Page 172 - Advertising Annual 55

1
1
2
3
INSTITUTIONAL
Jon Krause, illustrator Johanna Savad, art director Segal-Savad, design firm NYU Physician, client
“The Invisible Puppeteer was created for an NYU Physician cover story on Tourette’s syndrome. I used actual black thread on this illustration, glued and wrapped tightly around my painted background. Once it was secure, I cut out the superimposed absent-figure silhouette. The thread gave it a subtle dimensional layer after scanning.” 14 × 18, acrylic, thread and collage on paper.
Stefano Vitale, illustrator Austin Bailey, art director Heifer International, client
“‘On the Take,’ an article for Heifer International in World Ark magazine about the spread of multinational corporations’ land-grabbing in developing countries.” 8 × 103⁄4, mixed media on wood.
ANIMATION
Bee Johnson, illustrator
Clint Baker, Baker & Hill, writer
Mark Hill, Baker & Hill, creative director Casey Latiolais, motion graphic designer Patrick Baker, music
World Bank, client
“Six Ways the Poor Manage Their Money” 2:45 2 “We created this animation to challenge assumptions the financial world
may make about the poor’s use of money. After presenting a series of seemingly irresponsible decisions, we then explain how these decisions could be sound financial reasoning when kept in the context of the daily lives of the poor.”
Huy Dang/Kim Dulaney/Denny Khurniawan/Eunice Kim/Pedro Lavin/ Erika Lee/Sean McClintock/Andrew Park/Ivy Tai, illustrators
Marie Hyon/Marco Spier, directors
Aleen Kim/Ryan Mack, producers
Lydia Holness, associate producer
Psyop, animation company/production company Heimat Berlin, ad agency
Otto, client
“The Letter” 1:25
“Instilling a sense of visceral tactility was essential to reinforce this
very human story. When using digital mediums, it’s easy to get lost in a world of artificial perfection and to forget the impermanence of being. The script challenged us to confront the feeling of worn things, and we created an aesthetic that strengthened immeasurably when these concepts were put into practice. Textures were painted by hand, the composition of shots was painstakingly manual and imperfection became integral in our storytelling.”
172
Illustration Annual 2016
4