original art studios catalog

62 Original Art Studios www.OriginalArtStudios.com

Caption copyfor images on this page and possibly the opposite page

ART IST NAME

This spread Illustrated by RICHARD WEISS.For more on Richard and his style, see page 58.

Original Art Studios 63800-000-0000

ART IST NAME



ART IST NAME

INDEX OF ART ISTS

PAUL ANDERSON 2

RUTh bOTzENhARDT 6

TODD DAvIDSON 10

ROb FRANkLE 14

LAEL hENDERSON 18

IgOR kOPELNITSky 22

ScOTT MENchIN 26

jOSE ORTEgA 30

DAvID RIDLEy 34

IvAN LEE SANFORD 38

PEDRO ScASSA 42

DORIANO SOLINAS 46

kARI vAN TINE 50

PAUL vISMARA 54

RIchARD wEISS 58

FARIDA zAMAN 62

This spread Illustrated by PAUL VISMARA.For more on Paul and his style, see page 54.



ART IST NAME

This spread Illustrated by SCOTT MENCHIN.For more on Scott and his style, see page 26.

Original Art Studios 63

ART IST NAME


ORIgINAl ART STudIOS1140 Broadway, 4th Floor, New York, NY 10001

212 849 2920www.images.com/originalartstudios

CEO KENNETH FadNEr Ken@ fadner.com

President, COO Paul arbOr [email protected]

CIO JEFF lOECHNEr jeff@ images.com

Artist KIM aCHaM Representatives 212-849-2912 [email protected]

JulIa SaNdErS 212-849-2936 [email protected]

Artist Relations laura daly 212-849-2905 [email protected]

Creative direction, design and cover art by Jonathan McEwan. Printed by R.R. Donnelley & Sons Company.


This portfolio is © by Images.com, Inc. All rights reserved. The content of Original Art Studios is copyrighted and may not be reproduced in any manner without prior written consent of the publisher. Original Art Studios, In the Service of Art and Images.com are registered Trademarks or Service Marks of Images.com. Permission to scan, photocopy or in any way reproduce images from this catalog must be licensed by Images.com or its authorized affiliates. Unauthorized use of these images or any copyright infringement will entitle Images.com to exercise all rights and remedies available to it under copyright laws around the world.

This spread Illustrated by IGOR KOPELNITSKY.For more on Igor and his style, see page 22.


IN THE SERVICE OF ARTImages.com is proud to introduce Original Art Studios, a hand-picked collection of artists ready to create the perfect image when you need a commissioned illustration.

Illustration has a unique ability to tell a story or build a brand identity. Art that is created and tailored to your specific needs resonates with your customer — it communicates im-mediately and with lasting effect.

For over 15 years, Images.com has been representing il-lustrators whose iconic work has helped our clients stand apart from the crowd. Now, with Original Art Studios, we have assembled a cadre of artists who have collectively worked with some of the most prestigious companies and publica-tions in the world. Their talents are proven. They are a joy to work with. We hope that you will think of them as your own artists-in-residence.

Talk with us at the onset of a project. From multi-platform advertising campaigns to internal communications, we have just the illustrator for you.

Please visit our Web site for more information and inspiration:

www.images.com/originalartstudios

Let us show you how to harness the timeless and universal power of illustration.

2 Original Art Studios www.images.com/originalartstudios

PAUL ANDERSON

212-849-2920 Original Art Studios 3

Paul earned his BFA at the School of Visual Arts in New York and also continued to study painting with John Phillip Osbourne at The Ridgewood Art Institute in New Jersey.

He has been working as a freelance illustrator since 1991 and has handled a wide variety of projects for a diverse group of clients, publish-ers and agencies.

His work has been included in numerous national and regional juried competitions and shows.

What do you regard as the highest point of creative fulfillment?When the illustration and other parts of a project compliment one another and shed new light rather than simply repeat one another. What is your favorite music to listen to while working?I enjoy a wide range of music while working, but mostly Pat Metheny Group, Allan Holdsworth, Andy Summers and Miles Davis. I prefer instrumental music rather than songs. Other than Illustration, what was your other favorite job?During my high school and college years I worked for a company that designed, built and installed pipe organs. It was very gratifying to hear those magnificent instruments blasting their unique sound down the nave of a church after months of hard work and planning. Or better yet, to be standing inside the organ chamber while someone is ripping through Bach’s “Passacaglia.”

What natural gift would you like to possess?Alas, I can’t play a lick ... that is a natural gift I would like to possess.

Paul’s work is devoid of digital assistance. His brush and palette mix with ideas to create work at once esthetically pleasing and communi-cative. Paul puts a spin on the target concept, suggesting a straight shot does not always find its mark [above]. An image (opposite) for First Person Magazine was excerpted on the cover — only the tree appeared there — with the entire image printed inside to complete the idea of people working toward a common goal.

Action Group AICPACampbell-Ewald Consumer ReportsCorbett Advertising Coris Duke University Medical CenterForbesGCG Holt, Rinehart & WinstonIBM

Intersystems Loudthought Ltd. MindscapeNY Life Insurance Co. The New York TimesOxford University Press The Saturday Evening PostSterling Bank Symantec UBS Securities

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Paul conveys the power education has over success in this cover image (top left) for the American Compensation Association’s Management Seminar catalog. One in a series for a story on First Amendment issues for the University of Vir-ginia Alumni Magazine (top right). Cooperation (bottom) takes workers to new heights.

