Page 9 - Advertising Annual 55

SHANTI MARLAR
is the creative director of the Hollywood Reporter
and Billboard maga- zines, where she
oversees the design of the weekly print publications and digital
properties. She was responsible for the redesign of the Hollywood Reporter when the publication switched to a weekly glossy magazine five years ago. Both the Hollywood Reporter and Billboard have received numerous design and illustration honors. Marlar graduated from Parsons School of Design with a degree in illustration and began her design career at Time magazine. She went on to work at Us Weekly, Sterling Brands, Messner Vetere Berger McNamee Schmetterer and the New York Post.
JOSÉ REYES is the founder and
creative director of
Metaleap Creative, a publication and
brand design firm based in Atlanta. He has worked on magazines as varied as Paste and the
Washingtonian, Washington, D.C.’s city maga- zine. Reyes began his career at Tausche Martin Lonsdorf after graduating with a BFA from the Savannah College of Art and Design. He has received a variety of accolades, but none as memorable as the “my hero” trophy crafted and given to him by his ten-year-old daughter. Born in Puerto Rico and raised in Turkey and the United States, his love of and curiosity about all things keeps him traveling and searching for inspiration in everything around him.
ELLEN WEINSTEIN
is a New York– based illustrator and a graduate of
Pratt Institute. She has received awards
from the Art Directors Club, American Illustration, Communication Arts, Print, the Society of Illustrators and the Society
of Publication Designers. An instructor at the Rhode Island School of Design, she also lectures and conducts workshops at various art schools and events, including Amarillo Design Center, in Xalapa, Mexico; Associazione Culturale Teatrio, in Venice, Italy; CEDRA Education, in Moscow, Russia; Fig.o5 Congreso Internacional de Ilustración, in Bogota, Colombia; ICON8: The Illustration Confer- ence, in Portland, Oregon; IlustraTour, in Madrid, Spain; and Mimaster Ilustrazione, in Milan, Italy.
Photographs by Steve Castillo
I asked the jurors their opinions on the future of illustration.
“It’s found a new
medium in the
form of social
posts, which come with tighter budgets and timelines,” says Arbez.
“Thanks to the education of the general public by brands like Apple, talented illustrators are finding more opportunities to do strong work,” says Marlar. “I see more variety in the styles being used by all types of brands. I’m also enjoying seeing more short animations by illustrators, which seems like a natural next step, since the technology to create them is within everyone’s reach.”
“The field of illustration will continue to grow, thrive and become even more exciting in our creative economy,” Reyes says. “Gone are the days when big brands could get by with subpar work. Now every product, object and experience that we bring into our lives has to
have a visual language that fits within our personal narrative. As consumers become more selective about what they let in, the need for thoughtful illustrators who help shape and diversify our world will only continue to grow.”
“The field of illustration is headed for new vistas,” Beauchamp says. “Self-merchandise
is a big part of this future.”
“Many illustrators these days know that they have to create their own projects and pitch them to expand work opportunities beyond waiting for commissions,” Weinstein says. “Many have a more hybrid career path now than in the past. It is very common for one to be working on commissions, products and books and not just to be focused on editorial or publishing.”
A minimum of three out of five votes was required for a project to be awarded in this year’s competition. I would like to extend our grateful appreciation to our jurors for their conscientious efforts in selecting our 57th Illustration Annual. ca
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