# of Assets

Image reads pretty quickly - enough to get me to look further. The play on "Fresh" w/ bread and "The greatest thing since sliced bread" might be a little obvious, but I lay that one on the writer. Like the use of texture to imply "hand" (which we associate with bread, also) juxtaposed with the CAD-style framework of bread slices. Conveys concept pretty well in that way. Past progresses to present. Nicely done in a "Dave Plunkert" sort of way.

Technically lovely - palette is classic, the design is composed well, and its definitely a nod to travel posters of the WPA era ("See America", etc.), but seems a bit too derivative. Also, not sure why the illustrator is connecting that stylistic period-specific reference to the communication at hand (an Arts Center). Seems like I need a bit more in the "communication" department to let me know it is an Arts Center more quickly.

Simplification of shapes making up the objects portrayed is a good approach - readability from a distance is likely successful and that's important for this audience (university dining services posters are usually in crowded student areas on campus - getting attention is important). Closer inspection reveals some technical difficulties with digital rendering, though, and some drawing issues (ellipses need work pretty consistently, and even in simplification some forms need more visual interest - marshmallows, for example). Thematically the pieces are well-related but they don't succeed in selling a sense of the events along with the food. The headline texts imply more excitement with each event. So, the series is competent but not picking up on the uniqueness of the events is a missed opportunity.

Really thoughtful application of a paper doll and outfits concept, so tailor-made (see what I did there?) for this particular event's promotional brochure. It's all engineered very well, and seems the illustrator played a big role in terms of research, too. Great! Very good drawings in a technical sense and its a "must" to nail the accuracy, too. In this type of work there is a risk that the the individual images might be rendered to death and become static... which these are not. It's clever the way the base figure is set up - and then the arm positions actually change according to outfits, and work! Not sure, again, the illustrator's specific role in that area of the design but I'm guessing some or all her responsibility. Technically, color is decided for her - she must use items from the historical collection and they were not her choice. She does unify them nicely, though, with her physical approach to the images. The green velvet gown (McQueen) is the only one that, to me, seems a little stiff and I'd like to see a little more dimension/reflection. The other outfits seem to fit this rendering style slightly better. A great effort and well-suited (another clothing pun!) to the communication of the final product. I do wish the final presentation shots were not on knotty pine...

In this series items "a" and "c" are nicely interrelated without being copies of one another. The pairing of the more reduced palette in "a" is a nice foil for the bright multi-colored palette of "c." The signs and symbols are nicely reduced, and playing with scale of images and hand-done type keeps it visually interesting. I like the way pink and orange are used to get my eye around on the page in "c". Notice I'm not talking about "b"... not much going on there as far as illustrated imagery - I supposed it is included because it is part of the set but it could have been left out. I see the relationship but it seems more of a pullout than a standalone image. The concept is stronger in either "a" or "c". The figures are race neutral (a plus) and SORT OF gender neutral. Those silhouettes could be more neutral. I feel that is what the illustrator was going for and a-l-m-o-s-t made it! The thoughtfulness of this series across concept and execution is appealing. It turns a difficult situation into something warmer - I'd bet the audience received it well.

Interesting concept - I like the attempt to cross-pollinate silhouettes of iconic religious buildings with the "picket fence" symbol. Good thinking. Falls somewhat short for me in the 2-D version (presented in competition) - it took me a little too long to key in (and I misread the silhouette of Uppatasanti Pagoda, Myanmar, as the Empire State Building - my US-centric worldview, but I'm part of that audience). When I click on the enlargement of the piece, though, and get to the interactive version online, the concept brightens up. Smart to reveal the identities of these places with a tap, but it seems not to hold up in a print version. The biggest issue, though, is that the article is specifically about "Religion in America." The image speaks much more to international locales and world religions. So, for me, the communication is off-base.