PAUL ANDERSON


PAUL ANDERSON

Paul populates his worlds with “little people,” either simple observers or often heroic participants. Cover image for Genomics and Proteomics Magazine (top left), for lead story “Stem Cell Divide.” Paul mused about “what goes around comes around” (top right) by incorporating a dreamscape of a circle, day into night, one person inside and one outside. The globe in the ocean (bottom right) was created in response to the current financial upheaval. The world as a hot air balloon (bottom left) was done for the cover of Supply Chain Magazine Review, to show a promising future.



RUTH BOTZENHARDT


As a young child Ruth loved to spend hours painting and draw-ing. She created her own imaginary world with dream houses, magic for-ests and funny characters. Later she filled her school books and diaries with sketches. She went on to study visual communications and illustra-tion in Berlin and Augsburg. Today she lives and works as a freelance illustrator and designer in Munich.

Her distinctive style has attracted many clients including advertisers and consumer magazines, and her work has also appeared on many book covers.

What do you regard as the highest point of creative fulfillment?When I immerse myself in my work without thinking, just doing.

What was your most creative assignment? An Illustration for a big swimming pool wall, I was totally free and had so much fun (above).

What was your most difficult assignment?To illustrate an annual report because the issues were abstract.But I love the results ... (see next two pages)

What is your favorite music to listen to while working?Silence.

Ruth works in three distinct styles, all of which feature her talent for capturing character and humor in a few deft strokes. Her line-art renderings are a perfect match for these book covers. A German gift book (above) published by Pendo, whose title translates “Your Little Angel Helper.” “Fit for Cooking,” (below) published by Knesbeck. Stylized illustrations like this mural for a swimming pool (far left) and the clean graphic

“Trio” (opposite) exhibit her ability to

capture both motion and mood with simplicity.

ArthausBavaria FilmBeta FilmCampus VerlagElternGEOlinoHerder Verlag Jolielfb LandesförderbankPattloch Verlag Pendo VerlagPiper Verlag

Random HouseRiva VerlagRowohlt VerlagSiemens AGWort & Bild Verlag

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Three images in Ruth’s clean graphic style (above, left to right) show how easily she conveys mood and recognizable features: Geisha; Hilary Clinton; a book cover for My Friend the Photographer by Pal Zavada, published by Luchterhand. Four images (bottom left to right across spread) show her stylized illustration style: Food love, from a series of menu illustrations; Landesförderbank annual report “Holdings;” same report, “Environment;” finally, a logo illustration for a regular column called “Crossing Borders” in a customer title published by Siemens.

RUTH BOTZENHARDT


RUTH BOTZENHARDT

Ruth’s warm line-art renderings capture animals and people with equal finesse. A book cover published by Campus (above): Between Stilettos and Babybibs: Surviving Motherhood with Style.


TODD DAVIDSON


Todd Davidson’s industry experience is multi-faceted. He has been a graphic designer, art director/buyer, fine artist, illustrator and photographer. He understands the client, the most efficient processes and the most creative possibilities.

He has devoted his life to image-making, creating work of broad the-matic scope and evolving stylistic invention. His work ranges from simple, spontaneous line work, to photographic metaphors, to subtle evocations in oil paint, reflecting a curiosity of the natural world through to contem-porary urban complexity.

What do you regard as the highest point of creative fulfillment?Looking back on previous work that now seems mysterious and powerful.

What was your most creative assignment? Hope and anticipation suggest it is still to come ... still a twinkle in an art director’s eye somewhere.

Through what creative process do you get your best ideas?Become vague and allow imagination to do the heavy lifting.

What is your favorite music to listen to while working?Passing distant traffic with birdsong above.

Which artist’s compliment would mean the most to you? James Endicott who was one of the purest, visually skillful illustrators ever.

What natural gift would you most like to possess?Courage.

If you had to live in a world with just one color, which color would it be?Ultraviolet.

What is your favorite typeface?AmericAn typewriter light condensed in cApitAls.

What is your favorite time period?1920-40.

There is a fire. You can only save one thing from your studio. What will it be?The ocean view.

Todd’s mastery of various styles gives him the ability to match the best creative solution to a communications challenge, as seen in this cover for Time Australia (above), and in this simple but quickly understood solution for the cover of Michelle Anderson Publishing’s Healing With Words (left). The office scene (opposite) also uses shapes and colors to convey the relationships between business and the usage/passage of time.

The AgeANZ BankBayer PharmaceuticalsBusiness Review WeeklyClemenger BBDOFamily Physician MagazineFairfax Publishing CompanyLongman PublishingMcGraw-HillNational Mutual InsuranceQantas AirwaysTime Australia

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Management Today Magazine published a case study of a company with a diverse workforce that achieved harmony (top). A story on management strategies for IT companies from Qantas The Australian Way magazine (bottom left). Todd’s use of color and line (bottom right), are both equally important in conveying the divergent moods of any subject.

TODD DAVIDSON


TODD DAVIDSON

Samples of Todd’s cut-collage style (across top), from a series of ads in an international antiviral medication campaign for Bayer. Also integral to the message are the colors: green for the medicines’ positive effects and blue, Bayer’s corporate logo color. He uses his digital montage style (bottom right), to tackle intrusive DNA identification. “THINK” (bottom left), uses colors and words to express how ideas shape the world, while interlocking of hands (middle left) convey unity.

14 Original Art Studios

ROB FRANKLEwww.images.com/originalartstudios


Rob Frankle is an artist who uses watercolor and acrylic on paper to create illustrations for editorial, advertising, publishing and corporate clients. His work communicates ideas with expressive color and striking compositions, creating a visceral connection with audi-ences. Pushing the line between fine art and conceptual illustration, Rob is always looking for the great idea in every assignment and the most interesting way to visualize its essence.

