House, client
“By Olaf Hajek and Annette Roeder, Veggie Power shows seventeen
different plates as a delightful introduction to common vegetables.”
113/4 × 153/4, acrylic on board.

1
BOOKS
1 (series)
Il Sung Na, illustrator
Jennifer Browne, art director
Neal Porter Books, Holiday House, client
“Written by Hope Lim, My Tree is a picture book about a young
boy who recently immigrated from Korea. He finds a glorious
plum tree in his new backyard, which reminds him of a tree his
family had back home. When a rainstorm brings the old tree
down, the fallen tree becomes a place where his and his friends’
imaginations can play.” Digital.

1
BOOKS
1 David Curtis, illustrator/designer
Mark Robinson, art director
HMH Books, client
“Cover for The Apocalypse Seven by Gene Doucette. Seven strangers wake up in
the city of Cambridge to find the entire city empty and overgrown with
plant life. While avoiding the dangerous new wildlife, they search for answers
to what has happened to them and the rest of the missing population.”
6 × 9, mixed media, digital.
2 Lauren Tamaki, illustrator

John Martz, art director
Penguin Random House Canada, client
“I was thrilled to create the cover art and lettering for Fight Like a Girl, Sheena
Kamal’s debut young adult novel. The book tells the story of Trisha, a Trinidadi-
an Canadian teenager who channels her rage at her family’s history of domestic
violence through practicing Muay Thai kickboxing.” 53/4 × 81/4, ink, ink
wash, digital.
3 (series)
Fatinha Ramos, illustrator
Davide Calì, art director
Inês Silva, Illustopia, client
“For Tourmaline by Davide Calì. A fairy tale with a modern twist, the story begins
with Princess Tourmaline imprisoned in a tall tower, and only the bravest
knight of all can free her. Knight after knight fails in their quest to save her,
but luckily, there’s one fearless knight who doesn’t let anything daunt
him—or rather, daunt her.” Various sizes, pencil, acrylic, sandpaper, digital.
2

3

1

BOOKS
1 Paul Blow, illustrator
Dominique Bordes, art director
Monsieur Toussaint Louverture, client
“Cover for the French edition of Anne of Green Gables by Lucy Maud
Montgomery. The publisher wanted the illustration to appeal to both
young and old while moving away from the more traditional repre-
sentation with a dark undertone.” 195/8 × 133/4, digital.
2 (series)
Francesco Bongiorni, illustrator/art director
Bompiani, client
“A selection of illustrations from my second book, Atlante dei luoghi
misteriosi dell’antichità (Atlas of mysteries of the ancient world).”
8 × 11, digital.

1
BOOKS
1 Shirley Gong, illustrator
Jia Yao, art director
Science Fiction World, client
“Cover for Science Fiction World magazine’s anthology of
translated Japanese fantasy and sci-fi short stories.”
81/2 × 12, digital.
2 (series)
John Parra, illustrator
Laurent Linn, art director
Simon & Schuster, client
“The Power of Her Pen: The Story of Groundbreaking Journalist
Ethel L. Payne by Lesa Cline-Ransome. The book tells
the story of the African American journalist known as the
First Lady of the Black Press.” Various sizes, acrylic
on board.

1

BOOKS
1 (series)
Christy Hale, illustrator/art director/designer
Neal Porter Books, Holiday House, client
“Out the door, down the stoop, past the neigh-
bors, along the block—Out the Door follows
a young girl as she travels to school in a busy
city, through tree-lined streets, onto a crowd-
ed subway car, into a classroom with friends
and then back home again.” 171/4 × 83/4, collage.

BOOKS 1
1 (series)
Nathalie Dion, illustrator
Michael Solomon, art director
Groundwood Books, client
“For The Dog’s Gardener by Patricia Storms.
A dog delights in a summer day spent in the
garden with his owner, an avid gardener.”
17 × 81/2, gouache, digital.

1

BOOKS
1 (series)
Laurent Pinabel, illustrator/designer
May Sansregret, art director
Éditions Les 400 Coups, client
“From La langue au chat et autres poèmes pas
bêtes, with poems about animals by François
Gravel intended for children seven years
and older.” Various sizes, digital.
2 Edward Kinsella, illustrator

Louise Dugdale, art director
Ben Hervey, writer
Bloomsbury Publishing/British Film
Institute, clients
“Night of the Living Dead cover art for the
2 British Film Institute Classics book series.”
43/4 × 61/2, graphite, ink wash, ink, gouache.

1

2
BOOKS
1 (series)
Gérard DuBois, illustrator
Louis Gagnon/Daniel Robitaille, art directors
Paprika, design firm
Brigitte Bouchard, Notabilia, client
“For Il tram di natale (The Christmas tram) by Giosuè Calaciura, which follows
the last tramway on Christmas Eve headed to Rome’s suburbs and the lost
souls aboard it: a prostitute and her client, a young boy, an old man selling
umbrellas, and an abandoned baby at the back of the tram. A touching
Christmas tale that describes the life of migrants in today’s Italy.”
83/8 × 121/2, digital.
EDITORIAL
2 Kadir Nelson, illustrator
Emmet Smith/Jason Treat, art directors
National Geographic, client
“Cover for National Geographic that illustrates the journey of the last enslaved
people brought to the United States on the ship Clotilda, accompanying an
article about the discovery of the shipwreck.” 6 × 9, oil on canvas.
3 Alexandra Webber, illustrator

Hilde Lorentzen, art director
Tidsskriftet for Den norske legeforening, client
“For a series of Tidsskrift for Den norske legeforening (Journal of the Norwegian
Medical Association) articles titled ‘Brystkreft’ (Breast cancer), which
covered a variety of topics like mammography, reconstruction and a rare
3
cancer caused by certain types of implants. Many pictures of breast cancer
patients show young, thin Caucasian women, so we wanted to show a more
realistic portrayal of a survivor: a middle-aged woman of color.” 81/4 × 113/4,
pencil, digital.

1
EDITORIAL
1 (series)
Hokyoung Kim, illustrator
Gail Bichler/Matt Curtis, art directors
The New York Times Magazine, client
“For ‘The Children in the Shadows: New York City’s
Homeless Students,’ a piece in the New York Times
Magazine on how homelessness affects children’s
education.” Various sizes, digital.

1

EDITORIAL
1 (series)
Pierre Mornet, illustrator
Emrah Seçkin, art director
Harper’s Bazaar Germany, client
“Cover, opening of the fashion section and double-page series for
Harper’s Bazaar Germany on the theme of the magic and glamour of
Christmas.” Various sizes, acrylic.

EDITORIAL 1

Joseph Hutchinson, art director
Rolling Stone, client
“For a Rolling Stone article titled ‘American
Uprising: The Power of Black Lives Matter.’
I aimed to celebrate the African American
women—and the allies that support them—
spearheading the movement against
ongoing violence and racial intimidation
against African Americans.” 42 × 48, oil
on linen.
2 André Carrilho, illustrator

Pedro Fernandes, art director
Diário de Notícias, client
“Editorial cartoon for Portuguese news-
paper Diário de Notícias on the NBA protest
for racial equality and the end of police
violence.” 93/4 × 43/4, graphite, digital.
3 Juan Bernabeu, illustrator

Celina Fang, art director
The Marshall Project, client
“For The Marshall Project’s article on
Mississippi state officials failing to enforce
contractual penalties that punish short
staffing at private-prison company MTC’s
Mississippi prisons. Instead, they con-
tinued to pay MTC the salaries of absent
employees.” Digital.
4 Jon Krause, illustrator

Mary Wood, art director
UVA Lawyer, client
“For a UVA Lawyer article on the need for
systemic change in how we investigate
police-related shootings.” 141/2 × 11,
mixed media.

3

1

3
EDITORIAL
1 Nan Cao, illustrator
Jason Lancaster, art director
Washingtonian, client
“Postcard illustration for Washingtonian magazine, conveying the message
Washington is sending.” 5 × 31/2, ink, digital.
2 Jon Krause, illustrator

Christian Font, art director
The Washington Post Magazine, client
The Vestibule. “For a freestanding table of contents illustration in The
Washington Post Magazine about the feeling of futility in the face of raging
wildfires. The title is a reference to Dante’s Inferno, the vestibule
being the first part of hell and reserved for the decisive.” 10 × 8, cel
vinyl paint and ink on animation cel.
3 Owen Freeman, illustrator

Eric Paul, art director
ESPN, client
“For an ESPN 30 for 30 documentary on the life of Michael Vick.” Digital.
4 Tim O’Brien, illustrator

D.W. Pine, art director
TIME, client
“For TIME magazine—the first Biden cover. Two weeks after the breach
of the US Capitol, Joseph Biden enters the Oval Office as the 46th
president. He faces many problems and obstacles, some unprecedented
and some ever present.” 12 × 16, oil on panel.
5 Dale Stephanos, illustrator/art director

ImagineFX, client
4
“A memorial to actor Chadwick Boseman for an article on Visual Arts
Passage, an online school I work with.” 8 × 10, charcoal.

