sign up FALL 2015  / Volume 28

Character created for Wonder With Oreo campaign.

"Owl of Infinite Knowledge", 36" x 30", acrylic on wood, 2013

Dia de los Muertos image for Ford Motor Company social media.

Eddie Vedder concert poster.

Jeff Soto
Jeff Soto

Artist Spotlight: Jeff Soto
Jeff Soto brings his surreal imagery and street cred to help rebrand Oreo’s cookies.

Informed by his early graffiti work as a young teen, Jeff Soto infuses every project with dynamic composition and vivid color. The painter, illustrator, and muralist’s distinct subject matter (owls factor heavily) and saturated palette define both his personal and commercial work for clients including Sony Music, Warner Bros., Entertainment Weekly, The Village Voice, Esquire, KidRobot, BBDO, Saatchi & Saatchi, Pearl Jam, Alamo Drafthouse and Def Jam.

He brings a modern sensibility to his fusion of surrealism and street art. He has created large-scale murals in many locations, adding his work to the cultural landscape of cities like Los Angeles and Detroit.

“Most of my visuals come from free writing and drawing, dreams, and other Surrealist techniques. I have a long-standing love of landscape painting and have been working it into my compositions for decades,” Soto explains. “Nature is one of my biggest inspirations, especially the purple-blue hills and mountains of Southern California. The compositions can be busy and chaotic because that is how my life and thoughts are. I enjoy playful randomness as well as traditional illustrative rendering. Graffiti was and continues to be a factor in my work.”

Soto adds a surreal edge to his colorful solutions to rock posters (Phish, The Melvins), and conventional products like iconic Oreo cookies that got a facelift with advertising incorporating illustrations from 10 different illustrators and studios. His playful characters with their antlers and big happy face smiles give the childhood staple some street cred.

He has exhibited his work widely, most recently in a solo exhibition, Nightgardens, at KP Projects/MK Gallery, Los Angeles.

The California native lives and works in Southern California with his wife and two daughters.

Visit Jeff Soto at,,

Q: Are you an Oreo’s fan? What was your thinking behind the approach? 
A: I grew up with Oreos and my kids love them. I wanted to create a fun world filled with cookies, rainbows and my characters rolling around on skateboards. The main character is made up of clouds, bubbles and crystals that are delicious and edible. The whole painting is like a moving playground that my kids would like to look at and get lost in!

Q: Name 5 things that inspire/thrill you.
A: Nature, always. Travelling to new places; vacations with my wife and kids—seeing the world through their eyes. Going to a good history or art museum. Seeing my work in print or on a wall!

Q: Why owls as a motif?
A: Owls have different meanings in different cultures—evil, sinister, wise... I also think they have beautiful eyes. 

Q: What is your next project?
A: I am painting murals in Detroit next week, L.A. after that, and Taipei later this year. There are many smaller projects in between. 

Q: How do you balance commercial with fine art or public art projects?
A: It is a tough balance sometimes because murals do not always pay the bills. Sometimes they pay very well, but typically for a mural you're happy if flight, hotel and supplies are covered. I feel like I have too many things going on sometimes, travelling for murals, commercial illustration jobs, gig posters, teaching, my own fine art exhibits. I love it all, and all of these things come and go. Every once in a while I am working on all of these things at once and that's when I usually lose it!!

Q: What’s the best advice you ever received?
A: Two bits of advice that stuck with me were from the same guy, Phil Hays who was the Illustration Department chair at Art Center when I was a student. I came to him one time, unsure of my work, unsure whom it might appeal to, and he said, "Just make good work, your audience will find you." It did work out, my audience found me. He also said everyone should have three distinct careers throughout their life. I think about that often, and wonder if I already have three or four distinct careers; sometimes I think I should pick one thing and focus... or maybe I give up art and become a cactus farmer.

Q: Where do you see illustration in the next decade?
A: I'm teaching an illustration class and I think about this all the time. There is a notion that books are making a comeback. People do not like reading on their iPad it seems. We want that tactile feeling of paper. I don't think the print publications are coming back though. There is definitely less illustration work out there, but we will always need artwork to sell products. I can't imagine the technology we'll have in ten years, because ten years ago I had a black and white Motorola flip phone. I couldn't have imagined iPads and iPhones and Facebook and Instagram. It's crazy when you really think about how much has changed in ten years. I like to think they'll come up with some beautiful way to read stories and illustrators will breathe new life and beauty into the world.

