159 June 2016 CREATE. CELEBRATE.

Issue 159

2016 PHOTOGRAPHY & ILLUSTRATION ANNUAL

On a scale of one to ten, its an eleven.
Theres a lot to like about Nikons new DX flagship, the D500. And that, very And in cases when there is little to no light such as at night the D500, with
likely, is the understatement of the year. an ISO range of 100-51,200, demonstrates that the difference between night
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With its rugged weatherproof housing and super lightweight design, the D500
is a camera you never get tired of carrying. Which is really important. Especially Add to that, cinematic 4K UHD video capture, a new super-convenient tilt
since this is a camera bursting with new technology and exciting innovations. touch-screen, and Nikons amazing new SnapBridge connectivity feature that
2016
makes it easier than ever to share it becomes abundantly clear that the
PHOTOGRAPHY
The EXPEED 5 processor the processing powerhouse that the D500 shares D500 offers everything any photographer would want.
& ILLUSTRATION
with the full-frame D5 processes images at a lightning-fast 10fps. Equally
ANNUAL
impressive is the D500s phenomenal new 153-point autofocus system, which If the Nikon D500 is something you might want, visit a Vistek showroom,
could quickly render out of focus out-of-date. where you can enjoy a helpful demonstration from an extremely capable,
highly informed Vistek camera specialist. Image Makers
As for its extraordinary imaging capability, the D500s newly developed Shayne Laverdire
MAY/JUN 2016

Nikon 20.9 CMOS sensor captures colours, textures and details with enRoute
breathtaking clarity.
Gracia Lam
Anita Kunz

Golden AACE Awards
Canadas top
Volume 31, Number 2

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 CONTENTS

In
This Issue
June 2016
Vol. 31, No. 2, Issue 159

Part One
Departments

04 On the Cover

06 Masthead

08 From the Editor

The Minds Eye

10 2016 Calendar

COLUMNS
Notes
Gracia Lam
12 Advertising
The Brand Will Be Socialized
by Gordon McMillan

People told me 14 Design

Do Your Best Work
I wasnt in the same by Catharine Bradbury
league as some
16 Interactions
of the male artists. The Business of Design
ANITA KUNZ, P. 28 by Erin Bury

18 Craft
Stop, Collaborate & Listen
by Ben Johnston

20 Advice
Brand: You
by Istvan (Steve) Pinter

22 Notes

162 Last Word

They Said What?

Golden AACE
Anita Kunz

3 June 2016
 CONTENTS

I felt like Id done something

more than shooting clothing.
It was a huge turning point.
SHAYNE LAVERDIRE, P. 59

Part Two Part Three

Diary of a CD
Amir Kassaei Features Awards

FEATURE
27 The Golden 67 2016 Photography
AACE Awards & Illustration Awards
Canadian creative legends
67 Intro & Jury
Anita Kunz, p. 28
by Alison Garwood-Jones 70 Young Blood
Paul Lavoie, p. 34
by Will Novosedlik 74 Photography
Diti Katona, p. 40
by Chris Daniels 140 Illustration

CONVERSATION 160 Index

46 Image Matters
enRoutes Ilana Weitzman
on publishing protocol
Portfolio
Shayne Laverdire EVOLUTION
48 The Digital War is Over
Three artists recall the swift
shift in image making

DIARY
52 Are You Able to Enjoy
the Pain?
The naked truth from
DDB Worldwides CCO
by Heidi Ehlers

PORTFOLIO
56 Celluloid Dreams
Hello? Its Shayne
Laverdire
by Wendy Helfenbaum

67
Awards
Photography & Illustration
On the Cover
Gracia Lams illustration for the Soulpepper
Theatre production of Henrik Ibsens
A Dolls House. The challenge is always
to generate images that carry several
layers of meanings while avoiding visual
clutter, Lam says.

Applied Arts 4
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 MASTHEAD

June 2016
Vol. 31, No. 2, Issue 159

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Stephen Jurisic
Clare Meridew

Applied Arts 6
 Congratulations to our
2015 AACE Winners!