Rob’s illustrations have been featured in many leading publications and books, as well as in corporate and marketing communications worldwide.

What was your most creative assignment? Having great difficulty painting a large dynamic sweep of expressive color for an assignment, I pulled out a three-foot Chinese calligraphy brush I had hanging on my wall, and in Chinese style, tried standing over the painting swinging the paint-loaded brush like a madman. Better than therapy — and after some practice, not a bad painting technique.

What is your favorite assignment anecdote? After spending several days working on an assignment for a “family-oriented” publication, I submitted the final painting which had a predominantly purple color tone. The editor was aghast at my use of the color purple: “Don’t you know that purple means sex?” So I now try to incorporate purple in all my paintings.

Where do you get your best ideas from? Plenty of good espresso.

Other than working as an illustrator, what would be your favorite job? Graphic designer.

What natural gift would you most like to possess? Photographic memory.

If you had to live in a world with just one color, which would it be? Purple.

What is your favorite typeface? Garamond.

“A Nation of Liars?” (above), an article published by Vanderbilt University. Cover illustration (opposite) for the publication “Discover Your Future” for Northwestern University.

CaterpillarCitigroupHarvard Business ReviewHewlett PackardMIT Vanderbilt University

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MMC’s CEO Jeffrey W. Greenberg’s first-person account of 9/11 (above left) and how he handled the needs of his employees during and after, published in The Harvard Business Review. Rob can cut to the heart of any idea, be it choice (top right), time (bottom left) or dreams and self-realization (bottom right).

ROB FRANKLE



ROB FRANKLE

Rob adds a unique point of view to the familiar.Secrets and censorship (top) bring discomfort and turmoil. Balance is achieved (bottom left)by listening to both male and female (or left brain/right brain) sides. The need for security (bottom middle) when facing an uncertain future. Paper, tree and earth are joined in perpetual cycle (bottom right).

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LAEL HENDERSON



When Lael Henderson entered college, he planned on becoming a graphic designer. After he completed several design assignments using his own drawings and very little type, his teachers suggested he transfer to the illustration department. Lael thinks this was some of the best advice he was ever given.

In 1993, Lael graduated with a BFA in illustration and began working with a publishing company as a book cover illustrator. After a few years and more than 100 covers, he left the small publisher and started freelancing full-time.

Lael loves working with art directors, and says there is nothing better than a new assignment.

What do you regard as the highest point of creative fulfillment? I have to admit, I really love getting a call or email from an art director after I have delivered a final piece of artwork. When they call and let me know that everyone liked what I created — that can be such a great feeling.

What was your most creative assignment? When I first started freelancing, I got the chance to illustrate a brochure for Kemper Funds. It was a large job for me at the time. I was working with a very talented designer and she let me sketch whatever I thought would work as I read through the manuscript. Then she designed around my pencil sketches and used almost all of my drawings.

What is your favorite music to listen to while working?I’m kind of old school when it comes to music. I like classic rock, and a lot of the music from my high school era (which was the ’80s).

What is your favorite time period? I guess if we are talking illustration I’d have to say 1910-1930. I like almost all the illustrators of that time period.

If you had to live in a world with just one color, what would it be? I think I’d get tired of a world with just one color … very quickly!

There is a fire. You can only save one item. What would that item be? I did a drawing of my wife soon after we married. I was working late on a school assignment and she fell asleep on the couch. I drew a pencil sketch of her as she slept. It was just luck that I used some good art paper, because it turned out pretty well. I’d grab that one picture for sure.

Lael‘s work cuts to the heart of many issues. This image (below) was commissioned by Optometric Management for an article about improving patient and business management. A business man (opposite) adjusts his salary requirements in this riff on the nation’s recent economic woes.

Abbott LaboratoriesABcomm, Inc.A.G. EdwardsBoston Business JournalCannon CommunicationsComputer Shopper MagazineConsumer Reports Magazine

Dow JonesGolf World MagazineKemper FundsLACMA PhysicianNew York Law JournalUniversity of PhoenixWelchol

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Lael is quite skilled at presenting the business world, when it functions properly (top and bottom middle) and when it doesn’t (bottom right). He is also adept at communicating health issues, as seen in this image for Abbott Laboratories addressing the subject of bipolar disorder (bottom left).

LAEL HENDERSON



LAEL HENDERSON

An image created as part of a campaign for a sleeping aid by Nature’s Sunshine (top left), city denizens enjoy a day at the rink (top middle). Some things thought dead can sprout anew (top right). You really should watch your back in Lael’s business world (bottom).

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IGOR KOPELNITSKY

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Igor was born in 1946 in Kiev, Ukraine, and spent his formative years with his parents at Chernovitz. His interest in cartoons was ignited at an early age when, in 1953, he saw a book of cartoons by East German cartoonist Erich Schmitt and fell in love with his “Schwester Monika” (Sister Monika). It was at this point that Igor began drawing his own cartoons.

Igor graduated from Novosibirsk University in 1970 and began working as a radio engineer, but all his free time was taken up drawing cartoons and participating in international cartoon contests.

In 1979, he was awarded a prize from Gabrovo, Bulgaria and his work was published in “Nebelspalter” Switzerland. From that moment on, Igor has been a very successful freelance artist.

Igor has gone on to win numerous awards including the 1981 Biennale Internazionale dell’Umorismo, Tolentino, Italy; the Mostra Internazionale Del Disegno Umoristico Sportivo, Ancona award (Italy) in 1975, 1987 and 1985; and an honorable mention in the Yomiuri International Cartoon Contest (Japan) in 1983 and 1986.

What was your most difficult assignment? I do not remember assignments as difficult. My memories are only of the final, happy outcome.