The four stamps as approved by the USPS.

Six Color CompsThe six original designs done in 2002.

Michael DoretMichael Doret

Artist Spotlight: Michael Doret
His Summer Harvest stamps for the USPS define the season with their bold palette and retro lettering.

He might not be a household name but unless you’ve been living under a rock for the last few years you most likely have seen Michael Doret’s work. His cultural stamp is wide: He counts Major League Baseball, the NBA, Walt Disney Studios Motion Pictures, Warner Bros., Universal Studios, all the major US advertising agencies, Time magazine, Taschen Publishing, Playboy, and Capitol Records, among others, as clients. Doret opened his own design business shortly after graduating from The Cooper Union in New York City in 1967. He has since relocated to the West Coast, and lives and works in Hollywood with his wife illustrator Laura Smith in a vintage Spanish home in the Hollywood Hills.

Under the umbrella company Alphabet Soup, he has branched out from one-off lettering solutions to designing fonts, sometimes adapting styles that were originally done for lettering projects as well as creating completely new font concepts such as Steinweiss Script, based on the calligraphy of Alex Steinweiss, credited as “The man who invented the modern album cover”, and one inspired by the winter constellation, Orion.

To see more of Michael’s work, visit

Q: Your Summer Harvest stamps have a great story behind them. Can you explain the long road to fruition (no pun intended!) the project took?
A: In 2002 I was contacted by Richard Sheaff (one of several outside art directors that the USPS hires for stamp design) and was asked to design and create art for six stamps with a fruit and vegetable theme. I was not asked to design a set of six related stamps, but rather six individually designed stamps in different denominations, and they were all to be fruits and vegetables that were native to the USA.

After a lot of discussion the Post Office finally decided on six subjects: Cabbage, Grape, Lemon, Persimmon, Pineapple, and Sweet Corn. I did pencil roughs for all six subjects, colored pencil comps for five of them, and then semi–finished art for two: Pineapple and Sweet Corn. But for some reason the project died on the vine. I don't know why the project was dropped, and when I recently asked Dick Sheaff, he couldn't remember either. Perhaps the USPS had reached their quota for the year, or maybe the Citizens Stamp Advisory Committee lost interest or had a personnel change. Either way it was a huge disappointment for me. Like many of my favorite projects I decided to keep all the work I had done, hoping that at some point I'd be able to use it for something.

As luck would have it, in early 2012 I received an email from Antonio Alcalá of Studio A—another art director for the USPS—asking if I'd be interested in helping him with a stamp design project he was working on. As soon as I heard that he was an AD for the Post Office a light bulb inside my head went on: I'd ask him if he'd be willing to re-present my fruit and vegetable stamp designs from ten years earlier. I prepared a new PDF of all the designs that he in turn put in front of the committee and, to my great delight, I soon learned that they were very interested in reviving the designs.

In actuality only one of the earlier designs was carried forth into the new series—Sweet Corn. It was also decided that there would be four stamps instead of six, and that they would be related by color and design and sold together in a booklet of twenty. The new subjects were cantaloupes, tomatoes, and watermelons, and there would also be one additional graphic created for the title "Summer Harvest". (I should note here that my new design for tomatoes was taken directly form my earlier design for persimmon.) By the end of Summer 2013 all the artwork was completed, but it would be two more years before these stamps would finally be released in July of this year. That brings the total length of this design odyssey to 13 years—but that's a Lucky 13 for me!

Q: What aspects of vintage labels and seed catalogs inspired your final designs?
A: I know I have mentioned previously that my inspirations for these designs came from both vintage fruit labels and seed packets. While that is true, seed packets and seed catalogs played a much smaller role for me than did fruit and vegetable labels. Seed packets tend to be a bit busy, highly detailed or even fussy, and although they did provide me with certain design cues, I really gravitate more towards the bolder and more colorful fruit labels. In this situation where the art has to be really small, the type and graphics that were typical on seed packets would virtually disappear. I've always loved fruit crate art, and I felt that this was as good an opportunity as any to pay homage to the genre.