EDITORIAL 1
1 Dan Bejar, illustrator

Gillian MacLeod, art director
O, The Oprah Magazine, client
“For an O, The Oprah Magazine article on women’s
experiences with headaches and the different
types women experience at different ages.”
63/8 × 6, mixed media.
2 Fatinha Ramos, illustrator

Michael Mrak, art director
Scientific American, client
“For a Scientific American article on suicide. This
illustration can be seen through two perspectives:
from the person who goes, and from the person
who’s left behind.” 31/4 × 35/8, mixed media.
3 Hokyoung Kim, illustrator

Elizabeth Hart, art director
The Washington Post, client
“For The Washington Post’s article ‘Bored Games,’
about boredom in the time of COVID-19.”
105/8 × 81/2, digital.
4 Isabel Seliger, illustrator

Jillian Kumagai, art director
ProPublica, client
“For a ProPublica article titled ‘Senior Citizens 2
in Subsidized Housing Have Been Dying Alone
at Home, Unnoticed Because of Coronavirus
Distancing.’ The article is about people living
alone—and dying alone—in Chicago, and
whose deaths are going unnoticed for some
time in the public housing complexes they
inhabit.” 113/8 × 71/2, digital.

3

1
2 3

4
EDITORIAL
1 Chris Gash, illustrator
Sarina Finkelstein, art director
Parents.com, client
“For an article on Parents.com called ‘How to Do Taxes if You Share
Custody of Your Kids.’ The IRS doesn’t make much simple when it
comes to doing taxes; for divorced or separated parents, there is
a lot of confusion surrounding how to decide who can claim their
kids as dependents and open themselves up to a number of tax
credits.” 93/8 × 61/4, digital.

Françoise Mouly, art director
The New Yorker, client
Distant Summer. “An ode to the summer of 2020, marked by social
change, protests and social distancing, featuring a lonesome
yet patriotic youngster enjoying a frozen ice pop who’s forced to
grow up in a rapidly changing and bizarre world around him.”
24 × 30, oil on linen.
3 André Carrilho, illustrator

Erica Weathers, art director
New Statesman, client
“Cover illustration for the New Statesman about the worldwide
protests against police violence following the death of George
5 Floyd in the United States. These events overlapped the growing
stress caused by the first wave of the COVID-19 pandemic.”
81/4 × 107/8, graphite, digital.
4 Jim Salvati, illustrator

Jason Chenier, art director
Our State, client
“For an Our State magazine article on growing up near a rock quarry
swimming hole. During the rock and roll era of the ’70s, a gener-
ation of teens spent long days jumping from towering walls into
the cyan-clear water.” 11 × 14, oil on canvas.
5 Gérard DuBois, illustrator

David Armario/Dennis McLeod, art directors
Stanford Medicine, client
“For a Stanford Medicine article about ‘chemo brain,’ a common
term used by cancer survivors to describe thinking and memory
problems that can occur during and after cancer treatment.
Initially, oncology experts thought depression was the root of
patients’ cognitive problems, but it’s now clear that chemo brain
is caused by chemotherapy.” 93/4 × 121/2, digital.

1
EDITORIAL
Françoise Mouly, art director
The New Yorker, client
Say Their Names. “A striking and moving memorial to George Floyd
and all of the African Americans who were and continue to be
victimized by the long shadow cast by racism and race-based
violence in America and around the globe.” 30 × 40, oil on linen.
2 (series)
Anna Balbusso/Elena Balbusso, illustrators
DJ Stout, art director
Audrey Feely, design director
Pentagram, design firm
UCSF Magazine, University of California, San Francisco, client
“With design firm Pentagram, we created a series of illustrations
for UCSF Magazine’s special Combating Coronavirus Summer 2020
issue.” Various sizes, gouache, digital.

1

3
EDITORIAL
1 (series)
Hokyoung Kim, illustrator
Rebecca Horne, art director
Spectrum, client
“For a Spectrum article titled ‘Autism Behind Bars.’ Prisons tend to be ill-
equipped to accommodate inmates on the autism spectrum. Prisons also
hold particular dangers for people with autism, who are prone to anxiety,
inflexible thinking and sudden outbursts—traits likely to provoke others’ ire.”
2 Ran Zheng, illustrator

Sarah Gordon, art director
Christianity Today, client
“For ‘Hope Beyond a Vaccine,’ a Christianity Today article on Christian hope in
the midst of the COVID-19 pandemic.” 12 × 63/4, digital.
FOR SALE
3 (series)
Jason Raish, illustrator
Dandy Wellington, art director
FIT Black Student Illustrators Awards, client
“Three percent of our industry is Black. I teamed up with musical artist and
activist Dandy Wellington to sell prints to fund the FIT Black Student
Illustrators Award. More than $4,000 was raised, and four seniors at the
Fashion Institute of Technology received $1,000 awards.” 12 × 18, digital.

1
FOR SALE
1 Alexander Jackson, illustrator
“A personal study on actor Samuel L. Jackson.” 20 × 20,
ink, digital.
2 Tran Nguyen, illustrator

Dorothy Circus Gallery, client
“Bubblegum Girl was part of a group exhibition at Dorothy
Circus Gallery in London.” 11 × 14, acrylic, colored pencil.
3 (series)
Gary Kelley, illustrator
Greg Breeding, Journey Group, art director/designer
United States Postal Service, client
“This pane of US postage stamps celebrates the Harlem
Renaissance, one of the great artistic and literary
movements in American history. The four literary figures
honored on these stamps highlight diverse facets of
the Harlem Renaissance: bibliophile and historian Arturo
Alfonso Schomburg; writer, philosopher, educator and
arts advocate Alain Locke; poet Anne Spencer; and novelist
Nella Larsen.” 61/2 × 10, pastel.
4 Adrian Bauer, illustrator

Carlsen Verlag, publisher 2
Jörg Stauvermann, curator
“This illustration was part of the group exhibition Seagulls.
Waste. And some mermaids and was published in an art
book collection by publishing house Carlsen Verlag. More
than eight million tons of plastic are deposited in the
world’s oceans every year. The exhibition took action to
build a critical position towards daily plastic consumption
and marine conservation.” Digital.

3

1

FOR SALE
1 (series)
Mirko Càmia, illustrator
“A limited edition series of pop illustrations representing traditional Japanese
cuisine.” 115/8 × 81/4, digital.

1
INSTITUTIONAL
1 (series)
Xoana Herrera, illustrator
Jim Clugston/Patricia Wong, art directors
Nike, client
“I partnered with Nike as a local artist for Nike Live, a small-
format store offering rotating experiences and services
tailored to local communities. These illustrations were used
inside and outside Nike stores in the Long Beach, California,
and Glendale, California, areas. The project included front
facades, living room areas, and interior environments
such as area rugs, printed scrims and back facades.”

1

INSTITUTIONAL
1 Dan Page, illustrator
Joe Zeff, designer
Joe Zeff Design, design firm
Wilmington Trust, client
“For an opinion piece on financial company Wilmington Trust’s website
titled ‘Seismic Shocks,’ featuring the great COVID-19 pandemic and
a transformed financial landscape.” 141/4 × 83/8, digital.
2 (series)
Ryo Takemasa, illustrator
Takahisa Aota, art director
Ishikyo Mate, Tokyo Medical and Dental Cooperative, client
“Cover illustrations for Ishikyo Mate magazine, a bimonthly publication
by Tokyo Medical and Dental Cooperative. The cover of each issue
shows the seasons of Japan.” 9 × 12, digital.

INSTITUTIONAL 1
1 (series)
Gianluca Folì, illustrator
Fabrizio Piccolini, art director
The Embassy, ad agency
Epson Italy, client
“For the 2021 edition of the Epson Calendar. This
iteration inaugurates a new trend of illustration
through the fantastic story of a color seeker and
his research that takes him around the world.”
91/2 × 61/2, gouache, watercolor, ink, digital.

1

INSTITUTIONAL
1 (series)
Sonia Pulido, illustrator/typographer/designer
Elena Castaño, art director
Sancal, client
“A calendar for furniture brand Sancal. With the COVID-19 pandemic
placing us in confinement, we were forced to rediscover our
homes—and, therefore, our furniture and what surrounds us. These
illustrations transmit the idea of flexibility.” Various sizes, digital.

1
INSTITUTIONAL
The JKBN Group, LLC, client
“My painting celebrates the inaugural seasons of the Negro
National League and the Negro Southern League, both founded in
1920, with a dramatic painting of a historic contest between the
Birmingham Black Barons and the Montgomery Grey Sox. Used as
a commemorative collectible print and poster.” 70 × 70, oil on canvas.
2 (series)
Xoana Herrera, illustrator
Brian Banton, art director
Nike, client
“I was commissioned by Nike Journal to make supporting imagery
for some of the articles, which provide rich, deep and thought-
provoking content about sports and health.” Various sizes, digital.

1
INSTITUTIONAL
1 (series)
Paulina Kozicka, illustrator
Adam Chyliński/Paulina Kozicka, art directors
UNICEF Polska, client
“For a hand-numbered charity calendar, we illus-
trated old stories from Syria, Sudan, Niger and
Yemen. Each card consisted of an illustration
of legends from regions supported by UNICEF.”
195/8 × 271/2, digital.
2 (series)
Yuko Shimizu, illustrator
Sandro Kereselidze/Riki Kim/Tatiana Pastukhova/
Jason White, art directors
Artechouse, client
“Hanami: Beyond the Blooms was an interactive
experience and exhibition held in Artechouse,
a technology art museum in Washington, DC.
Visitors were able to experience a virtual cherry
blossom festival while the outside world was
closed due to COVID-19.” Digital.

