ENERGY BBDO ZACHARY SCOTT DESIGN IN PORTUGAL FIRSTBORN EXHIBIT ILLUSTRATION ANNUAL 51
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his particular street in Pasadena, California, is wide, with beautifully preserved older houses, wide green lawns and tall stately camphor trees lining both sides, casting dappled shade. It’s a street so lovely that car commercials are frequently shot here. Behind one such gracious home is a studio where photographer Zachary Scott creates photographic magic. The clean, modern space is lined with desks and computer stations, and the walls are hung with a collection of well-used colorful surfboards. This Zen-like space transforms into a busy command center during complex advertising and editorial shoots for clients such as the New York Times, ge, hp, CocaCola, Visa and Target, among others. His illustrative photographs appeared in the November 2002 issue of Communication Arts, as a Fresh profile subject. And while the 31-year-old is still relatively new to the field, Scott’s career has enjoyed a fast trajectory. “It took off right away,” he relates. “I was shooting advertising immediately.” And the fast track hasn’t stopped. Scott has a calm and deliberate manner of speaking, and is thoughtful and forthcoming when discussing his style and approach to work. Interestingly enough, considering his medium, he cites Norman Rockwell as an influence; one that he employed in his first Got Milk? campaign for the California Milk Processor Board with agency Goodby, Silverstein & Partners.
shoot is going. “I don’t hide anything on the set. My goal is to connect with the subject and build trust,” Scott says. “I find that sharing the work reduces anxieties all around. If a subject feels confident and comfortable, they will take greater risks. I’ll happily shoot them the way they want to be photographed, but it’s certainly not my end game.” You get the sense that a layer of determination lays beneath his accommodating personality. There is no doubt who is in charge, and whose vision drives the project. Scott moved back to Pasadena four years ago from New York City. He thought that he’d be more bi-coastal, but even though he still has an apartment in Manhattan, he finds most clients willing to come to Los Angeles to shoot. He prefers to work close to his family, wife Lea, three-year-old daughter Ivy, and four-month old twins Willa and June. “I’m on serious dad duty these days,” he says.
ZACHARY
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Everything clicked in his career and life in his four years in New York. “It’s a challenging place to make it, but the building awareness of my work during that time propelled my career to the next level,” Scott says. “I was often overbooked and had to start choosing my assignments more carefully.”
Born in Ukiah, California, he grew up in Arcata, a small coastal town in Humboldt County (in 2008, the population was barely 17,000). “My backyard was a redwood forest,” he remembers. by Anne Telford “That was my youth, charging “I’m annoyed by the fact that he’s through the forest, building forts the first guy I think of when and climbing huge rocks.” After addressing almost any given project,” explains Goodby, experimenting with almost every sport from mountain bike Silverstein & Partners associate creative director, Brian racing to football, he fell in love with surfing and like all Gunderson. “He’s just so damned good. But, it’s a testament surfers it became a way of life for him, not merely a sport. to his versatility. You can see it in just his back-to-back Got “No two waves are the same. Every single wave takes its own Milk? campaigns. The first was goofy Norman Rockwell unique shape and provides its own surprises. Conditions vary illustrations, the next year were over-the-top self-aggrandizing from day to day. That’s what keeps people interested their butt-rock stars. There’s a through line though, and that’s his great sense of design and his ability to capture perfect expresentire life,” Scott says. “It’s a good metaphor for life.” sions. You can see it across all of his work.” It was through surfing that Scott first noticed his interest in
TELLING STORIES ONE FRAME AT A TIME
“In a creative capacity, Zack brings many interesting ideas to the table and is the consummate collaborator. This artistic vision combined with his technical prowess makes his stylistic imagery stand out from other photographers,” adds Marni Beardsley, director of art buying at Wieden + Kennedy. He runs a very open set. He brings his computer with a large monitor and allows the subject and agency to see where the
design and pattern. “The earliest point that I started to recognize my skill set was when I would actually rearrange the stickers on my surfboard, to look balanced. When I would buy the stickers I would get three or four of each one because I knew I would probably rip them off and reposition them. It was really about spatial relationships,” he asserts. “I also realized around the same time that I could look at something once
Right: “Shot for the annual Year in Ideas issue, this image illustrates the inherent humor behind a new breed of plant engineered to change color in the presence of a bomb.” Kristina DiMatteo, designer; Arem Duplessis, design director; Kira Pollack, photo editor; Kathy Ryan, photo director; The New York Times Magazine, client.
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VISUAL COMMUNICATION DESIGN IN
PORTUGAL Land of Discovery
by Robert L. Peters, fgdc
“The Church says that the earth is flat, but I know that it is round, for I have seen the shadow on the moon, and I have more faith in a shadow than in the Church.” —Fernão de Magalhães (Magellan), Portuguese Explorer (1480–1521)
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y first visit to Portugal was in the sweltering heat of late July 1995, as an attendee of the world’s 16th biennial graphic design congress Icograda ’95 Portugal in Lisbon—then on to the northern city of Porto as a delegate to the xv1 Icograda General Assembly [Communication Arts Design Annual 36, Nov. 1995]. While congress attendees came from 38 different countries, I remember being struck by how few Portuguese designers participated, and more broadly, by how underdeveloped Portuguese graphic design seemed to be. My second visit to Portugal was in May 2009, as a speaker at offf 2009 Oeiras (International Festival For The Post-Digital Creation Culture), a sell-out event attended by over 3,500 design and new-media enthusiasts, most of whom were Portuguese. In marked contrast to my earlier experience, this time around I was greatly impressed by both the tangible energy I felt and by the quality of visual culture I encountered in and around Lisbon and Porto. This article attempts to examine contemporary Portuguese design (and what lies behind it) and to showcase some of the excellent work emanating from this “Land of Discovery.”