Q: What were some of the challenges involved in creating the art for such a small object as a stamp?
A: The challenges were exactly what you'd imagine them to be: it was impossible to design these stamps at "actual size" because it's very difficult to know how your elements will look at the almost microscopic size of a stamp—and it turned out that the size of these particular stamps was the smallest that the USPS issues. I found that of the four stamp designs, it was the cantaloupes imagery that gave me the greatest challenge. I tried to indicate graphically the very distinctive cantaloupe texture through various techniques. I started with a realistic texture that was very detailed, and then worked my way back towards lesser and lesser texture. I printed each of them in turn at actual size to try to gauge how they might look. I finally determined that it would be best to eliminate the texture altogether because nothing I tried would read at that small size. In the end, looking at the finished stamp, I don't think that texture was even necessary—the cantaloupe reads fine as what it is, and I don't think anyone has questioned the absence of texture. 

Q: Has the USPS given you any feedback on the stamps’ success?
A: I haven't really heard directly from anyone at the USPS, but I have heard that the these stamps have been doing very well, and seem to have been well received by the public.

Q: What advice would you give other illustrators about working on a project like this for a government entity?
A: Well, from my own experience all I can say is be patient! It seems as if the pace of various government entities might only be described as glacial!

Time of their LivesTime of their Lives for Los Angeles Times, LA Affairs, Wes Bausmith, art director.

A Pss de DeuxA Pas de Deux for Los Angeles Times, LA Affairs, Wes Bausmith, art director.

Bound by Love and a Zip CodeGone Fishin' for Los Angeles Times, LA Affairs, Wes Bausmith, art director.

KeeperKeeper: A Memoir about Alzheimer’s for Los Angeles Times, Book Review, Judith Pryor, art director.

Barbara KosoffBarbara Kosoff
[photo credit © Mimi Haddon]

Artist Spotlight: Barbara Kosoff
Barbara Kosoff’s mixed-media assemblage style adds grit and vibrancy to her editorial work.

In her career Barbara Kosoff has transitioned through graphic designer and art director to illustrator and fine artist. Eschewing computers, she creates mixed media and assemblage works on paper that are imbued with dynamic colors and appealing textures, often drawn from nature.

She began her career in Los Angeles, working as an art director for RPA, Ogilvy, Saatchi and Deutsch among other agencies. Indulging in wanderlust, she moved to Paris and immersed herself in café society while doing freelance assignments for Galeries Lafayette, Oscar de la Renta, Disneyland/Paris and Euro RSCG, where her whimsical style and appealing palette delighted the French.

After her return from the City of Light she worked again in the agency world for top agencies and Disney, Warner Bros., Fox and DIRECTV. Kosoff has taught at Woodbury University, Otis College of Art and Design and is a frequent reviewer for AIGA student portfolio day.

Kosoff’s client list includes Warner Brothers, Honda, Disney, Fox, Mercedes-Benz, Toyota, and she has created a stellar portfolio of illustrations for the Los Angeles Times.
Her fine art has been exhibited in a wide range of Los Angeles-area galleries.

When she is not working, Barbara draws inspiration from visiting museums, foreign films, sing-alongs with friends (she plays guitar), cooking (she just mastered a Country French Apple Galette) and she loves to tango. “There’s a huge community in LA, really all over the world there are Milongas (tango parties) and when I go to Paris too.”

To view more of Barbara’s work, visit

Q: How did you develop your mixed media style?
A: After working as a designer and being on the computer non-stop, I wanted to make art by hand so I started working with an X-ACTO blade, glue stick and charcoal paper. Cutting and pasting photographic images found in magazines and pop culture publications, paper bags, and other random sources, I then combined them with drawing and painting with oil bars. I started experimenting with these different elements and found it very satisfying. After I created this work traditionally, I realized I could use my computer in a new way merging my handwork with digital media. 

Q: What type of organizational system do you have for all the bits and pieces that you use in your work?
A: I have an enormous scrap collection that I keep in envelopes filled with different body parts and interesting images—kind of a Frankenstein's lab. Over the years, I have saved many images and random papers not knowing exactly when or where I might use them, it is my ’go to' source for ideas and inspiration. After all, you never know when you might need the right finger, lips, or soccer ball. 