Where/through what creative process do you get your best ideas?When I am under a tight deadline.

What is your favorite music to listen to while working?Music from the ‘50s.

What is your favorite time period?Spring.

Igor’s work weds his love of cartoons with his musings about the perplexities of the human condition. His work is succinct, but speaks volumes. He has a refreshing interpretation of familiar concepts, such as the image he did for a Newsday op-ed piece about making your own light (opposite) and the evolution-in- supermarkets graphic he created for Le Monde.(below).

Blue Horizon Development Software, Inc.Courrier International Magazine Heding & Knudtzen ApSIngegneria Informatica S.P.A. ItalyKino Design, LondonLuoghinoncomuni

The NationThe New York TimesThe New York Times Review of Books The ProgressiveSan Diego ReaderStax Inc. The Wall Street JournalThe Washington PostY&R Australia

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Igor applies his wry wit to all manner of subjects [clockwise from top left]: No-men take heart in this article illustration for Boardroom Magazine; Igor makes a more serious point for NIE Magazine’s article on “The Lie of War;” for Leo Burnett, Igor shows the “coolness” of the color red; evil signs was the subject for another NIE Magazine illustration.

IGOR KOPELNITSKY


IGOR KOPELNITSKY

Experience influences attitude (top). Igor found a way to visualize Rothschild Design’s “Let your funny side show” campaign (bottom left). Engineering Magazine (bottom right), used Igor’s lighter side to show the ups in the downs in business.


SCOTT MENCHIN



Scott Menchin was born, lives and works in New York City. He studied at the Arts Students League and The Pratt Institute and, prior to becoming a designer, worked several years as a magazine art direc-tor, most notably with How Magazine and Seven Days. During this time, his work appeared in The Society of Publication Designers. Scott later expanded his creative pursuits by becoming an illustrator whose work has found a place in American Illustration, Print magazine and the Society of Illustrators.

Scott is also an accomplished illustrator of children’s books, most notably the 1999 award-winner, Man Gave Names To All The Animals, with text by Bob Dylan. He has illustrated a series of children’s books (Wiggle, Bounce and Stretch) for best-selling author Doreen Cronin. His first authored/illustrated children’s book, Taking a Bath With the Dog and Other Things That Make Me Happy, was published in 2007, won the Christopher Award and was voted a “Best Book of the Year” by Bank Street College.

What was your most difficult assignment?Any assignment where I’m asked to visualize taxes.

What is your favorite assignment anecdote?I love the fact that I worked on Toyota’s first campaign for a hybrid car.

Through what creative process do you get your best ideas?When I first wake up I often have good ideas. They must have been brewing while I was asleep.

If you could have any work of art in your home, which would it be?A Van Gogh self-portrait. And please, may I have a security guard to go with that gift?

If you had to live in a world with just one color, what would it be?Blue.

Who is your favorite artist?Van Gogh.

What is your favorite time period?Now!

What is your favorite typeface?Futura .

Scott categorizes his work as left- or right-brained. The nature of the project determines whether Scott goes for a boisterous cartoon style or something more representational. These portraits rendered for Internazionale Magazine (bottom) and an illustration from Vibe Magazine (opposite) stand in stark contrast to the cover (above) for the Latin-American edition of Time.

BloombergThe Boston GlobeDr. PepperEsquireFast CompanyGQIntel NewsweekThe New York TimesRolling StoneSaveurSun MicrosytemsTime ToyotaThe Washington Post Wired

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This page is a romp through Scott’s uproarious comic style [clockwise from top left]: Scott’s Absolut bottle; distinctive characters created for Saveur and BusinessWeek; the cover for Bill Crawford’s book, published by Renaissance Books; a political cartoon for a cover of The Washington Post; a noisy sleeper for an article in Men’s Health.

SCOTT MENCHIN



SCOTT MENCHIN

Even when not working in his comic style, Scott continues to lend an entertaining aspect to his imagery. An illustration for New York Magazine (top) takes on the question “Does Size Matter?” Two images (bottom left and right)for The New York Times’ “Consumed” column.

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JOSE ORTEGAwww.images.com/originalartstudios


Born in Equador, Jose Ortega now splits his time between Toronto and New York.

His work has earned a great deal of recognition, including awards from the Society of Illustrators, American Illustration, Print, Communica-tion Arts and Graphis.

Jose has worked on many public art commissions, including a series of mosaic murals for the MTA’s NYC subway system. He has been com-missioned to design postage stamps for the USPS as well as for Correos Del Ecuador.

Jose’s talents go far beyond his art. He is also co-founder of LuLa Lounge, a Toronto-based performance venue for musicians, poets and dancers.

What do you regard as the highest point of creative fulfillment? Working on a project that takes on a life of its own beyond yourself, the as-signment and the moment.

What was your most creative assignment? Designing the murals for the MTA. It was completely free and either they accepted as they were or not at all; there was no back-and-forth or changes.

What is your favorite assignment anecdote? I did a t-shirt design for Amnesty International, and years later met someone randomly who had seen it and made a quilt from it. I love that images can become a part of people’s lives and we never know it.

Through what creative process do you get your best ideas? I love improvising, playing with shapes and lines, and watching how slowly something concrete comes out. Sometimes when I’m stuck I work back-wards, not with a literal idea, but just abstract shapes. A composition can suggest the answer to a problem.

What natural gift would you most like to possess? Music.

If you had to live in a world with just one color, what would it be? Mango.

What is your favorite typeface?

Impact.

