sepoctpreview2011

JESSICA HISCHE

CREATURE

OLAF VELTMAN

BLUECADET EXHIBIT DESIGN ANNUAL 52

DESIGN

PACKAGING ANNUAL REPORTS BROCHURES EDITORIAL LETTERHEADS COMPANY LITERATURE CATALOGS POSTERS TRADEMARKS INTEGRATED BRANDING BOOKS ENVIRONMENTAL GRAPHICS MOTION GRAPHICS PUBLIC SERVICE SELF-PROMOTION

September/October 2011 Twenty-Four Dollars www.commarts.com

In portrait photography, you can get a lot of information about the sitter by looking in her eyes.

More than her clothes, more than the environment, the mood comes from some inexplicable quality the shooter captures in the eyes. A similar thing goes on in an Olaf Veltman landscape: Everything you need to know happens in the sky.

by Tiffany Meyers

Olaf Veltman H is compositions—low horizon lines that shoulder massive skies, within which the clouds act out dramas—spring from the same vein as Dutch landscape painting of the Golden Age. Unlike Church-commissioned Renaissance painters, Dutch artists in a seventeenth-century Calvinist society painted secular subjects. But a sense of intensity—and maybe it’s sublimated spirituality—emerges in the skies.

By the time Veltman was a teenager, he’d been a student of the Dutch masters for years. Veltman’s grandfather, a sailor and painter, frequently took his protégé to Amsterdam’s Rijksmuseum. They discussed composition and light. Eightyear-old Veltman liked Rembrandt’s impasto technique. And he fell for Jacob van Ruisdael’s landscapes in particular.

“They were pretty serious subjects for a child, but I think my grandfather thought I could handle it,” says Veltman.

If van Ruisdael was a skypainter, as he is called, then Veltman is a cloudpainter. You can see it in his landscapes for a 2002 Union Pacific campaign. With Nebraska agency Bailey Lauerman, Veltman shot the trains in Wyoming, Colorado, Utah and Nevada, where the colossal domes of sky mirror the brand’s epic place in American history.

Sometimes, the clouds in these landscapes roil, reserving the right to explode into storms whenever they so choose. Sometimes, they catch shifting, orange shapes of light. Or they pock

the sky with white stipple. Or they streak it with gray ribbons.

Occasionally, they deign to open up, making room for crackles of direct light.

“You hear about portrait photographers who can coax the personalities out of their subjects,” says David Steinke, art director on the Union Pacific campaign at the time and now vp/creative director, Crispin Porter + Bogusky. “The thing about Olaf is that he does that with landscapes. He can draw out the personality of a landscape, which is something very few photographers in the world can do.”

Veltman is known for waiting patiently for the perfect light.

But that’s probably not quite right. He isn’t patient so much as expectant, certain beyond a doubt that the right dusky glow will arrive, even when ants make their way into clients’ pants.

In his youth, Veltman was just as certain his future would center on art. Initially, he was bent on becoming a painter, working in his grandfather’s Bergen art studio. “I loved the smell of the oil paint, and I would work in the studio on these very realistic paintings. I really wanted to paint. And I was in a hurry.”

But when Veltman’s father gave him a Pentax at age sixteen, the Pentax won. For a kid in a hurry, photography was way sexier than slow-drying oil on canvas. “Mainly, I tried to shoot as many girls as I could,” says Veltman. “I would say, ‘Can I take your portrait?’” Once he built his own darkroom, the die was cast.

Right: “The Nucor ‘It’s Our Nature’ campaign is targeted to opinion influencers and C-level decision makers. It tells the story of Nucor’s DNA as a company—that it’s more than a steelmaker. It’s actually a catalyst to making the world a better place—whether in its environmental practices, company culture or performance. Over the course of the campaign, ads have appeared in the New York Times, Wall Street Journal, USA Today and Fortune.”

Patrick Short, art director/creative director; Seth Werner, writer/executive creative director; Eric Mower and Associates, ad agency; Nucor Steel, client.

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Public Service

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1 Scott Hesselink, designer Jennifer Jerde, creative director Mary Woodin, illustrator Elixir Design (San Francisco, CA), design firm National Fish and Wildlife Foundation, client “For NFWF’s annual Bay Area fund-raising event, Celebrating the Great Outdoors, the invitation and event collateral were inspired by event planner Stanlee Gatti’s vision of creating a pop-up, moonlit forest in a tent on Crissy Field.”