1

2
INSTITUTIONAL
1 (series)
Myriam Wares, illustrator
Tim Opsahl, art director
Wealthfront, client
“The Cash Cat project was developed for Wealthfront as a social media
campaign during the COVID-19 lockdown. She can be seen doing several
relatable indoor activities, such as binge-watching nature documentaries,
kneading sourdough and reading Infinite Jest.” Digital.
ANIMATION
2 Jhonny Núñez, illustrator
Aaron Barry/Pooja Wadhawan, art directors
Adobe, client
“Illustrator on the iPad” :65
“To promote the launch of Adobe Illustrator on the iPad, I was challenged
to create inspirational, colorful artwork using the iPad app exclusively.
The process to develop an illustration system was easier than I expected
due to the amazing UX the app brings, enabling a smooth transition
from computer to tablet. This video showing the app’s power was the
main piece of its marketing campaign featured during the Adobe MAX
2020 creative conference.”

1
ANIMATION
1 Enzo Lo Re, illustrator/director
Labellascheggia, production company
Latleta, client
“Balla la testa” 3:10
“A mix of colors, tunnels, metaphysical cars and distorted musical instru-
ments in a psychedelic journey, all pulsing to the stubborn rhythm of
the song ‘Balla la testa’ by musical artist Latleta. To create this animation
in accordance with the song, I decided to create a simple, rhythmic
and repetitive visual world: a visual pattern that translates the song’s
musical score.”
2 Anastasia Beltyukova, illustrator/animator

Michael Rosen, writer/voice talent
Aaron Cupples/J. C. Wright, music composers
Brigitte Hart, sound designer
Aditi Anand, producer
Migration Museum, client
“Heart of the Nation” 2:30
“Commissioned by the Migration Museum in London for its first digital
exhibition, Heart of the Nation. We had quite limited resources and tight
time frames to get this project done, so I had to come up with very
simple but poignant solutions. I’ve chosen a mixed media collage as the
canvas for the story with some frame-by-frame highlights.”
3 Eric Pautz, illustrator

Hugo Baurens/Genice Chan/Esther Cheung/Rafael Mayani, illustration
Esther Cheung/Sitji Chou/Johannes Fast/Diego MacLean/Ben Ommundson/
Fabio Valesini/Conor Whelan, animation
Jay Grandin, writer
Ambrose Yu, music/sound designer
Teresa Toews, producer
Giant Ant, production company
“Right Now” 1:40
“‘Right Now’ is a (very) short film about a shared moment, as well as
a meditation on the fact that if 2020 has taught us anything, it’s that
we’re all in it together.”

2

1

3
ANIMATION
1 Filipe Consoni/Robin Desnoue/Matthew Everton/Anthony Kim/Manuel
Neto/Ross Plaskow/Michael Towers, animation
Gerald Mark Soto, lead animator
Andres Rivera, associate creative director
Jonathan Notaro, chief creative officer
Mercedes Affleck/Abigail Goh/Andres Rivera/Jelly Wei, design
Mercedes Affleck/Andres Riviera, storyboard artists
Tyler Byrnes/Ryan Rigley, assistant editors
Michael Waldman, Brennan Center for Justice, voice talent
Brian Jones, music composer
Paul Vītoliņš, sound designer
BANG Music + Audio Post, audio mixer/music company
Andre Araujo, producer
Brendan Mills, associate producer
Devin Brook, executive producer
Johnna MacArthur, head of production
Brand New School, production company
Lisa Benenson/Matthew Harwood/Lisa Vosper/Michael Waldman/Alden
Wallace/Ryan Witcombe, Brennan Center for Justice, clients
“Brennan Center Brand Video” 2:00
“The Brennan Center for Justice is an independent, nonpartisan law and
policy organization. We partnered with Brand New School and BANG
Music to develop an animated brand video illustrating the mission of
our nonprofit organization and some of the issues we tackle: mass
incarceration, money-drenched politics and voter suppression. The
American people are engaged in a great struggle for the future of
democracy, and the Brennan Center crafts and advances the reforms
that will make our government work—for all.”
2 Louisa Bertman, illustrator/art director/producer

Reginald Dwayne Betts, writer
“Elegy Ending With a Cell Door Closing” 2:10
“‘Elegy Ending With a Cell Door Closing’ is an animated poem written and
narrated by poet Reginald Dwayne Betts, who, as a fifteen-year-old child
in 1996, was sentenced to life in prison for a crime he did not commit. This
version updates the original short created for NPR WNYC Studios’ podcast
series CAUGHT: The Lives of Juvenile Justice.”
3 Manddy Wyckens, illustrator

Kevin Floyd/Paul Forsyth, creative directors
Nikki Di Franco, Catbird/Nikki Kefford, Studio AKA/Sharon Titmarsh,
Studio AKA, producers
Studio AKA, production company
Catbird, design firm
Bellefaire JCB, client
“Value You” 1:40
“Bellefaire JCB, a social services agency in Cleveland, Ohio, needed to raise
awareness of the growing problem of youth sex trafficking in America.
Many of the kids who are trafficked are emotionally vulnerable and low
on self-esteem and self-worth. Thus, ‘Value You’ was born, delicately
telling a story of vulnerability through the eyes of the victim, and doing
it in a way that both educates and empowers the audience.”

1
ANIMATION
1 Sofia Buti/Arianna Cristiano, illustrators
David Cubitt/Laurentiu Lunic, animators
Ilenia Notarangelo, illo/David G. Stone, Yes&, creative directors
YouTooCanWoo, sound designer
illo, animation company
Yes&, ad agency
Akima, client
“I am Iñupiaq” 3:00
“Natural textures, breathtaking landscapes and realistic characters
bring viewers into the world of the Iñupiaqs in this compelling
visual journey. The creative focus of the animation was to convey
the overall feel of the story being told, so we mixed warm,
neutral shades with an illo touch of pink and yellow to highlight
details. We also counterbalanced realistic elements, such as
well-defined characters, with geometric shapes.”
2 Keith Ross, illustrator/animator/director

X, music
Talia Handler, producer
Tiny Concert, production company
Fat Possum Records, client
“Tiny Concert Featuring X” 2:10
“Punk band X found my Instagram account Tiny Concert and hired
me to animate their latest music video. Drawn almost entirely
with a ballpoint pen and taking place on a turntable spinning X’s
new record, this project harks back to an age when doodling on
Converse and listening to records was an escape from the mundane.”
SELF-PROMOTION
3 Monet Kifner, illustrator
“I was compelled to make this piece for a social post in the midst
of the George Floyd protests. Angela Davis is one of my favorite
icons from history; her message of unity and empowerment and
her role in the civil rights movement made me want to commem-
orate her.” 14 × 12, graphite, digital.

2

1
SELF-PROMOTION
1 (series)
Han Li, illustrator
“Xue Tian Wan Street in Chongqing, China, where I lived during my childhood.
I made this illustration for a 2021 calendar.” Various sizes, watercolor,
colored pencil, collage, mixed media.
2 Eugenia Mello, illustrator/client

“Thoughts on the passage into 2021 and my continued exploration of how
to capture movement in an image, hoping to spark music with a couple of
brushstrokes and to make the invisible sort of tangible. Originally made to
be a newsletter header.” 19 × 8, digital.

2

1 2

SELF-PROMOTION
1 Dimitri Fogolin, illustrator
“Inspired by the song ‘Way Out’ by musical
artists Ellen Allien and Apparat. Used for
self-promotion online and on social media.”
73/4 × 105/8, mixed media.
2 Ben Konkol, illustrator

“Based on a Mother Jones article about bullying
tactics used by Monsanto. First published
in the 2020 3x3 Illustration Annual.” 73/4 × 10,
graphite, ink, digital.
3 (series)
Jhao-Yu Shih, illustrator/writer
“This is an illustration book for my exhibition
bedtime words between you and me, at various
galleries in Hsinchu City, Taiwan.” Digital.