Jose’s own indefatigable spirit imbues an inner life to all his work. His is a world where diversity and inclusiveness reign. “Love Knot” (opposite), one of Jose’s stamps for USPS. Welcome to “Planet Reebok” (above), Reebok’s colorful and entertaining consumer Web site.

AbsolutAmnesty InternationalApple ComputersBloomingdale’sMTAMTV

Sony MusicUnited States Postal Service

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Jose’s distinctive style has been employed by a variety of clients including Reebok (top left), Levi’s (top right), The Manhattan Transit Authority (bottom right) and Philip Morris (bottom left).

JOSE ORTEGA



JOSE ORTEGA

[Top left to right]: Urban League; Absolut matched Jose’s colorful style with the vibrant taste of Citron; image from Women’s Health.An illustration created for Philip Morris shopping bag [bottom].

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DAVID R IDLEY



David Ridley began his career as an illustrator for magazines in the U.S. in the early 1980s. During the ’90s he added advertising and corporate conceptual work to his expertise. His ability to combine a strong visual concept with careful craftsmanship has stood the test of time regardless of the nature of the assignment.

In this digital world of instant imagery, David’s illustration stands out and captures people’s attention for the benefit of either a product or service. Although David employs Photoshop and other digital media, his favorites remain pencil, ink and paper. Combining these traditional media with newer digital ones, he avoids what he calls the “sanitized” look of purely computer-generated imagery.

The most inspiring part of illustration for David is working with clients to develop visual conceptual solutions. The creative process of developing sketches is just as important as executing the final art and, more often than not, produces visual byproducts the client can use for other applications.

What was your most creative assignment? The Adaptive ARC Plasma Reactor project had been my most rewarding and challenging project. This is a revolutionary waste-to-energy company whose innovative Cool Plasma Gasification™ changes the way that waste is man-aged and energy is created. The challenge was to explain to the public this new technology and its process in a way that was informative with no “ick” factor. Beyond the communications challenge, the client needed a constant stream of images on a timely basis. This situation caused me to veer from my established technique and use Photoshop. I became a one-man advertis-ing agency for this client and enjoyed every minute of it. The end result was an extensive image portfolio the client can use for all types of applications. While I made use of Photoshop, the work was not devoid of my hand. I created a method of adding texture to the images. This hybrid style retains my essence as an artist, but filters it through the time-saving Photoshop program.

What was your most difficult assignment?There is no such thing as a difficult assignment.

Other than working as an illustrator, what job would you like to have?Treasure hunter.

What natural gift would you most like to possess?To be a talented writer.

What is your favorite time period?The present.

The images on these pages show David’s core style and his singular take on self-awareness, healthcare and wealth.

American Bar Association American Diabetes AssociationAmeritradeBoston GlobeGovernment of Norway IBM

McGraw-HillThe New York TimesOxford University PressThe Wall Street Journal

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Hand-drawn work (top). Two Web-based images (bottom left and right) from the collection David produced in Photoshop for Adaptive ARC. David’s scanning techniques added to the depth and intricacies of these works while capitalizing on the speed that Photoshop affords.

DAVID R IDLEY



DAVID R IDLEY

More examples of David’s core style and the images created in Photoshop for Adaptive ARC (hour glass, piggy bank and man with circles).

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IVAN LEE SANFORD


Ivan Sanford, a conceptual illustrator for over 20 years, has a body of work that includes hundreds of commissioned illustrations, and has media expertise ranging from acrylics and oils to digital graphics and animation software.

Ivan attended the School of Visual Arts in New York as an Illustration major, and while there, had his work selected for the Society of Illustra-tors and Master Eagle Gallery students shows.

Ivan’s illustrations have been used within a broad range of medical, business and other markets, all approached from his uniquely editorial – and sometimes humorous – point of view.

Over the course of his 20-plus-year career, Ivan has expanded his skills to include computer graphics and animation, creating work for television shows such as CBS News’ Coast to Coast, Discovery Channel’s Rosenberg File, Case Closed and A&E’s Biography, along with commercial and corporate animation work for Chase, Mobil, BMW, SunAmerica, Proventil, Raytel, Boehringer-Ingelheim and Health Learning Systems.

Furthermore, Ivan has served as Executive Producer on a diverse range of interactive projects including e-commerce Web site applications, touch-screen kiosks, video-on-demand applications, commercial DVDs, and streaming media video productions for Estee Lauder, Elizabeth Seton Museum, Hargray, Globix, Kenneth Jay Lane, People’s Choice Awards, Paulson & Co. and many others.

In 2006, Ivan had a one man show at Columbia University, displaying many of the works from his career.

Through what creative process do you get your best ideas? When creating an illustration, I first read over the content assiduously. Then I may focus on another task and let it bubble in my subconscious for a while. Sometimes good ideas for the image will later “rise” to the surface while walk-ing or talking. I try to have a pen and notebook with me for when this occurs. If I don’t have a pen and paper available, I will repeat the idea several times in my mind so as not to forget, similar to remembering a dream. In other cases I may need to push harder for a good idea. I often see a conceptual idea as similar to the structure of a sentence. In a conceptual image there are symbols (subjects) and actions (predicates). If need be, I will create a “subject-predicate” list to get a good concept, looking for clever ways to put them together.

What is your favorite assignment anecdote?I recall a few times, when a really good illustration idea popped up just prior to meeting with an art director or editor. In those instances, I took out my pen and paper and sketched it right then and there on the street.

Cover of the journal Research (above), which tackled the issue of “Infectious Causes of Dementia.” Ivan used a cubist metaphor to show the complexity of both the brain and the issue itself.For an article in Independent Living about the usefulness of hypnosis for treating a variety of issues (opposite), Ivan took a more intuitive and less concept-driven approach.