Q: Your palette is especially vivid. What informs your color sense?
A: It is a very intuitive process for me. My color palette is often steered by the concept and assignment. For example, when working on All She Wants to Do is Dance I was inspired by vintage footage and Marilyn Monroe's lips, so I went for fuchsia, red and colors of passion. When working on Gone Fishin' I was inspired by the ocean, the Santa Monica Bay, the sky and earth. I am an eternal optimist so I tend to gravitate towards a more vibrant color palette. That being said, while some of my work is often whimsical, it is also sometimes wistful. Then, I might use a more muted and earthy palette.
Q: Can you tell us a bit about what it's like to work with the LA Times on the Saturday section LA Affairs illustrations? 
A: As soon as I get an assignment and receive the article, I read it several times and let it marinate. The deadlines are usually very tight so I have to work quickly to sketch out my concepts. After that, I pick out the ones that are working the best and send to the AD along with little notes to describe my thinking. We then discuss it and I create the final artwork. It's a very collaborative process that I really enjoy.

Q: You've worn art director and designer hats as well as that of an illustrator. How does that experience on the other side inform your work as an illustrator?
A: Having started my career as a designer and art director has made ma a better illustrator. I understand how important it is to come up with a strong and compelling concept. I believe my conceptual skills have always been one of my strengths and have influenced me in making thought-provoking and whimsical work.

Q: What do you find most inspiring in the cultural scene today?
A: I live in Santa Monica and inspiration is all around me. It could be a piece of graffiti on the freeway, a street artist singing La Vie en Rose, a chocolate cupcake at a street festival or a sculpture made out of yarn at a gallery opening. It all feeds my soul.

The Art of Illustrated Maps
The Art of Illustrated Maps
A Complete Guide to Creative Mapmaking’s History, Process and Inspiration
by John Roman

Homegrown: Austin Music Posters 1967 to 1982 Edited by Alan Schaefer with essays by Joe Nick Patoski and Nels Jacobson

Basquiat by Leonhard Emmerling

William Addison Dwiggins: Stencilled Ornament and Illustration by Dorothy Abbe and Bruce Kennett

Good Books
A brief review of notable titles and inspiring monographs.

The Art of Illustrated Maps
A Complete Guide to Creative Mapmaking’s History, Process and Inspiration
by John Roman
208 pages, hardcover, published by F+W Media, $23.99

John Roman specializes in illustrated maps, architectural and technical art. The Boston-based map illustrator and professor of illustration for over 20 years, is also the author of the F+W Publications title 50 Markets of Illustration. While there have been many titles written about cartography, this book delves into the art of imagined or fictional maps, e.g., clever ones that show places and cities through the eyes of an artist. The book began life as an article titled “Illustrated Maps: The Creative Nonfiction of Cartography” but grew to book form through the suggestion of an editor at HOW.

Apparently our brains are wired to relate more easily to conceptual maps with their inherent geographical exaggerations. Ample historical and contemporary examples demonstrate this thesis.

The Art of Illustrated Maps is designed in four key sections. The first part explains the origins of illustrated maps throughout their 2,000-year history; the who, when, and where. Part two deciphers why our brains are able to so easily translate conceptual map illustrations. Part three is the “how-to” section, complete with demonstrations and step-by-step breakdowns of actual commercial assignments showing how illustrated maps are conceived, designed, and rendered. The final part is a showcase that displays what is transpiring today in the world of illustrated maps; a gallery of numerous contemporary map artists who share the author’s personal fondness for this unique art form, and who are playing a major role in molding the future of creative mapping.

Homegrown: Austin Music Posters 1967 to 1982
Edited by Alan Schaefer with essays by Joe Nick Patoski and Nels Jacobson
176 pages, softbound, published by Texas Monthly Press, $29.95

I lived through several years of this formative era in the world famous Austin, Texas music scene. The disparate elements that came together and fused blues and rock, transitioned through punk and back out again provided rich material for Texas artists. The clubs and honkytonks around town hosted local musicians and big-name touring acts alike, and you could find great entertainment nearly any night of the week. You’ll find four generations of posters here from late-1960’s psychedelic art through avant-garde rock to early 1980’s punk, featuring the Vulcan Gas Company, to early works from the much-lamented Armadillo World Headquarters. These posters promoted an alternative lifestyle that many flocked to Austin to experience.

Texas artists Jim Franklin, Micael Priest, Gilbert Shelton, Kerry Awn (who immortalized me in a Soap Creek Salon poster with my boss Carlyne Majer of Austin Tejas Sounds), and Guy Juke dominated the scene. This stellar body of work captures that era. Cue up the Skunks.

