mayjun2006preview by Commarts

Tom Brown Art+Design Diana Koenigsberg tda advertising & design Cuba SĂ! Edel Rodriguez Packaging Exhibit 344 May/June 2006 Eight Dollars www.commarts.com

May/June 2006

Diana Koenigsberg Left: “Portrait of Alexandra and Talullah Sheridan, from a personal series on women and beauty.” “Outtake portrait of actress Jennifer Coolidge, commissioned by Entertainment Weekly magazine.” Susan Reagan, photo editor. “This image is from a nine-image campaign, for the City of Fort Lauderdale’s Board of Tourism and their Web site sunny.org.” John Malloy, art director; Marc USA, ad agency; Greater Fort Lauderdale Department of Tourism, client. This page: “This portrait of a disgruntled and hopelessly lazy temp was the opening image for a fashion story commissioned by Budget Living magazine.” Gregory Garry, photo editor. “Portrait of the original Coaster’s member and funeral director William Richards.”

Communication Arts

May/June 2006

Edel Rodriguez

Left: “Cassius Clay. This is a spread illustration for a children’s book titled Float Like a Butterfly, about the life of Muhammad Ali when he was a child growing up in the South.” Christine Kettner, art director; Ntozake Shange, writer; Maureen Sullivan, editor; Hyperion Books, client. 17 × 11, mixed media on paper. “Un País Libre, part of a series of drawings from one of my trips back to Cuba. We spent many days driving around in my friend’s 1948 Chevrolet—and breaking down. There are Orwellian billboards everywhere with mottos like ‘Victory is within us,’ and ‘Homeland or Death, We will prevail!’ I found it amusing to draw a billboard I saw with this slogan which translates into ‘A Free Country.’ I placed it behind our Chevy, which isn’t going anywhere, far from being ‘free.’ Several pieces were later published in The New Yorker.” 9 × 12, pastel and oil-based printing ink on paper. “China’s New Revolution. A Time cover portrait of Mao wearing a Louis Vuitton tunic for a story on the new, more Westernized, Chinese economy.” Arthur Hochstein/ Paul Lussier, art directors. 12 × 17, mixed media. This page: “Al Sharpton, cover image for ‘How the Democrats created Al Sharpton,’ published during the 2004 primary elections. I like to challenge the perception that my work is purely line work and occasionally go in different directions such as this. My role models are Picasso, Paul Klee and David Hockney, who constantly pushed their work in new directions.” Christine Car/Joseph Heroun, creative directors; H2C Media, design firm; The New Republic, client. 9 × 11, mixed media. “Slave Mentality. This image accompanied a book review of The End of Blackness, about how AfricanAmericans have to give up on the past in order to make progress possible.” Susan Levin, art director; The Boston Globe, client. 8 × 9, oil-based printing ink on paper. “Desirable Daughters, accompanied the review of a book by Bharati Mukherjee about the complicated lives of three sisters from a prestigious Calcutta family.” Susan Levin, art director; The Boston Globe, client. 8 × 9, pastel, acrylic, oil-based printing ink on paper. Communication Arts

May/June 2006

packaging

Left: “We were great fans of another product line that this company produced. We introduced ourselves to the principals and were lucky enough to hit it off,” creative director Maureen Erbe said. “The project included design and implementation of the logo, branding identity and product packaging for Collective Wellbeing, a 42-SKU product line of organic and sulfate-free face, body and hair products. The look was designed to be clean and simple— yet upscale and sophisticated. The three product categories, face, body and hair, are color-coded to easily identify each product’s use.” Ellen Davies, Collective Wellbeing LLC, writer/associate creative director; Pam Esposito/Karen Nakatani/Rita Sowins, designers; Erbe Design (South Pasadena, CA), design firm; Collective Wellbeing LLC, client. “Tired of the delays and quality issues of importing ‘oldworld’ paint products, a specialty paint business was in the process of creating its own line of high-end paints and glazes and needed creative direction on naming, identity and packaging,” said designer Jay Toffili. “The process began with development of the company name borrowed from Gaspar de Portola, a Spanish explorer, and a visual identity based on a stylistic, painted letter ‘P’. Label designs were created for quart, gallon and five-gallon containers across a line of fifteen products requiring development of a color family to help organize and differentiate categories.” Jay Toffoli Design Co. (South Pasadena, CA), design firm; Portola Paints & Glazes, client. “Our client was very proud of her technical neck gaiter— they really are the best. But to explain its many attributes felt overwhelming,” said designer Jamie Panzarella. “We could have attached an entire brochure. Instead, we layered imagery and text, creating a harmonious message board that educates and inspires. Symbols for fabrics, construction and uses are woven thoughtfully through stripes from the product’s color palette—and hits of metallic silver add an icy touch.” Mike Sukle, creative director; Sukle Advertising & Design (Denver, CO), ad agency; PowderFish Mountain Apparel, client. This page: “Coca-Cola approached Duffy & Partners with a growing concern. Many consumers across all lifestyles and demographics had begun to walk away from its core cola franchise,” said Eric Block, managing partner of Duffy & Partners. “To offer consumers a fresh alternative to Diet Coke, Coca-Cola chose to revitalize Fresca, a 39-year-old existing brand, rather than introduce a new one. Fresca’s original formula was intrinsically spot on for consumer trends today: zero calories, zero carbs and a unique effervescent citrus flavor. However, its old design was holding it back. The new Fresca design better captures a more modern and sophisticated expression of the brand.” George Katz, designer; Dan Olson, creative director; Duffy & Partners (Minneapolis, MN), design firm; Coca-Cola, client. “The Pescaia wines are produced by a family-run winery where everyone is directly involved in the process of winemaking. When asked to describe their style of winemaking, each member of the family used words such as hand-picked, hand-crafted and hand-sorted. I immediately thought of letterpress as the perfect way to communicate these values on the bottle,” said art director Giorgio Davanzo. Giorgio Davanzo Design (Seattle, WA), design firm; Facelli Winery, client. Communication Arts

fresh

Eva Kolenko

Location:

San Francisco Bay Area.

Duration:

Five months.

Staff/Size:

Just me.

Education: BA in Advertising Photography from the Academy of Art University, San Francisco. Cultural Influences: Movies, fashion, the moving landscape outside my car window, fashion, pop culture, TV commercials (the really clever ones), lots of photography of all kinds, the sky, wind, bad weather, Mark Rothko.

I have a tiny oYce the size of a small bathroom, but it has everything I need and a window with a view, so I’m happy. When I’m shooting, I could be anywhere. I really like that variety.

Environment:

Photography is just a means to interact and experience the world. It keeps me present in life instead of stuck in my head. The truth and falseness of pictures intrigues me.

Philosophy:

1 “I stumbled upon this scene by accident. It was one of those moments in life in which I was so thankful to have my camera with me. The color was what first attracted my attention, but I also quickly noticed the building’s variety of textures and details. I ended up shooting the entire side of it; the windows, doors and drainpipes, and then rearranged all the elements in post so the composition was just how I wanted.”

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May/June 2006