American DemographicsBusiness InternationalEconomist Intelligence UnitFinancial WorldFisons PharmaceuticalsHealthcare ForumInternational BusinessKnoll PharmaceuticalsLever BrothersManagement ReviewMedical Economics

Medical World NewsMcMahon GroupMerck and Co., Inc.Minnesota MedicineNew Jersey MonthlyNew PhysicianPfizerRisk ManagementRhode Island MonthlySchering PloughSlack PublicationsSmithKline Beecham

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[Clockwise from top left]: Minne-sota Medicine commentary about how the cost of health care restricts doctors;Healthcare Forum article on the ascendancy of primary care givers within the underlying structure of managed care programs; illustration for an article about malpractice insurance costs, McMahon Pub-lishing Group; a brilliant idea takes flight; DNA analysis.

IVAN LEE SANFORD


IVAN LEE SANFORD

Ivan’s images are equally compelling when dealing with work force (top), legal and financial (bottom right), or environmental issues (bottom left). He has an innate ability to make complicated stories accessible to the average reader.


PEDRO SCASSA

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Pedro Scassa was born in Rio de Janeiro. His first love was architecure, which he studied before moving to Italy. There, he developed a fascination with illustration and graphic design, publishing his first images in local Italian newspapers and magazines.

He also collaborated in the creation of various promotional campaigns for associations and institutions such as Legambiente, Ferrovie dello Stato, Hands Off Cain, Cgil and Union Latine. For the municipality of Rome he has illustrated the publication “Modernizing Roma,” the books The Zero-emission City and Saline and a poster for the traveling exhibition “Factory Rome.” For the newspaper Il Manifesto, he illustrated through-out 1997 the weekly “Windows,” a collection of short stories by Eduardo Galeano.

His illustrations have also been published in the Hands Off Cain magazine, and were nominated by the Art Directors Club of Milan in ’98.

Since 2005, he has collaborated with Voland, a Roman editor, creating a series of book covers. As a children’s books illustrator he published with Giunti (Mr. Centoporci, 1998), Orecchio Acerbo (Noialtri Street Chil-dren, 2002, The Invisible World, 2004), Editori Riuniti (Encyclopedia of Fable, 2002, Tales of the Forest, 2003] Lapis Editions (Peace Touch Earth, 2003, An Elephant is Not a Sweet, 2004, A Gift for Goumba, 2004), Città Aperta Editions (Frik la Formica, 2006) and Sinnos Editions (Cricket Nice Cricket, 2007).

In 2005, the book A Gift for Goumba (text by Elizabeth Jankovic) won the national prize for children’s literature, “Città di Bella,” and was selected as one of the “White Ravens” by the Internationale Jugend Library of Monaco.

What was your most creative assignment? I once collaborated with Hands off Cain, an international association against the death penalty. The articles were pretty tough and full of sadness, but I think I did some pictures full of wisdom.

What was your most difficult assignment? The same as above.

What is your favorite music?Jazz, bossa nova (hey, I’m Brazilian).

What is your favorite time period?I consider myself very fortunate to live here and now.

Examples of Pedro’s conceptual style, as well as the book cover for One Hundred Bottles on the Wall (left) one of many collaborations with the Roman editor, Voland.

AcliAvvenimentiConfindustriaFerrovie dello StatoFilcamsGambero RossoLegambienteLinea d’Ombra

Il ManifestoIl MessaggeroPlayboyLo StranieroLa RepubblicaUnion Latine

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In addition to work for publications and newspapers (top left and right and opposite page), Pedro is an accomplished portrait artist, specializing in both historical figures and the world of jazz musicians. For those of you who need assistance or confirmation (left to right), Abraham Lincoln, Franklin Roosevelt and his wife Eleanor.

PEDRO SCASSA


PEDRO SCASSA



DORIANO SOL INAS

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Doriano Solinas began his career as a political cartoonist in his native Italy. His work appeared regularly in some of Italy’s most influen-tial news and financial publications including Il Sole 24 Ore, Plus and Nòva.

Since then, his work has evolved into a dynamic, conceptual illustra-tion style that has made him an international success. Doriano’s distinc-tive characters make his work instantly recognizable. His portfolio is very diverse, covering topics ranging from education and lifestyle to econom-ics, business and technology.

Doriano’s illustrations have been featured in a variety of advertising projects and publications such as The Wall Street Journal, The Washington Post, Industry Week Magazine, Frankfurter Allgemeine Zeitung, Corriere della sera and La Repubblica.

Through what creative process do you get your best ideas?Reading books and walking alone in the country.

What natural gift would you most like to possess?I already got this. That’s enough.

If you had to live in a world with just one color, which color would it be?Green.

What is your favorite typeface? Bickham Script Pro Regular.

Doriano’s images demonstrate a sly sophistication, as in this cover for L’Impresa, which translates as “The Business of Success” (above) and in this series of images from a Web animation he created for The Brand Consultancy, a company that manages brands for a number of clients. The subject’s head changed repeatedly to represent the various brand types the company represented (below).

Corriere della SeraFrankfurter Allgemeine ZeitungIndustry Week MagazineNòva

PlusLa Repubblica The Wall Street Journal The Washington Post

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Doriano’s image for the Italian magazine Avenire for an article about Twitter (above).More examples of his succinct style and his ability to boil down situations to their essences (opposite).

DORIANO SOL INAS


DORIANO SOL INAS

Doriano puts a familiar face to the cultural experiences of the everyday man. The shopper (above left) can be seen as the sum of his purchases. The skier (above) was created for La Repubblica to show the portability of today’s media. The rush of daily life (opposite) proves a bit much for our hero in this illustration for weekly Il Sole 24 Ore.