Basquiat by Leonhard Emmerling
96 pages, hardcover, published by Taschen, $14.99

An icon of gritty 1980’s New York, his visceral paintings combined words, African emblems, childish figures and bold color. They were confrontational and they addressed topics like segregation, poverty, wealth, and racism. Jean-Michel Basquiat first made his mark under the graffiti tag “SAMO”, but rocketed to fame at the age of 20, becoming an overnight art sensation in New York City before dying of a drug overdose at the age of 28. His career was short but his impact great. “He disrupted the politics of the art world and insisted that if he had to play their games, he would make the rules,” Keith Haring said of Basquiat (“Basquiat, A Quick Killing in Art”, by Phoebe Horan in the New York Times). “His images entered the dreams and museums of the exploiters, and the world can never be the same.”

The next in Taschen’s Basic Art series, Basquiat offers a detailed chronological summary of the artist’s life and oeuvre, a concise biography, and around 100 illustrations with explanatory captions. Author Leonhard Emmerling heads the Visual Arts Division at the Goethe Institute’s head office in Munich and previously was a curator at various art institutions in Germany.

William Addison Dwiggins: Stencilled Ornament and Illustration by Dorothy Abbe and Bruce Kennett
112 pages, hardcover, published by Princeton Architectural Press, $29.95

William Addison Dwiggns (1880–1955) was perhaps the first design Renaissance man and is, in fact, credited with coining the term “graphic design”. He spent his career working in a wide range of fields including calligraphy, type design, illustration, graphic design and even puppeteering. There has been little published about Dwiggins until now. Author Dorothy Abbe was Dwiggin’s former assistant during the last decade of his prolific life; she then served as the archivist of his collected works until her death in 1999. The original edition of this title was published in 1979 with a run of only 120 letterpress copies, handmade by Abbe. Remaining true to her original printing, this expanded edition includes an afterword by book designer Bruce Kennett, detailing how Dwiggins used ornaments and other elements in his popular book designs. This is the first in a series of planned volumes chronicling Dwiggin’s legacy and introducing his work to a new generation of design fans and practitioners. This reprint includes the original book, handset in an experimental Linotype face Dwiggins designed, along with stencils and plates illustrating a cornucopia of graphic elements. Next year the U.S. Postal Service will join the Dwiggins bandwagon, by issuing a commemorative stamp in 2016 honoring his work.

PLAY Illustration Directory of Illustration Medical Illustration
PLAY! Illustration and Design
for Toys & Interactive Games
Directory of Illustration
Medical Illustration Source Book

Job Showcase
Dreamworks and Netflix
Chris Gall
Richard Solomon Artists Representative
Ashley Percival
National Geographic Books
Mesa Schumacher
GE Money Australia
Gregory Baldwin
Illustration Room
The Wall Street Journal
Amy DeVoogd
Mendola Artists Representatives

Smithsonian Museum of American History
Randy Glass
American Artist

Walter Foster Publishing
Maury Aaseng
Faber & Faber
Carrie May
Kids Corner
Lost Art Press
Jode Thompson
Three In A Box
Scotsman Guide Media
Dennis Wunsch
AIM magazine
Carolyn Ridsdale
Extinction Witness
Bryan Holland
Pete Pachoumis
Global Arts Muse Inc.
No Clubs
James Blevins
Defining Ideas
Barbara Kelley


Artist Blogs
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Industry Advice


Industry Advice

James Victore is a man of many skills—artist, designer, art director, author, motivational coach; one source called him a fire starter, which is perhaps the most accurate one of all. Victore says he “designs sexy, memorable work for brave clients, and teaches creative courage through life-changing talks and provocative workshop experiences.” I’ve seen him in action and know it’s not hyperbole. He’s the master of taking a good hard look at things and figuring out how to turn them on their head. He’s a fierce fast-talking art juggernaut who dispenses practical, unvarnished advice. Something we all could use in our modern world where every kid gets a prize. Subscribe at

Value Your Time
By James Victore

I’m gonna draw a hard line here, but that’s my job.

Giving away your time, giving away your work, working for free* and competitions where “the lucky winner will receive $1,000…” are all bullshit. They are bad professional practices that undermine your personal power and self-respect.

Your time has value and YOU choose how to spend it. Once it’s spent, it’s gone forever. Think of it like a crisp Benjamin. Valuable indeed. You get to pick what you spend it on, and if you’re savvy, you invest that currency in something that will bring you compound interest in the future: Same thing with your time and energy.