1
SELF-PROMOTION
1 Gérard DuBois, illustrator
Costume 3 Pièces, client
Hut in period of confinement. “For a virtual exhibition by Costume
3 Pièces, my Paris-based rep agency. The idea was to work
around the subject of ‘hut’ during this period of confinement.”
81/2 × 117/8, digital.
2 Miguel Montaner, illustrator/client

“Personal work on the efficiency and persuasive power of subtlety
in communications.” Digital.
UNPUBLISHED
3 Yichin Chen, illustrator
Into the Maze. “This image invites viewers to find out an untold
secret.” 20 × 12, watercolor ink on paper, digital.
© Yichin Chen
4 Kaleena Sales, illustrator

Vladimir Proskurovskiy, photographer
Blue Light. “Drawn from a still frame of a vibrant fashion video
project, this marker illustration feels both ethereal and impassioned.”
9 × 8, marker. 2
© Kaleena Sales
5 Andy Dearwater, illustrator/art director

“From a series of paintings created to highlight and humanize
the homeless population.” 16 × 16, oil on canvas.
© Andy Dearwater

3
4 5

1

2
UNPUBLISHED
1 (series)
Ben Konkol, illustrator
“From an unpublished picture book project. The story depicts
a creation myth that unfolds in a remote mountain wilderness
underneath a starry blanket of animal constellations.”
18 × 12, digital.
© Ben Konkol
2 Joe Whyte, illustrator

The Serpent. “A folio piece inspired by a line from Shakespeare’s
Hamlet: ‘The serpent that did sting thy father’s life, now wears
his crown.’” 15 × 21, oil on canvas, digital.
© Joe Whyte
3 Simone Noronha, illustrator

“A personal project born during quarantine and the lack of
human connection.” Digital.
© Simone Noronha
4 London Ladd, illustrator

Celestial Africanism. 7 × 9, mixed media.
© London Ladd
3 4

UNPUBLISHED 1
1 Brian Lutz, illustrator

Look Up. “The reference image was supplied to an online drawing event
by photographer Bryan Rodner Carr.” 12 × 16, mixed media.
© Brian Lutz
2 Fabio Consoli, illustrator

“Cycling taught me something: Sometimes the weather is bad, and you
can’t do anything to change it. You can stop under a shed and get cold
until it stops, or you can just keep riding and savoring the moment
when you’ll get to a warm place.” Digital.
© Fabio Consoli
3 Sonia Pulido, illustrator

Friends. “During months of confinement, I missed my female friends—the
complicity, the talks, the exchanges we would have. This illustration
talks about that and the subtle tug-of-war that goes on in a friendship.”
161/2 × 233/8, digital.
© Sonia Pulido
4 (series)
Christian Ray Blaza, illustrator
“A series based on a personal trip to Japan. My goal was to capture the
beauty and emotions of the trip.” Various sizes, digital.
© Christian Ray Blaza
2
3

4

1

UNPUBLISHED
1 Tsutomu Kitazawa, illustrator
The Sacred City by the Falls. “Based on an original fiction story called ‘The
World of Light and Darkness.’” 51 × 23, digital.
© Tsutomu Kitazawa
2 (series)
Hannah Li, illustrator
Hunan Juvenile & Children’s Publishing House, client
“An unpublished series for Hunan Juvenile and Children’s Publishing
House that represents some moments of a little boy named A-Mo
during his childhood in 1990s China. These five nostalgic images are
meant to be shared with and celebrated by audiences who also lived
in that era.” 6 × 81/2, digital.
© Hannah Li

1
UNPUBLISHED
1 Dan Bransfield, illustrator
Adam Driver. 8 × 10, acrylic gouache.
© Dan Bransfield
2 (series)
Mark Ulriksen, illustrator
“A series of experimental sketches viewing life during the
COVID-19 pandemic in San Francisco. I used line and flat
color—a different technique for me—to illustrate these
slices of life.” Digital.
© Mark Ulriksen

1

UNPUBLISHED
1 (series)
Jaime Kim, illustrator
My Little Delicious Days. “Childhood memories are strong, and childhood memories
of food are even more powerful. In this series of illustrations, I captured the
happiest, most comforting moments of my childhood—in which foods were always
with me.” Various sizes, watercolor, digital.
© Jaime Kim

1
UNPUBLISHED
1 Aistė Stancikaitė, illustrator
“A single colored pencil drawing created to explore the notion of gender
norms and masculinity.” 113/4 × 161/2, colored pencil.
© Aistė Stancikaitė
2 David Gonzalez, illustrator

Hallow-19. “The scariest time of the scariest year—scare responsibly.”
© David Gonzalez
3 Aaron Leech, illustrator

The Waiting Room. “This illustration represents attitudes towards death.
The character on the right is fear; the character on the left is contempt
or acceptance; and the middle character is indifference, only focused
on the now.” 42 × 42, digital.
© Aaron Leech
STUDENT WORK
4 Jialei Sun, illustrator
Whitney Sherman, instructor
Maryland Institute College of Art (Baltimore, MD), school
“Spending almost a whole year at home and having less time to shop,
I wanted to make something to satisfy my shopping desire. I combined
things I wanted to buy and put them into my illustrations.” 4 × 5, digital.
© Jialei Sun
5 Peixin Jimmy Pan, illustrator

Brian Rea/Paul Rogers, instructors 2
ArtCenter College of Design (Pasadena, CA), school
“An editorial illustration based on the New York Times article ‘The Amazon
Was Sick. Now It’s Sicker.’” 171/2 × 111/4, digital.
© Peixin Jimmy Pan

3 4

1

STUDENT WORK
1 (series)
Chieh-Chih Liao, illustrator
Louis Police/Paul Rogers, instructors
ArtCenter College of Design (Pasadena, CA), school
“A lonely traveler’s journey across America.” Various sizes, digital.
© Chieh-Chih Liao

1
STUDENT WORK
1 (series)
Huixin Xian, illustrator
Stephen Farrell, instructor
School of the Art Institute of Chicago (Chicago, IL), school
“A collection of the Chicago ‘blues,’ shared tales of woe in the urban environ-
ment. This project reflects on how psychological trauma is woven into the
fabric of our lives within a modern city.” Various sizes, digital.
© Huixin Xian

1

2
STUDENT WORK
1 (series)
Lu Xu, illustrator
Rui Wang, instructor
University of the Arts London, Camberwell College of Arts
(London, United Kingdom), school
“This series shows the process of a happy funeral: normal
dress clothes, music playing, throwing rice, eating a square
meal. The event is not only to honor the dead but also to
celebrate life.” 133/4 × 81/2, watercolor, pencil, gouache, digital.
© Lu Xu
2 Lia Liao, illustrator

Rebecca Bradley, instructor
Maryland Institute College of Art (Baltimore, MD), school
Start The Fire. “The subject was inspired by the movie Joker,
depicting a double-sided Gotham City where some people
are spending a peaceful day and others are struggling to live.”
81/2 × 11, digital.
© Lia Liao
3 Kayden Chan, illustrator

Marco Cibola, instructor
Sheridan College (Oakville, Canada), school
“An introductory project to my fourth year: interpret the notion
of the word isolation.” 6 × 6, digital.
3 © Kayden Chan

1
STUDENT WORK
1 Freya Yeh, animator/illustrator
Hsiao-Chin Lin, audio mixer
Szu-Yu Lin/Hsiao-Chin Lin, music
Hsiao-Chin Lin/Szu-Yu Lin, sound designers
Victoria Hogan, voice talent
John Colette, instructor
Savannah College of Art and Design (Savannah, GA), school
“GMT+8-5” 1:40
“GMT+8 is Taiwan’s time zone. GMT-5 is New York’s time zone. This is
the journey of a girl who lives in the United States and finds her way
to accept her grandmother’s death. In this animation, I wanted to use
something to connect Eastern and Western culture; because the older
generation in Taiwan likes to drink hot water in winter and in summer,
I decided to use an old Eastern-looking kettle as a symbol to connect
two places and two generations, standing for cultural inheritance and
the continuation of life.”
© Freya Yeh
2 (series)
Jiatong Liu, illustrator
Greg Palmer/Paul Postle, instructors
Kingston University London (London, United Kingdom), school
“Blue Things was my major project at Kingston University. Taking blue
as a research object, I created a nonfiction picture book about the
color.” 161/2 × 115/8, watercolor, gouache, colored pencil, digital.
© Jiatong Liu

2

1

2
STUDENT WORK
1 (series)
Tianshu Wu, illustrator
Lisk Feng, instructor
School of Visual Arts (New York, NY), school
“This project is a collection of memories from my life in New York City.
I wanted to document moments that are important to me as illustrations.”
8 × 10, digital, mixed media.
© Tianshu Wu
2 (series)
Douglas Bell, illustrator
C.F. Payne, instructor
Hartford Art School, University of Hartford (West Hartford, CT), school
“The assignment was to create a poster promoting a US national park.
My subject was Arches National Park in Utah.” 12 × 16, digital.
© Douglas Bell

1

STUDENT WORK
1 (series)
Sang Lam, illustrator
Octavio Perez, instructor
Ringling College of Art and
Design (Sarasota, FL), school
“Studying abroad, away from
home, made me appreciate
the small things I often over-
look, so I illustrated this series
about Vietnam.” 21 × 9, digital.
© Sang Lam

1
FRESH In discussing one of their favorite projects, the leaders behind

Quito, Ecuador–based design firm Pánico point to comments made
PÁNICO
by the client. “[Madrid-based design and animation studio Holke79]
defined our proposal as ‘punk meets Bauhaus,’” say founder and
creative director Marcelo Calderón, producer Made García, and
project manager Paulina Jarrín. “We loved this phrase because it
summed up how we showcased the client through the mix of
trends that represented Spain.” Arguably, all of Pánico’s work sits at
the convergence of many trends. Viewers might see brutalism;
ornamentalism; methodical, grid-based design; or experimental
chaos throughout Pánico’s portfolio, but the studio’s incorporation
of these varied influences never equates to visual noise. Its designs
reflect its passion for simple, direct and powerful communication.
“Our goal for each project is to have all the elements that make up
the brand language in tune with each other,” say Calderón, García
and Jarrín. “We always seek to show the truth without frills,
believing that our bond with consumers becomes stronger when
we avoid an oversaturation of information.”
wearepanico.com
2
4 5
1. “Identity for Holke79, a motion graphic design studio based in Madrid, Spain. ‘Punk meets Bauhaus’ is how founder Borja Holke defined the new image
we developed for him.” Borja Holke, Holke79, client. 2. “Identity for Passion for Sugar, a dessert and coffee shop based in Quito. We wanted to convey
a playful tone that represents the joy that a bit of sugar can give.” Michele Clavijo, Passion for Sugar, client. 3. “Packaging and identity for Malasaña,
a 100 percent–pure specialty coffee brand of the best quality.” Gonzalo Benalcázar, photographer; Stephanie Cano, Malasaña, client. 4. “Website for the
design and construction studio of architect Luis André Hernández.” Luis André Hernández, client. 5. “Poster for Public Analog, a high-end and classic
recording equipment store located in Nashville, Tennessee.” Valeria Torres/Zurdo Visuales, designers; Mac Moody, client.