KARI VAN T INE



Kari grew up in a log cabin in the middle of the Maine woods. At night, after all the farm chores were done, her father would read out loud from his library and she would draw. Thus, the experience of stories was, from the beginning, integrated into her visual world. She drew whatever she could imagine, often drawing to understand, drawing places and people from literature, from her family and from the world around her.

The mysterious and magical world of children’s literature often in-spires Kari’s illustrations, while her studio work reflects her years spent studying classical, ballroom and improvisational dance. Rich, vibrating pools of color hold and sculpt her figures. Translating (or extending) her internal experience, Kari creates images that explore sentience, intimacy and personal stories, unfolding in non-linear patterns and hovering on the edge of déjà vu. The feelings she evokes range from contented union to separation and dislocation.

Kari received her BFA in painting from the Portland School of Art in Maine, studied printmaking in Edinburgh, and received an MFA from the Pennsylvania Academy of the Fine Arts. She currently lives in Philadel-phia, where she has a beautiful sun-filled studio in an old train station.

What was your most creative assignment?A number of years ago, I was working on a children’s book project. The main characters were five children that the author had made into dolls. I took the dolls to locations and photographed them doing things and then worked from the photographs. I got a lot of response from the people in my town to the characters I was creating. It was a lot of fun and felt collaborative with the people who responded to the dolls and helped to make them come alive.

What is your favorite assignment anecdote?I came home one day to find my cat laying on my white bed cover with little red footprints everywhere. Thinking she had cut her paw, I soothingly took her in my arms only to find that her feet were covered in red paint. Trac-ing the red prints through the house to the studio, I found she had walked through my palette of alizarin crimson and all around the studio and across several pieces I was working on. Needless to say, “my cat ruined it” was the excuse of the day.

If you had to live in a world with just one color, what would it be?I would have to say green. It is a color I wouldn’t grow tired of while still not dictating my mood as strongly as would blue or red.

Who is your favorite illustrator? Antoine De Saint-Exupery (author of Le Petit Prince).

Kari’s work is evocative and full of subconscious overtones. She grinds her own pigments using fresh earth, tea, berry juice and pollen to create textures that dovetail with her subjects. Her work is well-suited to campaigns or articles dealing with mental health, self-awareness and spirituality, when a “mood-scape” is the most effective language. In “Witches Brew” (opposite), she creates a dark and mystical world in a swirl of paint. Kari can also be highly representational, as seen in the detail of these delicate flowers (above).

Alfred Hitchcock’s Mystery MagazineUniversity of North Carolina’s Carolina Alumni ReviewThe New York City BalletSpirituality and Health Magazine

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Kari’s parents live in Hawaii and her visits to this mystical landscape provide inspiration. For “Pele” (above) she combines the myth of Hawaiian folklore with an actual sighting of a volcano ready to erupt. “Cave Light” (top right) is not meant to be literal but symbolic of the power of fire and its ability to produce not only awe but comfort. “Climbing” (bottom right) deals with the complexities of being a woman, where climbing a tree is meant to convey the subject’s desire for freedom. “Cantadora” (bottom left) shows the power of storytellers and the source of their stories.

KARI VAN T INE



KARI VAN T INE

“Heart Strings” (top left and then clockwise) is a study of the power of love. “Losing Grace” and “Welcome” were commissioned by the University of North Carolina Alumni Review for a short story called “Losing Grace,” the winner of the magazine’s 2008 fiction contest. “Meeting in the Woods” was inspired by the magic of forests and imaginary friends.“Final Shoes” was another image for “Losing Grace.”

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PAUL V ISMARA



Paul Vismara graduated from Art Center College of Design (Pasadena, CA) in 1989 and has been solving visual problems for his clients ever since.

What do you regard as the highest point of creative fulfillment?I suppose it would be when a client tells me I can do whatever I want, I do just that, and then they hire me again and tell me, again, I can do whatever I want.

What was your most difficult assignment?See above.

Through what creative process do you get your best ideas?Lying on the floor with no sound.

Which artist’s compliment would mean the most to you?I appreciate any compliment.

Other than working as an illustrator, what would be your favorite job?Bartender at a multi-tap beer bar. I love beer and know tons about beer and brewing.

What natural gift would you most like to possess?The ability to fly.

If you had to live in a world with just one color, what would it be?Black; everybody looks good in black.

Who is your favorite artist?Charles Edenshaw.

Who is your favorite illustrator?N.C. Wyeth.

What is your favorite time period?Between 11 p.m. and 2 a.m., when it’s quiet and time dissolves.

Paul is a conceptual illustrator with a great interest in, and love of, patterns. “Avoiding Unnecessary Risk” (above), an image created for Epstein Becker, a law firm in Washington, D.C. The tiger (below), is also part of that series. Wise investing and spending strategies (opposite) were the topics of choice for lending advocacy conglomerate Unoski Design Group.

Anheuser-BuschErnst & YoungFidelity Investments Forbes MagazineMcGraw-HillNewsweek

Prentice HallPriceWaterhouse CooperReader’s DigestSimon & SchusterThomson LearningTIAA-CREFUnited States Postal ServiceU.S. News & World ReportThe Wall Street JournalXerox

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A textbook cover (top left) for Thompson Learning about C++, a general purpose programming language. Caution is advisable when texting or chatting online (top right) as you can see in this image for the Denver Art Director’s Club. Another image for Unoski Design Group (right center), “Staying the Course.” Thompson Learning text-book cover (bottom right) this time about “System Maintenance.”“Unraveling the bureaucratic strings” (below) for law firm Epstein Becker.