This is a good piece! Acknowledges the audience with its locale-specific nods and sense of casual fun. Also hits the bases with the use of color and the effective contrast of flat colored linework with light texture used in the larger toned areas (interior shapes and the larger background). Wish I had a sense of scale, though. I mean, I can imagine it, having seen others, but I'd love to see two images here - the art and then the art with one or two humans. Still, well done and I can imagine people feel invited to interact with it. Compositionally, I would like to see some additional background color in the upper left and/or see a bit of the solid red/pink/burgundy drawn through to that side as well. It's almost as if those elements were added from right to left and we ran out of time at the deadline! In the plus column, though, the chickens are all alike, as chickens are, but not - so each has its own personality - ALSO like chickens! The illustrator had fun with this and the energy comes through to me as a viewer.

Images "a" and "c" = terrific. Ethereal and atmospheric - as though they are in motion, like cloud formations, and though I can see this now the imagery may morph and change, and I may lose parts of it if I don't look closely enough. "d" continues this feelling of an unreal space. Though it is more defined in its imagery it is still playing with invented perspective in a way that interests me. These visual uncertainties support the mood I think is trying to be evoked. The imagery in "b" isn't quite the best fit with these others. It almost is - the addition of the Keith Haring imagery makes a reference to a particular time/place/movement that, though foundational in some resepcts in both art and gay culture, I see as more of the past... not 2019. Perhaps I'm SUPPOSED to link those receding taillights with "passing by" the older sign of the times? Maybe so, but I have to think too much about that consciously to make it fit. The more immediate feelings of some nostalgia for my 1980's activist self are brought right to the surface with the Haring image, and it's hard to work it into the rest of the series. They are all technically well done, for sure. Images "a" and "c" are the strongest narratives that refer most clearly to 2019 - If going with just those it'd be a 5 for me. With all of the images, going to a 4.

Judges Choice, image "a" (if permitted to single out one image from the series)

If images "a" and "c" were a pair this entry would be a 5 for me.

A really good visual interpretation of the core commuinication in this article! The metaphor of tattoos representing two mindsets, melded with the idea of a garden... excellent. Compositionally this piece is also really successful - I'm in the scene as a direct observer and the really abbreviated backround fits. It also appears to be a public space (a cafe or restaurant, given the other furniture is another table and chairs). That says to me "public" or "reaching out past family to a friend or acquanitance." Good move. The texture of the embedded line work strikes me as meditative. Also a good fit for the concept as well as technically well done. The only thing that doesn't work as well for me is the visual style of the "new" tattoos. They don't feel as though they "fit" on the skin for me and are floating. They are drawn as though they want to be ON the skin, but they seem a completely different style from the rest of the image. I'd stick with the vibrant color saturaton to get that difference, but I'd tone the line work down a bit, and I'd draw them with the care of the rest of the image. Maybe the illustrator thought this more striking difference was needed? Maybe they are supposed to conjure an imaginary layer and not be representative of tattoos on the skin in the first place? I suppose that is where I'm just a bit too confused and it doesn't quit work for me. What IS a smart, subtle thing is the size differential of this more hopeful imagery - larger and more developed on the arms of the individual who appears to be more proactive in the conversation, and smaller and "growing" on the arms of the recipient. That's a great representation of the learning part of the process.

Ok, full disclosure, I'm a total sucker for illustrated maps. This work hits all of my buttons in that genre: Fun to look at with the first glance; surprises to discover in continued looking; smart color palette that is reined in to not compete with the "busy" imagery; quickly read communicative icons; and quality hand-done letterforms. The mix of scale in the icons keeps it interesting and I want to keep looking. I feel as though there should be another figure or two in the "northern hemisphere" part of the Americas, but that's likely nit-picking. Still, I do want to see it - ha! Great piece, though.

Judges Choice (if not permitted to separate an image out of a series for this award, go with this one!)