1
FRESH Whether in her expressive subjects, atmospheric settings or

unexpected details, an imaginative quality pervades Bologna,
VICTORIA Italy–based artist Victoria Semykina’s illustrations. So it doesn’t

come as a surprise when she divulges one of the sources of
SEMYKINA inspiration behind her practice: “In my dreams, I like to visit an old,
abandoned library in the forest, full of strange but mesmerizing
illustrated books,” she says. “I often take some of them with me in
hopes they won’t disappear when I wake up. The only way I can
add these amazing books to my bookshelf is to draw them myself.”
With an approach to creation that ignores boundaries, Semykina
works on everything from paintings to paper sculptures, having
earned a BFA in painting and an MFA in murals from the Surikov
Art Institute in Moscow and an MFA in printmaking from the
Accademia di Belle Arti di Bologna. “When I was in art school, I had
extremely strict teachers,” Semykina recalls. “I was terrified of
making mistakes or breaking the rules. My philosophy [now] is to
follow my gut and not be afraid of making mistakes. It’s tough, but
I work on it with every small step I take.”
semykina.com

2 3
4 5
1. “For children’s book François Truffaut: Il Bambino Che Amava Il Cinema, about the famous film director’s childhood and creative path.” Valentina Mai, art
director; Luca Tortolini, writer; Kite Edizioni, client. 2. Personal work. “During the COVID-19 pandemic lockdown, I began a challenge for artists worldwide to
watch one director’s movies for a week, interpret any scene of a film in their own style and ask their followers to guess what film it was. This is my drawing
inspired by David Lynch’s Blue Velvet.” 3. “Backgammon. For Baku magazine.” Irina Sokolova, art director; Baku, client. 4. Personal work. “Inspired by Billy
Wilder’s film Some Like It Hot. Made for my Film Sketch Club challenge.” 5. “Unsuccessful Fishing. For Baku magazine.” Irina Sokolova, art director; Baku, client.

1
FRESH For River Forest, Illinois–based photographer Dan Larocca, focusing

his lens on cars is about capturing much more than just the car.
DAN LAROCCA “I like to shoot [everything] revolving around the automotive world:
pride of ownership, the patina of the mechanic’s garage and the
detailed precision of the craftsmen who restore vintage vehicles,”
he says. “I’m hired by automotive restoration businesses or racing
clients, but I’ve also been photographing more individuals who just
want some memories of themselves with their rides.” Previously
a creative director at Leo Burnett, Larocca found himself bringing
a camera to the photo shoots he would oversee, knowing that
“if I was shooting too, [the photographers] knew they’d better get
the best shot,” he says. “I … learned from the best on how to
© Joseph Puhy capture candid imagery using available light and a dose of good
luck.” That on-set education has helped him define his current
practice, for which he balances the control of a creative director
with the spontaneity of a photographer. “I use natural light,”
Larocca says, “so most of my images are exterior shots [captured]
on location at the beginning or end of the day, or within industrial
spaces that allow for plenty of illumination.”
secretweaponphoto.com

2 3
All projects were art directed by Dan Larocca. 1. “From a series of images for HYCO Motors, a startup automotive restoration and concierge company.” Jeffery
Cappel, project director; Robert Roque, producer; Naqaash Mohammed, consultant; HYCO Motors, client. 2. “Business owner Randal Birkey, a master craftsman
who rebuilds and modifies classic Bonneville motorcycles to perfection.” Randal Birkey, project director; Dwight Nelson, producer; Triumph Bonneville, client.
3. “An artistic expression from Slab City. Part of my Nomad series, depicting the graphic beauty of the American West landscape.” 4. “Documenting the wild
spectacle of speed, danger and the unique individuals at the World of Speed event held at the Bonneville Salt Flats.” Larry Campbell, producer; Utah Salt Flats
Racing Association, client. 5. “From Men and Machines, my ongoing series personalizing the stories of owners and their rides, or of the craftsmen who rebuild
vintage vehicles.” Teresa Hunt, producer.

INSIGHTS
Oriel Davis-Lyons
Disrupting the industry
As a chef, Oriel Davis-Lyons used to help create meals with his hands.
However, after feeling the pressure of the food industry, he threw
caution to the wind and enrolled in a twelve-week portfolio course,
realizing that he loved creating with words instead. After honing his
skills at agencies including Droga5 and R/GA, and crafting inventive
work for clients such as Amnesty International and Samsung, Davis-
Lyons reconnected with his love of music at Spotify, where he’s
currently a creative director. Wanting to solve the barriers of US
portfolio schools in order to help more Black creatives get their foot
in the door, he recently created the ONE School, a free sixteen-week
online portfolio program supported by The One Club. He hopes that
the program will pave the way for talent that the ad industry has
overlooked. —Michelle Yee
You published a LinkedIn post in 2020 talking about talented, passionate Black creatives in the industry. Black people
the financial barriers of US portfolio schools. don’t have an “old boys” club, so we have to build something new.
What are some ways that ad schools can help Since the school draws a lot of people, it creates a network that can
solve this issue? Ad schools should think about the support students after they graduate.
barriers that prevent Black students and students The main challenge has been time. I get a lot of support from The One
of color from even applying. They can often be the Club, but the day-to-day running of the school, creating the curriculum,
cost of the programs themselves, but it can also teaching the classes, and finding tutors and lecturers is all on me. On
be factors like who is teaching the course. If you’re top of that, I get dozens of emails a week from people who want to
a young Black creative looking at an expensive school with talk or help out, so most days I’m working twelve-plus hours just to
an all-White faculty, mustering the strength to apply and the will to get to it all. But because the work is so rewarding, it always energizes
stay—if you do get in—is a challenge that most White students and me. I wouldn’t change a thing.
teachers don’t comprehend.
How did you get started in the advertising industry? I used to be
What inspired you to create ONE School, a free sixteen-week online a chef, but I was miserable and hated working while all my friends
portfolio program for Black creatives? The ad industry prides itself on were out enjoying life. So I went back to college to study journalism.
disruption, yet the way most people start their careers in the industry At some point, I took a course in advertising and realized that I was
is the most traditional thing I’ve ever seen: with expensive schools and more interested in doing something creative with my words. I later
family connections. I’m disrupting the idea that good education costs found an evening portfolio course that ran for twelve weeks and put
a lot of money and takes a long time. If we can prove that it doesn’t, a portfolio together. Eventually, that got me a placement at a small
then we can open the door for talent that the industry has overlooked indie agency, and my college tutor told me not to bother with my
for a long time. third year of college. From then on, I just worked my ass off.
What have been the opportunities and challenges of running ONE How has your experience as a chef informed your ad work? Once
School? The opportunity has been to connect with some of the most you’ve worked in a restaurant kitchen full of angry men with knives

cooking 300 meals on the night of Valentine’s Day, not much else was expecting a 30-second spot, but we showed her a 90-second
stresses you out. My experience also taught me to use every minute spot instead. For about 60 seconds, she sat stone-faced until one of
of my time wisely. You get good at multitasking. the funniest scenes came on; she burst out laughing and ended up
Why did you decide to take up the role of creative director at watching the rest of the spot in tears. We compromised on a 60-second
Spotify? It was literally my dream job. Music is my first love, and I’ve spot, and it eventually became New Zealand’s favorite ad of the year.
spent years building playlists on Spotify that I’m very proud of. But Pretty risky, but it paid off.
I also loved the work its creative department was doing, so I told myself What trends in advertising are you most interested in? I’m
that if I ever got the chance to join, I would do it without hesitation. interested to see whether a year of working from home will bring out
What are the biggest differences between working in agencies the best or the worst of the industry. Who’s going to use this time
versus working in-house? In an agency, you present, the work goes as an opportunity to rethink all of the inefficient and inhumane ways
off into a black hole for a week and then you get an email back with we used to work? Who’s going to try to keep things as they were,
a list of changes. You then have to spend another two weeks decipher- but from home? I think the big places might struggle to adapt, but the
ing the email before presenting all over again. Working in-house, smaller, more diverse places that can call up talent from anywhere in
I feel much closer to that decision-making process. Many of the conver- the world will be a lot more prepared.
sations that would have been big, scary presentations now happen What skills do young creatives need to succeed in advertising
in Slack or on Zoom. Things are resolved much faster. today? You will need thick skin. Ninety percent of your job is being told
What was your riskiest professional decision? One time, we were that your ideas aren’t right, so you have to learn to take criticism
shooting a spot for New Zealand supermarket chain New World. seriously, not personally. I’d also tell young creatives to spend time
After the director called it a wrap, the client thanked everyone and thinking not just about the work they want to make, but how. Great
went home. But once she was out of the car park, we turned the work is not great work if you’ve had to sacrifice your health, social
cameras back on and shot another hour of footage. We had a secret life and family time to do it. Don’t let anyone try and convince you
list of shots that we knew we’d never get permission for beforehand. otherwise. I wish I’d learned that message earlier in my career; I hope
A few days later, when the client arrived to watch the first edit, she young creatives will get there sooner than I did. ca