PAUL V ISMARA



PAUL V ISMARA

Subtle leadership takes less-subtle form for Columbia University (top left). Epstein Becker (top right) is a law firm that can “confront the hot air of Washington.” Large airlines (bottom right) try to re-envision themselves as smaller in this illustration for a story in The Wall Street Journal. Romance takes center stage (bottom left) in this image for one of a series of brochures for Imago Relationship Group. This one dealt with the hope of a bright future for reconciled couples.

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RICHARD WEISS

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Richard Weiss began his freelance career doing humorous illustrations mainly for children’s magazines, greeting cards and educa-tional publications. Soon his client list expanded to include news-papers as well as business and consumer newspapers. Richard is fascinated by modernism and the graphic styles of the early and mid-20th century. His work has been influenced by the look of 1920s travel posters, 1930s fash-ion illustration, and the airbrush look of the1940s and 1950s. The result of this influence is a witty, conceptual style that is versatile and distinctive.

Richard has had great success using his style to turn difficult subjects into simple, eye-catching visual metaphors.

If you could have any work of art in your home, which would it be?“The Milkmaid” by Vermeer. It would look great over my fax machine.

What natural gift would you most like to possess?I wouldn’t want anything where you had to carry a big piece of equipment around in a case like ventriloquism or playing the accordion. So I’m going to go with being able to fly.

Who is your favorite artist?Edward Hopper, which is, I know, like saying Catcher in the Rye is your favorite book, but who else do you think of when you pass a nearly empty restaurant?

There is a fire. You can only save one thing from your studio. What will it be?My Vermeer.

Playing with scale, texture and perspective, Richard takes classic style influences and translates them into a new contemporary voice. His distinctive style can also be used to create eye-catching posters such as the coffee posters (above) created for International Graphics.

AARPBackpackerBaltimore MagazineBantam Dell Publishing GroupBusiness PhiladelphiaChildren’s Better Health InstituteChildren’s Television WorkshopEco TravelerGibson Greeting CardsGirl’s LifeGoverningGuitar Player

Hallmark CardsHoughton Mifflin CompanyKid’s MoneyMad MagazineNewark Star-LedgerThe New PhysicianNickelodeon MagazineThe Oxford AmericanPhiladelphia MagazineScholasticTimeTLC Monthly

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RICHARD WEISS


RICHARD WEISS

Richard’s work has a unique balance of a vintage palate married with bold graphic sense for layout and design.

Richard adds a heroic aspect to all his figures. Corporate concepts dealing with business growth and finance take on the optimistic voice of innovation. Lifestyle situations are populated with characters that are stylish and personable.


FARIDA ZAMAN


Farida Zaman has a passion for art and design. Trained in fine art and illustration and now a seasoned freelance professional with more than 20 years’ experience, she displays a wide versatility of applica-tions in her style. She has been commissioned to create images for posters, book covers, children’s book illustrations, clothing, packaging and giftware. No matter the media, however, her style is unmistakable: lively, colorful, whimsical, executed with flair and drama — designs that always enhance and enliven.

Farida is well-traveled and cosmopolitan; she has a solid appreciation for the diverse cultures all around the globe. Her experiences influence her work and give her a profound world view.

That world view finds its origins in England, where Farida attended boarding school before going on to a foundation course at the Chelsea School of Art in London. She graduated with honors and at the top of her class from the Wimbledon School of Art. Her work has been exhib-ited at private shows and public galleries in New York City, New Jersey and Toronto. Her limited-edition prints were exhibited to wide acclaim and sold at the American Craft Museum in New York City. She is a member of the Society of Illustrators in New York, SCBWI (US-based Society for Children’s Book Writers and Illustrators) and CAPIC (Canadian Association of Photographers and Illustrators in Communication).

Farida is married and lives in Toronto with her family.

Other than working as an illustrator, what is your favorite job?Being a mom.

What natural gift would you most like to possess?Humility.

What is your favorite typeface?Papyrus.

Who is your favorite illustrator?Jane Ray.

What is your favorite time period?Morning.

A sunny color palette, sense of whimsy and a healthy world view inform Farida’s work. For the Latin Grammy awards (above), she conveyed a feeling of celebration, music and movement.

Bloomingdale’sBMG Music ServiceThe Body ShopDecca InternationalGenevaThe Globe and MailGrey AdvertisingInternational YMCALatin Grammy Awards

LoblawLondon UndergroundMary KayThe New York TimesNissanOPIUnited NationsThe Wall Street Journal

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Farida’s work has been used by marketers as diverse as Pier 1 (top left), which commissioned a series of images for a calendar, various licensing companies (top right, bottom left) and cosmetic companies, such as Mary Kay (bottom right).

FARIDA ZAMAN


The top image is an example of how Farida can incorporate food and its cultural heritage, in this case for Chatelaine Magazine’s dining guide. Farida did a series of images for The Wall Street Journal in its Marketplace section for an article about “Probing Price Tags” (below).

FARIDA ZAMAN



ART IST NAME

This spread Illustrated by RUTH BOTZENHARDT.For more on Ruth and her style, see page 6.


ART IST NAME

P R I N T E D I N M E X I C O

PAUL ANDERSON RUTH BOTZENHARDT TODD DAVIDSON ROB FRANKLE

LAEL HENDERSON SCOTT MENCHIN JOSE ORTEGA

DAVID R IDLEY IVAN LEE SANFORD PEDRO SCASSA DORIANO SOL INAS

KARI VAN T INE PAUL V ISMARA RICHARD WEISS FARIDA ZAMAN

IGOR KOPELNITSKY

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