We had 5,588 illustration entries this year, presenting a wide variety of visual approaches from which the jurors chose 208 for inclusion.
“I was impressed by the entries’ diversity in style and technique,” said juror Stephen Zhang. “There are signs that illustrators are influenced by more diverse cultures and subcultures, notably youth underground, Asian, hip-hop, etc.” Juror Vivienne Flesher added, “There were some new illustrators doing fresh work that was all their own, as well as some established illustrators doing their best work.”
“In the examples I saw where advertisements utilized illustration, the added values seem so obvious,” said juror Kiera Alderette. “Their brands and messages stood out because they choose not to buy into the dumbing down of the viewer/ consumer by serving up recycled imagery that is safe and unremarkable. This experience only encourages me to work harder to find ways in which to commission more artists’ work to provide my clients’ brands with an edge—something original and ownable only by them.”
“One doesn’t do good work by copying, but by finding your own style.” —Vivienne Flesher
When asked about the future of the profession, several jurors suggested that illustrators take a more entrepreneurial role. “Illustration isn’t getting the respect it deserves from the design community at the moment,” said juror Nick Jehlen. “But its strengths can be used to sell directly to the public through T-shirts, Web sites and other products, as well as smaller presses and ‘zines.”
“One of my favorite magazines is Giant Robot, which is chock-full of artists who are either successful or in the process of becoming so,” said juror Paul Buckley. “Whether it be putting their imagery on clothing, housewares or creating dolls such as Gary Baseman has, these artists are working with various manufacturers to put out their own products. Many of them also sell original work via online and traditional galleries.”
This year’s jurying began on Sunday morning, April 3rd. 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.
“Illustration will continue to be a vital part of visual communication. Conceptually, it can convey ideas much more powerfully than other media.” —Stephen Zhang
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 or projected digital files 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. Slides and digital files 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 or as digital files 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 46th Annual Exhibition. —Patrick Coyne ca
associate creative director/art director
Kiera Alderette is an associate creative director/art director with Mullen, an ad agency in Pittsburgh, Pennsylvania. Born into a family of artists and exposed to illustration at an early age, she loved to draw and paint and attended the University of Pittsburgh as well as the Art Institute of Pittsburgh. At Mullen, Alderette is responsible for creative concepts and art direction for a range of clients, from Pennsylvania Tourism, Point Park University and Highmark Blue Cross Blue Shield to PPG Industries and Pennsylvania Economic Development. Kiera took her first step in advertising through the doors of Ketchum where she worked for seven years. Her Point Park Playhouse work has been recognized in Communication A¬¬¬rts, Print and the Society of Illustrators.
vice president executive art director
Penguin Group (USA)
Paul Buckley is a vice president executive art director of New York-based Penguin Group (USA). Attending on an illustration scholar-ship, Paul received a BA from School of Visual Arts. He now focuses solely on design ¬¬and has been designing and art directing at Penguin since 1989. He oversees an in-house staff of 11 full-time employees, 5 trade imprints and roughly 600 covers and jackets per year. His work, and that of his staff, takes frequent awards and can be seen in many articles and annuals. Raised in the suburbs of Philadelphia, Buckley also professionally breeds rare and exotic boas and pythons. He currently resides in Brooklyn with his pub-lishing art director wife Ingsu, their dog Sam and a few nervous neighbors.
Vivienne Flesher is an illustrator based in San Francisco, California. Flesher has produced work for clients as diverse as the New Yorker, Rolling Stone, Starbucks, KQED-TV and Shiseido. She has illustrated three children’s books, and will be publishing a fourth that she has written and photographed. Several of her posters can be found in the Permanent Col-lection of the Library of Congress and recently she illustrated the 2005 Love Stamp for the United States Postal Service. Vivienne grew up on Long Island and attended Parsons School of Design in Manhattan. Besides her commercial work, Ms. Flesher frequently creates for private collectors and has shown work throughout Europe, Asia and the U.S.
Nick Jehlen, an art director, designer and writer from Somerville, Massachusetts, has been the art director at the Progressive magazine in Madison, Wisconsin, since 1999. Prior to that, he was the art director at Boston Review and an interactive designer at WGBH in Boston. Since 1992, Nick has worked for a wide variety of political and nonprofit groups. Clients include WGBH Boston, Action for Community and Environment, Corey McPherson & Nash and South End Press. His work has been recognized by Communication Arts, How and Print, as well as the Society of Publication Designers.
Vice president, image director
Stephen Zhang is a vice president, image director of Fossil in Richardson, Texas. On one hand, he is responsible to strategize the brand evolution and to maintain its cohesive-ness. On the other hand, he leads the Fossil Image Department with over 30 designers. A native Chinese and the son of an artist father, Stephen got his BFA in China and MFA in communication design from University of North Texas. He taught design at Luxun Academy of Fine Arts in China before moving to the United States. After his daughters go to bed and before his last drop of energy drains, Stephen man-ages to work on his paintings. His articles and work have appeared in books and magazines in the U.S., Japan and China.