The Art of
Illusion
By Florian Heine
Illustration Research Illusionistic art
Methods can make us
By Rachel Gannon and Mireille Fauchon feel like we’re
224 pages, softcover, $34.95 looking up at
Published by Bloomsbury Visual Arts
bloomsbury.com the heavens or
standing at
Adventurous illustration educators and
the edge of a waterfall—even if we’re
illustrators in career doldrums will find
Illustration Research Methods energizing. Vitally, actually observing a flat painting. From
it provides a contemporary approach to the Michelangelo’s immersive Sistine Chapel to
understanding and teaching of illustration Ron Mueck’s hyperrealistic sculptures, The
that is, as the authors say, at a critical point Art of Illusion shows how artists have used
of change. A companion to the emerging area a variety of media to create deceptive
of nontraditional “expanded practice,” Illustration Research Methods pictures performance, optical effects. The book features more than
video and installation alongside comics and editorial illustration, and upholds social
100 different artworks from the Renaissance
engagement as just as important as the look of the art.
to the twenty-first century. Though the
The book is visually appealing and easy to navigate, with five chapters (Authorship, Reporting, book provides readers with fascinating
Crafting, Activism, Education) bookended by mini essays (Illustration Research, Illustration insights on illusionistic art, author Florian
Futures). An appendix of practical tools and skills, such as how to chair meetings, get informed
Heine neglected to explore digital art or
consent and conduct interviews, follows.
virtual reality, which are, perhaps, the most
The Crafting chapter is not a how-to guide, but is about the nature of material and immaterial illusionistic forms of art in existence. 192
engagements across two, three and four dimensions. The Reporting and Activism chapters
pages, hardcover, $40, Prestel. —Isis Davis-Marks
include the ethics and protocols of working with marginalized communities. The Education
chapter informs community-based practice, professional teaching and practice-based
research. Commercial applicability is not the point of the book, but the authors suggest Manhua
industry will benefit from new forms, and from illustrators employed as consultants and Modernity
social collaborators. Chinese Culture and
the Pictorial Turn
Up till now, illustrators in higher education have had no research methods to call their own.
By John A. Crespi
Illustration Research Methods signals the field’s new maturity, visibility and agency in academia.
It will surely become a text- Early in Manhua
book in many undergraduate Modernity, author
and graduate illustration John A. Crespi
programs. Graphic designers notes his intentional
and contemporary artists
usage of the word manhua over its relevant
will also find it relevant.
English terms comics or cartoons. Crespi
—Dr. Jaleen Grove
hopes to move manhua from beyond the
confines of these genres, and back into the
pages of huabao, or pictorial magazines, in
which it flourished. By tracing manhua within
the context of the political and cultural
changes rapidly unfolding in China during the
1920s to the 1950s, Crespi shows how it both
reflected and informed readers’ experiences
of life in modern urban communities. Manhua
Modernity is a thoughtful reminder of the rich
role of pictures and popular art in the modern
media ecology. 236 pages, softcover, $34.95,
University of California Press. —Esther Oh

The Art of NASA Pamela Lee, Robert McCall and James Wyeth, among others, intro-
duced a variety of styles and approaches that brought a human and
The Illustrations That artistic aspect to technical illustrations. Unfortunately, many
Sold the Missions of the thousands of original hardware drawings and color paintings
By Piers Bizony have long been lost. Citizen space archivists were helpful to the
192 pages, hardcover, $50 author, Piers Bizony, in assembling the works shown in this book. It’s
Published by Motorbooks
disappointing that the agency itself has not conserved its own
quartoknows.com
history better, but The Art of NASA is an excellent start. —Anne Telford
“Space, the final frontier. …
To boldly go where no man has
gone before.” “That’s one
small step for a man, one giant leap for mankind.” Whether in real
life, science fiction novels, television or film, space exploration has
had a hold on the imagination of Americans since its beginnings. The
Art of NASA offers a historical overview of NASA’s incredible achieve-
ments by capturing the bold, colorful illustrations that brought to
life the complex scientific marvels that took humans to the moon
and back. The quality and intricacy of the illustrations grew with
the technological advances of the space missions, helping to sell
the enormous investment necessary to propel America forward in
the space race. While the Soviet space program was shrouded in
mystery, the American public thrilled to every detail of their country’s
burgeoning space program through these compelling images. In
a more trusting era, NASA invited selected artists to tour its facilities,
and the resulting works by Paul Calle, Lamar Dodd, Mitchell Jamieson,
Enchanted demonstrate the different ways that artists can represent fictional
characters, and colorful photo spreads make you want to keep turning
A History of Fantasy the pages. One caveat is that the book primarily seems to focus on art
Illustration from America and Europe, and it would have been nice to read about
Edited by Jesse Kowalski the development of fantasy illustration in Africa and Asia. Nonetheless,
256 pages, hardcover, $45
Published by Abbeville Press Enchanted is a mesmerizing book, and its spellbinding illustrations
abbeville.com will captivate fantasy art enthusiasts. —I.D-M.
Enchanted: A History of Fantasy
Illustration chronicles the
history of fantasy art from the
Renaissance to the present.
The tome is replete with more
than 180 colorful depictions
of fairies, angels and other creatures, which bring vibrant stories to life.
Enchanted was published to correspond with an exhibition at the
Norman Rockwell Museum and provides a useful background for the
works featured in the book. Curator Jesse Kowalski explains the origins
of fantasy illustration and its connections to religion, placing examples
like Albrecht Dürer’s The Last Judgement and Utagawa Kuniyoshi’s
Recovering the Stolen Jewel from the Palace of the Dragon King alongside
the text. The book is in chronological order, so later chapters show
how fantasy illustrations have evolved into the present day—the reader
can see drawings of modern epics like Star Wars, Game of Thrones,
World of Warcraft and many others. Kowalski even highlights how
technology has impacted fantasy illustration, pointing out that most
of the younger artists featured in the museum exhibition had worked
for the video game industry. He pulls from a plethora of examples to