Motion Graphics 2 Marilyn Davis, art director Lauren Miller/Shaun Roncken/Sarah Wells, writers Lynn Chow, associate creative director Robin Heisey, chief creative officer Geoff Ashenhurst, editor Stealing Time, editorial company RMW, music company Johnathan Bensimon, director Alter Ego/Eric Whipp, colorists Joan Bell, producer Kelly Cavanaugh/Judy Hamilton, broadcast producers Industry Films, production company Darren Achim, digital effects company Draftfcb (Toronto, Canada), ad agency Catalyst, client “Barriers” :50 (Open on a business woman exiting a taxi with a briefcase on wheels. She walks with purpose toward an office building. Getting closer to the entrance, she suddenly hits an invisible barrier and is taken aback. Cut to another woman walking out of a board room, then toward the camera. Without warning, she smashes into an invisible wall. Cut to a different woman waiting outside an elevator door. As the doors part, she walks forward to enter, but slams into an invisible barrier. She stands back with surprise. Cut to an aerial shot within an atrium.

A woman holding a binder full of papers crosses a bridge within the atrium then comes to an abrupt halt as she makes contact with an unseen barrier and her papers go flying. Cut to a woman and a man inside an elevator. The doors open. The man steps through, then the woman tries, but she slams into an invisible barrier) Super: Just because you can’t see the barriers women face...

(Cut to a woman in a boardroom meeting. She is just about to stand up when her head hits an invisible barrier and she falls into her seat) Super: ...doesn’t mean they’re not there. Catalyst.org.

3 Liz Albrecht, art director Jerry Cronin/Jamie Mambro, creative directors Tom Kyzivat, illustrator/animator Kat Baker, editor Mike Michaud, agency producer MMB (Boston, MA), ad agency Noah Wild, client “Animal Morph” :60 “Noah Wild, a movement dedicated to the idea that kids truly can make a difference by saving animals and their habitats, raises money to help animals worldwide. Noah, whom the movement is named after, is a young boy who adores all animals and feels at one with them, which ‘Animal Morph’ visualizes.”

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Miscellaneous

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1 Victor Melendez, designer Jeff Wilkson, senior designer Jeffrey Fields, creative director Starbucks Global Creative (Seattle, WA), design “Every summer, Seattle’s School of Visual Concepts celebrates Letterpress Wayzgoose, the main event of which is the Steamroller Smackdown competition. Local design firms are invited to carve oversized posters (35 × 45) out of sheets of linoleum and then print them using a two-ton steamroller. Our poster was the winning poster from the 2010 Smackdown. Each one was lovingly hand-inked in the parking lot by a swat team of designers from our global creative studio. Translated, the poster reads ‘Gojira Maki, umami and the sweet spot (near the tail).’”

2 Edel Rodriguez, designer/illustrator Edel Rodriguez Studio (Mount Tabor, NJ), design firm/client “Self-published poster inspired by the South African World Cup, referencing the country’s history of apartheid.” 18 × 26, 2-color silk-screen.

3 Manasit Imjai/Tienchutha Rukhavibul/Thirasak Tanapatanakul, art directors Tienchutha Rukhavibul, creative director Thirasak Tanapatanakul, executive creative director Creative Juice Bangkok (TBWA Thailand) (Bangkok, Thailand), ad agency Chayada Bangkaew, Tamiya Model Kits Shop, client “Tamiya wanted to expand its customer base, though its products can only be truly appreciated when they are in your hands. Since shops give away business cards, we made a sample modeling kit that customers could put together. The novelty of the concept became a topic of conversation between modeling enthusiasts, which lead to people rushing to the shops, specifically requesting business cards.”

4 Ayako Akazawa, designer Vana Chupp, writer/photographer Yolanda Cazares, production Chronicle Books (San Francisco, CA), publisher “This craft kit is uniquely bound as a book and our challenge was to create a practical yet elegant package that would appeal to designsavvy modern DIY decorators and crafters. Inspired by the origin of silhouette-making, all design decisions evoke the mood of la belle époque. The blind embossing and clear UV coating transformed the cover into framed art, giving it a keepsake quality.” 24-page booklet, 12 pattern sheets, 12 black sheets, silhouette templates, card stock frame, vellum storage pocket.

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