People by the sea Situated in the extreme Southwestern corner of Europe, Portugal is Europe’s third smallest country. At 92,090 km2 (35,645 sq. mi.) in size, Portugal, including the Autonomous Regions of the Azores and Madeira (archipelagoes situated in the mid-Atlantic), is slightly smaller than the U.S. state of Indiana. The country’s long shoreline, with many harbors and rivers flowing westward to the ocean, gave birth naturally to generations of the world’s most adventurous seamen and explorers, predestining what would become a great seafaring empire. Historically, Portugal has benefited significantly from its on-the-edge-of-thecontinent position and excellent geo-strategic location (between Europe, Africa and the Americas); and the Portuguese became true pioneers in cultural globalization
This page: Flag of Portugal. The five blue shields comprising the cross in the center represent the five Moor kings defeated by the first King of Portugal, D. Afonso Henriques. The dots inside each blue shield represent the five wounds of Christ when crucified. Counting the dots (and doubling those 5 in the center) there are 30 dots that represent the number of coins Judas received for having betrayed Christ. The seven castles in the shield’s outer ring represent the number of fortified cities Henriques conquered from the Moors; the golden globe represents the world discovered by the Portuguese navigators in the 15th and 16th centuries; the green field is meant to symbolize hope in the future, and the red field represents the blood of Portugal’s heroes. Right: Stamps featuring Portuguese comic strip heroes. Jorge Silva, art director; Eduardo Teixeira Coelho/Stuart de Carvalhais/Nuno Saraiva, illustrators; silva!, design firm; CTT Correios, client. Week 46 (editorial illustration). Hilary Fitzgibbons, art director; Cristiana Couceiro, illustrator; New York magazine, client. The New Freedom Fighters (editorial illustration). Claire Dawson/Fidel Pena, art directors; Claire Dawson, designer; Bryan McBurney, photographer; Cristiana Couceiro, illustrator; Underline Studio, design firm; U of T Magazine, client. Vai com Deus (Go with God) typographic installation for a gallery. Liza Ramalho/Artur Rebelo, art directors/designers; Fernando Guerra, photographer; R2, design firm; Ermida Nossa Sehhora da Conceição, Belém, client.
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Editorial 1 Zina Saunders, illustrator Steven Brower, art director The Nation, client For an article “Kilcullen’s War,” by Tom Hayden, about a Pentagon strategist’s proposed long war that would commit the United States to remaining in Afghanistan for 50 to 100 years. 9 × 9, digital. 2 Gary Taxali, illustrator Tim J Luddy, creative director Mother Jones, client Titled Circumcision, this illustration was commissioned for the Practical Values column and accompanies a piece that discusses the pros and cons of circumcision. 4 × 4, mixed media. 3 Justin Renteria, illustrator Ronn Campisi, art director Ronn Campisi Design, design firm Harvard Law Bulletin, client For a review of Stubborn as a Mule by Richard Fallon, a novel—spoofing campus politics and political professors—about an overly ambitious college president running for the United States Senate, whose ego causes his rise in politics— and his inevitable fall. 8 × 31⁄ 2, ink, rolled ink, digital collage. 4 Michael J. Deas, illustrator Arthur Hochstein, art director Time, publisher Sam Wyly, client “Time magazine contacted me about doing a portrait for a special issue devoted to the life and presidency of Franklin D. Roosevelt. I told them I had recently completed a Roosevelt portrait commission for Mr. Wyly, but still retained some rights to the image, which I then licensed to the magazine.” 18 × 24, oil on wood panel. 5 Pablo Lobato, illustrator Christine Car/Joe Heroun, art directors The New Republic, client “Straight Man,” defusing the Biden Bomb. 7 × 91⁄ 2, digital.
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Editorial 1 John Kachik, illustrator Suzi Sands, art director Texas Co-Op Power, client Image to accompany a magazine story about a Texas Longhorn bull and his historical adventures on the trail, “Old Blue: Top Hand on the Trail.” 81⁄ 2 × 7, pencil, digital. 2 Fred Noland, illustrator Jason Jones/Darrick Rainey, art directors LA Weekly, client For the GoLA Event Calendar: Bare Bowling, a fundraiser for the Protecting Adult Welfare Foundation (PAW). The foundation’s goals are to teach sex education, provide medical outreach and counseling. Bare Bowling features a plethora of actresses for an event advertised, among other things, as promising incredible photo opportunities. 10 × 6, pen, ink, digital. 3 David Plunkert, illustrator Josue Evilla, art director The Boston Globe, client Editorial illustration for an essay about how American cars affect the American psyche, “Cars and Stripes Forever.” 9 × 12, mixed media, digital. 4
4 Chris Buzelli, illustrator SooJin Buzelli, art director PlanSponsor, client For an article about choosing the right financial provider for future insights, titled “Cracking the Code.” 14 × 19, oil.
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