INDEX TO ILLUSTRATORS
a Alins, Sonia 76
[email protected]
soniaalins.com
Represented by Kate Larksworthy Artist
c
Càmia, Mirko 127
[email protected]
mirkocamia.com
Gong, Shirley 98
[email protected]
behance.net/xunigong
l
Ladd, London 155
[email protected]
londonladd.com
Represented by Painted Words
Representation Cao, Nan 115 Gonzalez, David 164 [email protected]
[email protected] [email protected] painted-words.com
[email protected]
nancaoart.com elnino.studio
larkworthy.com
Represented by Lemonade Illustration Lam, Sang 177
h
Altena, Xaviera 78 Agency [email protected]
[email protected] [email protected] sanglam.com
xavieraaltena.com lemonadeillustration.com Hajek, Olaf 91
[email protected] Leech, Aaron 164
b
Carrilho, André 112, 119 olafhajek.com [email protected]
[email protected] aaronleech.com
Balbusso, Anna 75, 91, 120 andrecarrilho.com Hale, Christy 101
[email protected] [email protected] Li, Han 148
Chan, Kayden 171 [email protected]
balbusso.com christyhale.com
[email protected]
Represented by Shannon Associates LLC Li, Hannah 159
klaiis.com Herrera, Xoana 128, 136
[email protected] [email protected]
shannonassociates.com [email protected]
Chen, Yichin 152 hannahliart.com
[email protected] Represented by Agent Pekka
Balbusso, Elena 75, 91, 120 Represented by The Bright Agency
fineredsilk.com [email protected]
agentpekka.com
balbusso.com thebrightagency.com
Chitara, Jagdish 81
j
Represented by Shannon Associates LLC [email protected] Liao, Chieh-Chih 167
shannonassociates.com Chitrakar, Sanuyar 81 Jackson, Alexander 124
[email protected] Represented by Phosphor Art Ltd joeyliao.com
Bauer, Adrian 124 [email protected] Liao, Lia 171
[email protected] Chitrakar, Susama 81 phosphorart.com
adrianbauer.net
k
lialiaoland.com
Consoli, Fabio 156 Represented by SpaceCat Agency
Bejar, Dan 116
[email protected] Kelley, Gary 124 [email protected]
[email protected]
fabioconsoli.com garykelleystudio.com spacecatart.com
bejarprints.com
Cristiano, Arianna 146 Represented by Richard Solomon Likitsuwankool, Natee 72
Bell, Douglas 175 Artists Rep
illo.tv
dougbell-drawing.com richardsolomon.com Liu, Jiatong 172
Curtis, David 94 [email protected]
Beltyukova, Anastasia 142 Kifner, Monet 146
[email protected] behance.net/LiuJiatong
david-curtis.com
tribambuka.co.uk monetalyssa.com Lo Re, Enzo 142
d
[email protected]
Bernabeu, Juan 112 Kim, Hokyoung 108, 116, 123 enzolore.net
[email protected] Dearwater, Andy 152 [email protected]
juanbernabeu.com [email protected] hokyoungkim.com Lutz, Brian 156
Represented by Salzman International dearwaterillustration.com Represented by Richard Solomon [email protected]
[email protected] Artists Rep lutzillo.com
salzmanart.com Dion, Nathalie 102
m
[email protected]
[email protected]
Bertman, Louisa 145 richardsolomon.com
Represented by Anna Goodson Illustration
[email protected] [email protected] Mello, Eugenia 148
Kim, Jaime 163
louisabertman.com agoodson.com [email protected]
[email protected]
eugeniamello.com
Bickford-Smith, Coralie 82 DuBois, Gérard 107, 119, 152 jaimekim.com
[email protected] [email protected] Monkc, Miguel 75
Kinsella, Edward 105
cb-smith.com gdubois.com [email protected]
[email protected]
monkc.com
f
Blaza, Christian Ray 156 edwardkinsellaillustration.com
Represented by Anna Goodson Illustration
Kitazawa, Tsutomu 159
christianblaza.com Fogolin, Dimitri 151 agoodson.com
Blow, Paul 97 dimitrifogolin.it artstation.com/kita_tom Montaner, Miguel 152
Folì, Gianluca 132 Kleinhouse, Pierre 75
paulblow.com miguelmontaner.com
Bongiorni, Francesco 97 gianlucafoli.com pierre-kleinhouse.com Mornet, Pierre 111
Freeman, Owen 115 Konkol, Ben 151, 155
francescobongiorni.com pierremornet.com
n
owenfreeman.com [email protected]
Borge, Richard 78 Represented by Heflinreps benkonkol.com
[email protected] [email protected] Na, Il Sung 92
richardborge.com heflinreps.com Kozicka, Paulina 138
g
Bransfield, Dan 160 tofu.pl ilsungna.com
[email protected] Nelson, Kadir 107, 112, 119, 120, 136
Gash, Chris 119 Krause, Jon 112, 115
Buriya, Shanta 81 [email protected] [email protected] [email protected]
[email protected] chrisgash.com jonkrause.com kadirnelson.com
Buti, Sofia 146 Gastaldi, Giovanni 76 Kurtz, Rory 72 Nguyen, Tran 81, 124
[email protected] [email protected] [email protected] [email protected]
illo.tv giovannigastaldi.com rorykurtz.com mynameistran.com

Noronha, Simone 155 Pulido, Sonia 135, 156 Sprague, Calvin 78 Viana, Goncalo 85, 89
[email protected] [email protected] Represented by Closer&Closer [email protected]
simonenoronha.com soniapulido.com [email protected] goncaloviana.com
Represented by Marlena Agency closerandcloser.co Represented by Levy Creative Management
Norton, Frank 72 [email protected]
[email protected] [email protected] Stancikaitė, Aistė 164 levycreative.com
frank-norton.com marlenaagency.com [email protected]
Voll Mathiassen, Magnus 78
r
stancikaite.com
Núñez, Jhonny 141 [email protected]
[email protected] Stephanos, Dale 115 themvm.com
jhonnystudio.com Raish, Jason 123 [email protected]
[email protected] dalesillustration.com Vyam, Durgabai 81
o
jasonraish.com [email protected]
Strada, Nicola 78
w
O’Brien, Tim 115 Ramos, Fatinha 94, 116 [email protected]
[email protected] [email protected] conquistadors.nyc
obrienillustration.com Wares, Myriam 141
fatinha.com [email protected]
Sun, Jialei 164
p
Reddy, Sanjeev Ranga 81 [email protected] myriamwares.com
[email protected] jialeisun.website
Webber, Alexandra 107
Page, Dan 131
t
ogilvy.com [email protected]
[email protected] dnaillustrations.com
danpage.net Ross, Keith 146 Represented by IllustrationX
Takemasa, Ryo 131
Represented by Rapp Art [email protected] [email protected]
[email protected]
[email protected] tinyconcert.nyc ryotakemasa.com illustrationx.com
rappart.com
s
Tamaki, Lauren 94 Whyte, Joe 155
Pan, Peixin Jimmy 164 [email protected] [email protected]
[email protected] Saikiran, D. 81 laurentamaki.com joewhyte.com.au
jimmypanart.com [email protected]
u
Wu, Tianshu 175
Parra, John 98 Sales, Kaleena 152 [email protected]
[email protected] Ucini, Andrea 75 tianshuarts.com
[email protected]
johnparraart.com kaleenasales.design [email protected] Wyckens, Manddy 145
andreaucini.com [email protected]
Pautz, Eric 142 Salvati, Jim 119 Represented by Anna Goodson Illustration
[email protected] manddywyckens.com
x
giantant.ca agoodson.com
salvatidesign.com
Pickard, Brad 68 Ulriksen, Mark 160
Sánchez, Adara 78 Xian, Huixin 168
[email protected] [email protected] [email protected]
bradpickard.net [email protected]
markulriksen.com estellaxian.com
adarasanchez.es
y
Pinabel, Laurent 105 Urias, Raul 78
[email protected] Seliger, Isabel 116 rauluriasart.com
pinabel.com [email protected] Represented by Closer&Closer Yeh, Freya 172
isabelseliger.com [email protected] [email protected]
Plunkert, David 68, 81 closerandcloser.co freyayeh.com
[email protected] Shih, Jhao-Yu 151
v z
davidplunkert.com [email protected]
Polak, Maciek 68 Shimizu, Yuko 86, 138 Varkalaitė, Laimutė 71 Zheng, Ran 123
[email protected] [email protected] [email protected] [email protected]
maciekpolak.com yukoart.com behance.net/laimutevarkalaite ranzhengart.com
INDEX TO INDIVIDUALS AND FIRMS

a
Adobe 141
Affleck, Mercedes 145
Akima 146
Alarcón, Mauricio 78
Anand, Aditi 142
Bertman, Louisa 145
Betts, Reginald Dwayne 145
Bichler, Gail 108
Bickford-Smith, Coralie 82
c
Calì, Davide 94
Cardoso, Hugo 89
Carlsen Verlag 124
Carvalho, Adélia 89
Code 7 Pictures 78
Colette, John 172
Conquistadors 78
Consoni, Filipe 145
Costume 3 Pièces 152
Bloomsbury Publishing 105 Castaño, Elena 135
Anthony, Reynold Nalin 81 Bompiani 97 Catbird 145 Cubitt, David 146
Aota, Takahisa 131 Bongiorni, Francesco 97 Catch&Release 75 Cupples, Aaron 142
Araujo, Andre 145 Bordes, Dominique 97 Cathmoir, Gord 72 Curtis, David 94
Armario, David 119 Richard Borge Studio 78 Chan, Genice 142 Curtis, Matt 108
d
ArtCenter College of Design 164, 167 Bouchard, Brigitte 107 Chelvanathan, Anthony 72
Artechouse 138 Bradley, Rebecca 171 Chenier, Jason 119
b
Brand New School 145 Chetranda, Appanna 72 Dabral, Sonal 81
Breeding, Greg 124 Cheung, Esther 142 Daknys, Povilas 71
BANG Music + Audio Post 145 Brennan Center for Justice 145 Chou, Sitji 142 Dearwater, Andy 152
Banton, Brian 136 British Film Institute 105 Christianity Today 123 Desnoue, Robin 145
Barnes, Justin 78 Brook, Devin 145 Chyliński, Adam 138 Dhamecha, Aryan 81
Barry, Aaron 141 Browne, Jennifer 92 Cibola, Marco 171 Di Franco, Nikki 145
Baurens, Hugo 142 Leo Burnett Toronto 72 Cinéma du Parc 75 Diário de Notícias 112
Bellefaire JCB 145 Leo Burnett Vietnam 72 Claudiovisual 75 Dorothy Circus Gallery 124
Beltyukova, Anastasia 142 Byrnes, Tyler 145 Closer & Closer 78 Dugdale, Louise 105
Benenson, Lisa 145 Clugston, Jim 128 Dupuis, Martin 75

