Editor’s Column

We had 5,784 entries to this year’s Illustration Annual, a drop of about 3% from last year’s competition. While not a significant decline, several judges voiced concern about the state of illustration.

Go to Jurors Biographies

“While there was a lot of wonderful work to consider, I fear that the reduced number of entries signals how badly the illustration field is hurting,” said juror Sara Schneider. Juror Jon Cannell added, “The large amount of work submitted in the unpublished category was a bit unsettling. The trend emphasized the current state of illustration. I think illustrators are going to have to be more creative in the way they market themselves.”

When asked about the direction illustration is currently taking, juror Janet Michaud commented, “Right now I think it’s literal rather than interpretive. That seems to be the climate. As the economy gets better, I hope people will take more chances.”

“There is some very nice work being done, floating in a sea of mediocrity.” —John Rush

“I think there is a lot of searching for new direction, and unfortunately, a lot of it is in the direction of computers,” said juror Terry McCaffrey. “I would hope that good, solid, hand illustration will continue to be appreciated and commissioned.” Schneider concurred, “I’d hate to say that it’s all going digital, but I do think that tighter deadlines and budgets are driving illustrators in that direction. And, there are some that do a stellar job with it. Their style is dependent on the computer and thrives on it. That does not mean that I wish to see hand-rendered art suffer however. My preference is to see three viable options: hand-rendered images, digital art and a skillful marriage of both.”

I also asked the jurors about potential profit centers that illustrators might explore. Juror and illustrator John Rush offered, “A former illustrator friend of mine now turns his paintings into prints (on his own $8,000 Epson printer). He sells this work through a network of galleries in the upper Midwest, and increasingly on the Internet. This vertically-integrated business is now his new profession.” Schneider added, “The obvious place to go is product development and merchandise: T-shirts, bags, wrapping paper, etc. I was recently in Paris and saw the greatest line of lunch bags, crayon boxes, portfolios and umbrellas… each piece was different, but created by the same illustrator.”

This year’s jurying began on Sunday morning, April 4th. We worked in two large conference halls, each equipped with a projector for slide entries and six rows of tables for tear sheets and proofs.

“It’s very encouraging to see so much illustration being produced in this day and age when illustration is struggling.” —Terry McCaffrey

The jurors worked in two groups of three with Jean Coyne acting as the sixth judge during the screening. All but the smallest categories had been divided so each team screened half of the entries submitted. The judges alternated between viewing a carousel of slides and then a set-up of print entries. Any juror could place an illustration in the finals by handing a printed piece to a member of the CA crew. Slide entries were screened by checking the “in” or “out” column on prepared scoring sheets.

The final voting took place on Monday with all five jurors working together. Print entries were again spread out on the tables. Two paper cups, one white for “in,” the other red for “out,” with slots cut in the bottom, were placed upside down to the right of the pieces. The jurors voted by putting a different colored tile into the bottom of the appropriate cup. The different colored tiles allowed us to make sure that every entry was voted on by every judge. Finalists submitted on slides were again voted on by each juror checking “in” or “out” on scoring sheets. A simple majority was required for acceptance.

Judges were not permitted to vote on projects they were directly involved in. When a judge’s piece was in the finals, either Jean or I would cast the fifth vote.

I would like to thank each of the judges for their conscientious efforts in selecting our 45th Annual Exhibition. —Patrick Coyne ca

Jurors Biographies

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Jon Cannell

Owner

Jon Cannell Design & Illustration

Jon Cannell is owner of Jon Cannell Design & Illustration based in North Bend, Washington. Prior to opening his own business, he worked as a senior designer for three years in the Starbucks Creative Group in Seattle, Washington. Preceding Starbucks, he worked at The Leonhardt Group for five years. He studied illustration, graphic design and packaging at the Art Center College of Design in Pasadena, California. Jon’s illustration work is represented by Lilla Rogers Studio.

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Terry McCaffrey

Manager of stamp development of the United States Postal Service

USPS

Terry McCaffrey is manager of stamp development of the United States Postal Service in Washington, DC. McCaffrey attended the Corcoran School of Art, majoring in graphic design. In 1970, he joined the Postal Service as a designer in the Communications Department’s art department. In 1990, Terry joined the Stamp Services office, as a member of the stamp design team, and also assumed responsibility for design of all philatelic products. In 1992, he was made creative director for the Stamp Design group, and in 2000, he was appointed manager of the Stamp Development group. Responsibilities include overseeing the Citizens’ Stamp Advisory Committee, stamp subject and design development, rights of publicity, philatelic products, the USA Philatelic catalog and the Philatelic Archives.

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Janet Michaud

Associate art director

Time Magazine

Janet Michaud has been an associate art director at Time magazine since 2001. Prior to joining Time, Michaud worked for the Boston Globe, where she was hired as their first sports art director, responsible for designing the daily sports cover as well as special projects. After three years, she became the special projects art director, directing and designing in-depth series, special news sections and photo packages. Before the Boston Globe, Janet worked for the Asbury Park Press, New Jersey, as a news designer, and at the Utica Observer-Dispatch, New York, as a graphic artist and a designer. Janet graduated from Syracuse University’s S.I. Newhouse School of Journalism with a degree in magazine journalism, a minor in music and anthropology, and a concentration in graphic arts.

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John Rush

Illustrator

John Rush Illustration

John Rush is a painter, illustrator and printmaker based in Evanston, Illinois. Born in Indianapolis, Indiana, Rush graduated from Art Center College of Design with an illustration degree. His work has appeared in many major graphic arts publications, as well as the Society of Illustrators Annuals and American Illustration Annuals. John’s work has been exhibited at the Hong Kong Art Expositions, French Bicentennial Expo, throughout the United States in various galleries and in the Society of Illustrators traveling show. In addition, his work is included in the permanent collections of the U.S. Department of the Interior, the French National Government, United States Steel, British Petroleum, Zurich-American Insurance and in many private collections.

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Sara Schneider

Design director

Chronicle Book’s Adult Trade division

Sara Schneider is the design director for Chronicle Book’s Adult Trade division in San Francisco, California. She designs and art directs books on everything from movie posters to religion, cookbooks to anthologies and artist monographs to music. Previously, Sara was a designer for Morla Design, where she worked on projects for the San Francisco International Airport, Levi’s and the Massachusetts College of Art. She studied design at California College of Arts and Crafts.

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