University of Michigan, Michigan Medicine, Department of Communication

Good series. I respond to the clean, graphic quality, but the style isn't cold or too sparse. Narrative qualities are there and I'm sure I can guess at the content of the accompanying text/articles with most of this group. Some of it escapes me in specifics (the underwater doctors with the floating brain, for example), but I'm still interested enough to want to know what the article is about, so, its effective in a basic way. All of the images in the series are nicely related in style - the illustrator's voice is present in that. This illustrator avoids the trap of the coldness that can infect some reductive digital work. Through color, complexity, and nice variety in scale and composition these images remain engaging. Color palette is very deliberate in each image, in service to each concept - not the same palette over and over (which can be a problem with series work sometimes). I like the subtle use of patterns and geometric shapes in the backgrounds to build visual interest. In terms of visual representation of the doctors - they appear to all be caucasian and that should change - branch out on skin tone more, etc.

I almost want to give high marks for the sheer volume of images this illustrator needed to complete for this publication alone - that's a ton of work! When looking at this much work, I do understand the pressures of the deadline as well as just the ups and downs of creating a volume of work, and can allow for that resulting in some images being stronger, some being weaker (both technically, compositionally, and conceptually)- absolutely. That said, there are some real bright spots: pages 11 and 18-19, in which the illustrator is creating work that is a little more graphic appears stronger to me, both in concept and composition. The juxtaposition of detail with less detail organizes those images pretty well and allows the concept to come through. Pages 46, 54, and 60 have images that also hold back a little but still have a nice complexity that helps them communicate and hold interest - they strike a good balance. On pages 30 and 31 I find the imagery to be too overdone and the style weighs down the concepts when, in reality, the stories are about youth taking initiative and bringing about positive changes. The other imagery that focuses primarily on figures, architecture, etc. seems to hover in a middle space between not stylized enough to be funky and not true enough in terms of rendering to be accomplished realism. The figures are really awkward, and not in a way that seems intentional. I get the sense this individual wants to skew a little more off-beat but is maybe held back by art direction? The pieces with a lot of cross-hatched figures feel heavy-handed. I want more of the illustrators personality and energy, and less of their obsessiveness with technique. Again, it could be the art direction that pushed the illustrator in this direction ("go more realistic with the figures"), but it impacts my score. To pull off those stylized and "not quite right" characters one of my first thoughts (and this is reaching WAY back) was Dagmar Frinta's work (whatever happened to her?!). That work takes advantage of slightly "off" proportions and balances textured drawing with open space more effectively. Or Edward Gorey for a more "character" based approach to figures and accomplished cross-hatching. A more recent example might be Lara Tomlin, but that work is perhaps too representational. I keep getting the feeling that THIS illustrator's strong suit is NOT realistic drawing, so should be asked to go more their own direction! Be brave, art directors! Let them do what they do best and see where it leads? ;-)

A decent series for student work, reasonably well-related visually and the subject, portraits, is a match. Within the group there are disparities (unknown to me whether or not it is the same student illustrating all three). In quick conveyance the images read as: McGuffey - associated with academics as a past college teacher or administrator (the campus setting, the older suit); Dove - a public speaker, politician, or religious orator (the podium, the soaring architectural space); Laws - an early successful businessman/stock trader (the suit, the tickertape). Only the Laws image really nails the communication. McGuffey, best known for creating the McGuffey Readers, isn't portrayed in a way that conveys anything about his authorship of those long-lasting works, or their association with the education of children (not college students). The quality of drawing is flat, though that doesn't appear intentional. It seems to be more related to trouble handling the digital media. I feel the subject should also be looking out and engaging us, not looking down. Dove's work as an important and lauded poet, writer, and educator, isn't hinted at here conceptually. The rendering is very good, but the communication goes in the wrong direction - the placement of the "M" on the podium pushes the idea even more in the direction of "public speaker." Her life as a writer needs to take center stage. Structurally, the piece is well composed and she's got energy, though her left arm is awkwardly foreshortened and the left hand lacks structure. IF she's speaking this would be a more powerful piece if her mouth were open. The Laws image is mostly on the mark. Perhaps more could have been made of his life as a real polymath in terms of the image, but his most well-known accomplishment does link him to the development of ticker-tape, so that's fair. It's well composed and the rendering is accomplished. Most of the arrangement of values is well done - I'd darken, slightly, the ticker tape behind his head and the one that is a tangent with his left shoulder to push that value more behind him (and not conflict with his hair and beard). That's the winner of the Series, though. I'd pull that one out to jury as a separate piece! With 2 of the 3 images in the series failing in the communication area I have to score low. The Laws image alone would get a higher rating from me. *Note: there is a big color shift for me in the McGuffey and Laws images when I go to the enlarged views so I'm just ignoring that as I can't tell what has caused that. The Dove image does not suffer this fate. ???