Know what your time is worth in dollars, and then set boundaries so you know when and where to draw the line. Having standards in place shows respect for yourself and others. (You can bet your ass that company you work for has standards. Why shouldn’t you?) It’s okay to make temporary sacrifices for our family and even work, but when we start habitually sacrificing our health, sanity, or future—we need to reassess what the hell we’re doing and why.

This process of figuring out the value of your work can be a gut wrenching process. That’s why you need clarity and confidence in your gifts so you can boldly avail yourself as a valuable resource. If you don’t believe in yourself, no one else will. I once was told, “If it sounds high, it’s probably right.” Grab your big boy or big girl pants and make it happen. (Remember confidence is a muscle. Practice using it.)

Be a professional: Get work done during business hours. Make a decision that your time outside of work is valuable and feel empowered when you leave on time, knowing that you are taking your freedom and using it to invest in yourself.
Now get out there and give ‘em hell,

*Not to be confused with donating to a good cause.

Anne Telford
illustration © Denise Gallagher

If you have a news item relating to illustration that is offbeat, fun, or inspiring, feel free to share it. Write me at with the subject line “As I See It”.

As I See It
A compendium of interesting things culled from a variety of sources, offered here for your delectation

It appears that coloring books for adults are all the rage. Our plugged-in 24-7 work ethos has caught up with us and now we need to sit down and color within —or outside—the lines. This time around the subject matter is decidedly more sophisticated than starfish or puppies playing. Chronicle Books ( has a plethora of titles that allow one to color favorite urban landscapes, whimsical patterns and shapes; there is something for everyone. Of course illustrators have sketchbooks where they can explore their ideas and inspiration at hand. For the rest of us less talented folks, these coloring books offer a meditative break from alarmist news stations and headlines. Time to sharpen those colored pencils. If this trend sticks around, it offers potential for illustrators to explore interesting subjects for a range of publishers of these types of books.

Few things make me as happy as good public art, murals in particular. As part of ongoing civic efforts to revitalize Detroit, the Murals in the Market project brought together over 45 local and international artists to paint murals throughout the city’s Eastern Market district ( In partnership with Eastern Market Corporation, 1xRun and Inner State Gallery curated and produced a 9-day event last month to activate the market’s art footprint. With talent as varied as Jeff Soto (see Artist Spotlight) Miss Van, Shark Toof, Meggs, and so many more, the market will be a sprawling outdoor gallery of dynamic public art and a cultural hot spot. It’s a win-win for the artists, and the community.

I’m excited that Peter Kuper has a new graphic novel coming out. Ruins is fictional, but based on his experiences living in Oaxaca, Mexico (2006–2008) with his wife and daughter, and with his deep interest in entomology, focusing on the migration of the Monarch butterfly as a second story thread. He beautifully captures the feel of life in Oaxaca at a time the area was going through an agrarian revolution. The 328-page graphic novel will be available this fall in English, French, and Spanish (SelfMadeHero publisher,

If it’s going to rain anyway, why not do something fun with it? That’s the philosophy of Peregrine Church, whose Rainworks are messages and art hidden around Seattle that only appear when it rains. The creator makes them “to give people a reason to look forward to rainy days.” Have ideas? He’s available for commissions, email Peregrine at See the map of where to find Rainworks:

Art San Diego 2015, a contemporary art fair that highlights an international slate of artists, will be held November 5-8 in the heart of San Diego’s Balboa Park in my hometown. In honor of the Balboa Park Centennial Celebration, the fair’s theme for its seventh year, is [META.MORPHOSIS]: 100 Years of Evolving Art. ASD has developed into a must-attend event for area art aficionados and also includes informative lectures, special events, and signature ASD programs such as Art Labs, Spotlight Artists, San Diego Art Prize Exhibitions, and LaunchPad.

I recently judged Lürzer’s Archive 200 Best Ad Photographers Worldwide competition. Viewing thousands of images online made me think about the judging process, the quality of the work and creativity in general. While refining my own thoughts I came across the following quote by designer James Victore (see Industry Advice) that neatly sums up what we should all be looking for in our own work, and in the work of others:
“Three things I search for in my work: 1. Beauty, 2. Simplicity, and 3. "Holy SHIT!" —James Victore

And speaking of judging, Communication Arts Call for Entries for their 57th Illustration Competition is open until January 8, 2016. Go to to enter.

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