INDEX TO INDIVIDUALS AND FIRMS
e
Éditions Les 400 Coups 105
Eertmoed, Kyle 75
The Embassy 132
Knoll, Kim 75
Kozicka, Paulina 138
Kumagai, Jillian 116
Pastukhova, Tatiana 138
Paul, Eric 115
Payne, C.F. 175
Stout, DJ 120
Studio AKA 145
t
Epson Italy 132 Kutschbach, Doris 91 Penguin Random House 81, 82, 86, 91
ESPN 115
l
Penguin Random House Canada 94
Tidsskriftet for Den norske legeforening 107
Everton, Matthew 145 Pentagram 120
TIME 115
f
Perez, Octavio 177
Labellascheggia 142 Tingcungco, Daniel 72
Lancaster, Jason 115 Pernod Ricard India 81
Tiny Concert 146
Latleta 142 Persico, Steve 72
Fang, Celina 112 Titmarsh, Sharon 145
Les Évadés 75 Piccolini, Fabrizio 132
Farrell, Stephen 168 Toews, Teresa 142
Gary Lichtenstein Editions 78 Pinabel, Laurent 105
Fast, Johannes 142 Tokyo Medical and Dental Cooperative 131
Likitsuwankool, Natee 72 Pine, D.W. 115
Fat Possum Records 146 Towers, Michael 145
Lim, Jeremy 72 Plaskow, Ross 145
Feely, Audrey 120 Treat, Jason 107
Lin, Hsiao-Chin 172 Plunkert, David 68
Feng, Lisk 175 Tuckett, Simon 72
Lin, Szu-Yu 172 Police, Louis 167
u
Fernandes, Pedro 112
Linn, Laurent 98 Polidoro, Massimo 97
Finkelstein, Sarina 119
Livraria Lello 89 Polverini, Gina 78
FIT Black Student Illustrators Awards 123
Lo Re, Enzo 142 Neal Porter Books 92, 101 UCSF Magazine 120
Floyd, Kevin 145
Lorentzen, Hilde 107 Postle, Paul 172 UNICEF Polska 138
Font, Christian 115
Lunic, Laurentiu 146 Prestel Publishing 91 United States Postal Service 124
Forsyth, Paul 145
ProPublica 116 University of California, San Francisco 120
g m
Proskurovskiy, Vladimir 152 University of Hartford 175
Puig, Carles 78 University of Pennsylvania Press 81
Gagnon, Louis 107 MacArthur, Johnna 145
Pulido, Sonia 135 University of the Arts London, Camberwell
Garcia, Paolo 72 MacLean, Diego 142
G. P. Putnam’s Sons 86 College of Arts 171
Giant Ant 142 MacLeod, Gillian 116
Putnam, Mitch 72 UVA Lawyer 112
Mana Urban Arts Project 78
Goh, Abigail 145
r v
Alberto Marchetti 76
Gordon, Sarah 123
The Marshall Project 112
Grandin, Jay 142
Martz, John 94 Rajadhyaksha, Harshad 81 Vītoliņš, Paul 145
Greenberg, Lisa 72
Maryland Institute College of Art 164, 171 Rajapreyar, Chandu 72 Valesini, Fabio 142
Greenwillow Books 91
Maurya, Vikas 81 Rao, Uday 81 Versus 78
Grey Canada 68
Mayani, Rafael 142 Raphael, Jossy 81 Vidinhas, Cátia 89
Groundwood Books 102
McDonald’s 72 Rea, Brian 164 Vo, Nghi 72
Guiard, Gabi 78
McLeod, Dennis 119 Renjan, Sajeev Manikoth 81 Vosper, Lisa 145
Gulati, Anuja 81 McNeill, Ryan 68
w
Rigley, Ryan 145
h
Meineri, Elisa 76 Ringling College of Art and Design 177
Mello, Eugenia 148 Rivera, Andres 145
Metropolitan Transportation Authority 78 Wadhawan, Pooja 141
Hale, Christy 101 Roan, Chris 78
Meyers, Robert 78 Waldman, Michael 145
Handler, Talia 146 Roberto, Jackie 78
Harper’s Bazaar Germany 111 Migration Museum 142 Wallace, Alden 145
Robinson, Mark 94
HarperCollins 91 Mills, Brendan 145 Wang, Rui 171
Robitaille, Daniel 107
Hart, Brigitte 142 Mohanty, Ojasvi 81 The Washington Post 116
Rogers, Paul 164, 167
Hart, Elizabeth 116 Mohindra, Kartik 81 The Washington Post Magazine 115
Rolling Stone 112
Hartford Art School 175 Moleskine 76 Washingtonian 115
Rosen, Michael 142
Harwood, Matthew 145 Mondo 72 Wealthfront 141
Ross, Keith 146
Hernando, Pablo 78 Moniz, Madalena 85 Weathers, Erica 119
s
Hervey, Ben 105 Monsieur Toussaint Louverture 97 Wei, Jelly 145
HMH Books 94 Montaner, Miguel 152 Wellington, Dandy 123
Mouly, Françoise 119, 120 Salvation Army 68 Whelan, Conor 142
Hogan, Victoria 172
Mrak, Michael 116 Sancal 135 White, Jason 138
Holiday House 92, 101
Sanford, Brian 78
n
Horne, Rebecca 123 Wilmington Trust 131
Sansregret, May 105 Witcombe, Ryan 145
Hubbard, John 81
Savage, Eileen 86 Wong, Patricia 128
Hugo & Marie 78 Nathyal, Tanvi 81 Savannah College of Art and Design 172 Wood, Mary 112
Hunan Juvenile & Children’s Publishing National Geographic 107 SavingSpot 71 Wright, J. C. 142
House 159 Nayak, Sukesh 81 School of the Art Institute of Chicago 168
x
Hunt Botting, Eileen 81 NeoMam Studios 71 School of Visual Arts 175
Hutchinson, Joseph 112 Netflix 68 Science Fiction World 98
i
Neto, Manuel 145 Scientific American 116 X 146
New Statesman 119
y
Seçkin, Emrah 111
illo 146 The New York Times Magazine 108 Sharda, Ritu 81
Illustopia 94 The New Yorker 119, 120 Sheridan College 171
Nike 128, 136 Yao, Jia 98
Imagine Nation 68 Sherman, Whitney 164 Yeh, Freya 172
ImagineFX 115 Frank Norton Studio 72 Shetty, Prasad 81
Notabilia 107 Yes& 146
Impey, Alison 81 Shih, Jhao-Yu 151 YouTooCanWoo 146
Instagram 75 Notarangelo, Ilenia 146 Shukla, Shashwat 81
Notaro, Jonathan 145 Yu, Ambrose 142
IQOS Poland 68 Silva, Inês 94 Yung, Cecilia 86
o
Ishikyo Mate 131 Silva, Rui 85
z
Simon & Schuster 98
j O, The Oprah Magazine 116 Singh, Harmeet 81

Observation Pizza 72 Singh, Ishwindar 81 Zakris, Paul 91
The JKBN Group, LLC 136 Zeff, Joe 131
Ogilvy 81 Sinha, Ashwani 81
John, Judy 72 Joe Zeff Design 131
Oliveira, Carla 85 Sippin, Catherine 78
Jones, Brian 145
Omega Yeast 75 Smith, Emmet 107
Journey Group 124
Ommundson, Ben 142 Solomon, Michael 102
k
Opsahl, Tim 141 Soto, Gerald Mark 145
Orfeu Negro 85 Spectrum 123
Karmakar, Kainaz 81 Oswalt, Patton 68 Spur Design 68
Kaul, Sheehij 81 Our State 119 Srivastava, Nitin 81 Editor’s Note
Kefford, Nikki 145 Srivastava, Padmaja 81 Every effort has been made to ensure that
p
Kereselidze, Sandro 138 Stanford Medicine 119 the credits comply with information supplied
Kim, Anthony 145 Stauvermann, Jörg 124 to us. If, for any reason, a misspelling,
Kim, Riki 138 Palmer, Greg 172 Stephanos, Dale 115 omission or other error has occurred, notify
Kingston University London 172 Paprika 107 Stoddart, Jim 82 us within 30 days and we will be able to
Knoed 75 Parents.com 119 Stone, David G. 146 issue corrected award certificates.

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COMMUNICATION ARTS ILLUSTRATION ANNUAL 62

Anita Fontaine Samantha Casolari

MADDALENA CARRAI • theispot.com/mcarrai PATRICK WELSH • theispot.com/pwelsh

illustration portfolios + premium stock collections

DEPARTMENTS Ernie Schenck

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6 Illustration Annual 2021

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featuring Salzman International Illustration

D espite, or maybe because of, the social, political and

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GLORIA PIZZILLI NOK SANGDEE WHITNEY

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The Question of Courage

O ne of my neighbors is a doctor. He has spent almost every

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When Someone Offers You

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Destination Marketing in the Time of COVID

O pposing forces. On one side of the big game board of life:

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W hen it comes to artificial intelligence (AI) and advertising,

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BRAIVE guides brands from efficiency Heat AI predicts the future

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Fonts and the Law

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portfolio represented by Salzman International

Captions supplied by Champions Design.

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30 Illustration Annual 2021

right bodies in the right place. We turned on a dime from being

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This page: “In 2018, the Atlantic published a special

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E scapism often gets a bad rap. You think of avoidance,

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“Brands sometimes don’t know what they want, so we’d create

Right: “Snail” 3:08

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the final product doesn’t deliver, or the buzz just

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Escapism is not only essential for our survival, but

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