If "Laws" were pulled out as a standalone piece that would earn a 5 in my view.

I really like good information graphics - especially those that edge toward fun (because often the information is neither here nor there - to get me to read it, the imagery has to really grab). I get tapping into the fun of a game-like image - that's fun. This piece might be game-like. But it's also trying to be a flow chart? Likely deciding on one or the other would help. But the big turnoffs for me are that the line weight is the same all over, the little icons are all the same size, and the symmetry becomes static. I'm immediately thinking that this individual should look at Chris Ware's work - a lot! It would be so informative! Chris Ware does take a "sameness" in lineweight that is intentional and through placement of discreet panels or images, changing their scale, and considering composition more fully, renders it engaging. I'd get as far as the bright colors in this image and then probably check out (sorry to say). The type, to me, appears to try to be fun and integrated but it feels uninformed. That may be a separate designer, but, either way, it is not helping.

Hot Dog Day is a decent piece but needs some work. Good use of specific color, cute character development, and good rendering of all of the other elements in the piece (signage, background, the Jeep, etc.). The things throwing me are - what's the meaning of the "Safari" theme... and is that macaroni in the giraffe's spots? I wish the butterflies weren't the same one just resized and pasted. Also, using a digital font for the masthead is fine. For the signage try digitally hand-done (for example, in "COLLEGE AVE." all 3 "E"s are exactly the same, but are trying to mimic hand type). Just do it. ;-) And give that hot dog 2 arms! I think that's what the skinny red stick on the side of its safari jacket is. Unless the other was lost in a horrible cartoon safari accident. The Jeep, as the darkest value object on the page, is the thing I see first after the type at the top. Counter that by increasing the scale of the hot dog, and using some greater value contrast in that character. So, some stumbles here but an entertaining piece that would get my attention. A solid middle piece.

Liking the style of the imagery here - interesting texture and really nice character development. Good representation for the most part (body type variety, non-white figures, might be women, men in drag, or trans - these all reflect the actual scene). Maybe the course focuses only on "Vogue Femme" as a style? If so, then the image is good for this. There is more history and other forms of voguing (which the text on the poster implies), so the scope of "Voguing Class 101" in practice perhaps doesn't understand the breadth of the genre. I'm going to go with "Voguing Class 101 limits its view" and the illustrator is, indeed, reflecting the content of the class. I like the attempted composition of the group of figures (with a nod to "Charlies Angels" in that triangular composition). Also, texture and looseness are great - but they don't discount needing to be aware of how you are handling hands and the placement of figures. A couple of these hands are problematic. And the hand on top of another figure's foot is a no-no. Likewise the tangent created by the black shoe seeming to be on top of the knee of the figure in the foreground. Not sure if the illustrator is responsible for the design of the entire poster or just creating the image of the figures, but the big white outline draws a lot of attention to itself and makes the orange background seem like it was added later because the figures are not integrated with that. The performative aspect of voguing is important - seeing some spectators visually implied here (and I mean implied - as shapes, not rendered - just creating a graphic atmosphere). Maybe the class doesn't want to lead the audience to think there will be spectators, but voguing has that history - and it's not exercise class. ;-)

The style of this one is engaging - I like the breakdown of the two forms into the abstracted interior mosaics - that's pretty well done. The happy jumble of those shapes implies "festival" but that idea could be promoted more. A few tiny technical slips on those digital edges but not much! Stylistically I feel it reflects a southwestern vibe, if maybe a little obvious. With only two objects showcased would like to see them separated a little bit. Angle the pepper so that we see part of the bottom of the wine bottle, creating a shallow perspective in this limited space. Doesn't need to be full-blown pictorial, just a little more interesting. Otherwise the pepper here is kind of like a little boat holding the bottle - and I'm 98% sure that is not the intent. The simplicity of the two objects, alone, could be enough given the breakdown into interior mosaic shapes, but, again, needs a little push to promote more "fun" at the festival.

Like the idea and it is a pretty good caricature of a sheep. In representing an animal as a character it is so important to see that the illustrator really does KNOW what the animal actually looks like. One has to be really informed to extrapolate from the real thing and grab all of the attributes. The illustrator here has done their homework. That said, the love of the form appears to lead to some over-rendering (I'm guilty of that too - that's how I recognize it!). For a screenprint-style application like this, a bit less would be more. Mutton Busting - kids riding sheep... there is room for more fun here in this image. This illustrator had such a good time drawing the sheep and the type that some of the communication of the spirit of the event gets lost. The kids are the stars of the show - they top out at about age 7 and there is a trophy involved. The concept may need some rethinking with that part of the audience more in mind. What kind of graphics do kids find appealing right now, and what are they drawn to? Pulling in some of that influence while also reflecting the animal stock featured in this event might liven it up. Looks as though the type is hand-done - points for that! That's always a plus in my book.

I can appreciate the work that went into this re-do, but the result seems dated and a little too derivative. The redesign needs a freshness and contemporary quality that is missing here. It's somewhat over-rendered for a mascot image that will be likely be applied mostly like a logo. So, lots of polish on the rendering here but the core of the work itself isn't really reflecting the spirit of an "update". Technically, there is some value confusion around the beak and mouth. I find the pose awkward as well - the character's right leg appears to bend separately from the left leg all the way up to the character's waist. That looks uncomfortable! That "friendly/fierce" look is a good direction, but more exploration is needed to nail this redesign.

This image is unexpected and I like that a level of humor like that has found an acceptable home in an Ivy League institution - that says something about the appeal of this illustrator's style. Even though the style is simplified, the shapes and spatial relationships, though reduced, are spot on - this person can draw (and make characters). Reminds me of some of Aaron Meshon's work (which I love). I also appreciate the conscious use of white space - too often that is ignored. Don't know if the illustrator is also the author of the pun, but the image is stronger than the pun. That is sometimes the heavy lifting better illustration does. The big entry into the "minus" column, though? Evergreen tree + crimson color = Christmas. I instantly thought it was a holiday themed card and was surprised to see a birthday greeting in the interior of the card. It'd be so easy to choose another tree - like the palms that are pictured in the background (and must be all around Stanford). Still, I'd like to see more characters from this person.

Masterful paper handling - from what I can tell, hand cut through layers... that's so spatially impressive! So, in technical terms, incredible. It's beautifully done, with great craft. The palette is lovely and brings to mind late spring, early summer. It seems watery and beach-like to me (the forms, the colors, the movement of the piece from lower left to upper right, possibly mimicing the tide?). The actual magazine may have nothing to do with the beach, but I don't know. So here is the downside - it's tough to figure out how well this image works with the theme of the magazine ("Adventure", it seems). I'd like to know more! So, the narrative, on it's own, is interesting enough to me that I'd pick up the magazine (or see it online) to see who this illustrator is, and to get more of a sense of the tie-in between the cover and the content. Would be beneficial, though, to know more about the magazine's theme and also to know how much of the cover was art-directed and how much the individual illustrator contributed to the conceptual development. I love the piece but can't go with a "5" without having more grasp of the concept.