INTERACTIVE AACE ILLUSTRATION AACE

Leo Burnett Benoit Tardif / Colagene
#LikeAGirl La Licorne Theatre, 2014-2015 season
Online Video; Viral Advertising Illustration - Series

ADVERTISING AACE
J. Walter Thompson
Better Tomorrows Campaign
Complete Advertising Program

DESIGN AACE PHOTOGRAPHY AACE

Polyester Studio Jeffrey Milstein Photography
Save the Bees Film Cruise Ships
Broadcast Graphics - Single Unpublished/Personal Photography

By Kristina Urquhart
Those who master
image making dont just
create pretty pictures.
They tell a story
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Applied Arts
FROM THE EDITOR
The Minds
Eye
Theres a scene in Alfred Hitchcocks Rear Window where the wheelchair-bound photographer
played by James Stewart lifts his telescopic camera lens to spy on his neighbour (Raymond Burr),
who Stewart has set up to be arrested by the police in an elaborate ruse. Hitchcocks camera
volleys between the two apartments until it freezes, as Burr looks dead centre into Stewarts lens.
The exchange is one of the most arresting in cinema, multilayered in its voyeurismwhen
Burr gazes through two window panes into Stewarts lens, the viewing audience also becomes the
watched. Its a second so chilling it will send shivers down your spine.
Thats how powerful an image can be. And those jolts of feeling are what were commemo-
rating in this issue.
Establishing a relationship between the viewer and your art, whether you use a lens, pen or
digital tools, is something that takes consideration. It also takes time and effort (and visual artists
are known to be a perfectionist bunch). As Tony Leighton wrote about the first-ever Applied Arts
photography profile subject, Michel Pilon, in our debut issue, nothing exists but the shot.
But once youve connected, youre in. You can speak to people, and you can use your art to
stir up emotion and make people think. The late Jerzy Kolacz, who was the first illustrator we
ever profiled, said in our summer 1986 issue, If you show the real essence of a problem, its the
key to many doors for the reader to interpret what the writer is saying. The visual artist is often
a persons first entry point into storytelling, whether its for a brand or a complicated human issue.
The way a photographer or illustrator can infer a brief is what makes the creative industry
so exciting. But image makers are so much more than suppliers for advertising firms and design
studios. They afford us permanenceeach of their works a small entry in humanitys massive
record on earth. Collectively, those images are our visual historiography that says we were here.
The 2016 Photography & Illustration annual is a celebration of the people who master those
visual moments: the documenters, the interpreters, the seers and the thinkers. Notes (p. 22)
is devoted to photographers and illustrators, and our Craft and Advice columns (p. 18 and 20)
offer practical support for visual types. In Conversation (p. 46), enRoutes editorial director
Ilana Weitzman gives valuable insight on the commission process and how artists should approach
getting published. We time travelled with three artists who were affected by the dawn of digital
image-making in Evolution (p. 48), and in our Portfolio on p. 56, were delighted to present
the work of photographer Shayne Laverdire, who recently chummed up with Adele for her
Hello video shoot.
Add to that the winners of the 2016 Photography & Illustration Awards and you have yourself
a cornucopia of visual inspiration. The P&I Awards first started as an image contest in the
February 1992 issue of Applied Arts and later were incorporated into the awards annuals through-
out the 1990s. By 2002, P&I had become so popular we split it off into its own annual. After all
those years, we thought it time to revisit how we presented the backbone of Applied Arts. Turn to
p. 67 to see the modern new look Tung developed for our awards section.
Speaking of that, we were happy to hear from so many readers on our redesign. You can
reach me at editorial@appliedartmag.com with questions, concerns and ideas for future content.
Thank you, as always, for your feedback.
8
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 CALENDAR

Applied Arts MAY

Calling All Students

Calendar
We cant believe it, eitherwere
over halfway through awards
season! Advertising + Interactive
judging takes place this month,

2016
with the results announced
mid-June and publishing in the
September issue. The deadline
for the Student Awards is May 13.
Judging runs through June and
we post the winners list to our
site mid-July. See the work in our
Student Awards annual, which
closes out the year in November.

JULY NEW
Creative Guide Online
Our Next Issue
Have you checked out the all-new
online Creative Guide yet? Our
Our Photography & Illustration issue is the first of four annuals directory of creative suppliers is
this year to have special editorial focus on its own award discipline, easily searchable by region or ser-
vice. Youll find listings for image
in recognition of our 30th anniversary. makers, editors, schools, recruiters,
professional associations, printers,
stylists, stock agencies and more.
Next up is the Design annual in July, featuring:
If youre a creative service pro-
The winners of the 2016 Design Awards, beautifully reproduced vider, make sure you are listed!
Visit appliedartsmag.com/
in our redesigned awards section creative-guide to sign up for a
A study of Inuit type free basic listing or purchase an
enhanced listing with logo,
Behind the scenes with design studio Hambly & Woolley description and extra categories.
The recipients of our inaugural scholarship program

And so much more! Subscribe now and receive five issues per year ASAP
Got You Covered
for just $60 CAD, or ten issues over two years for $100 CAD.
Digital-only annual subscriptions are also available for $29.99 CAD. As an Applied Arts subscriber,
youll have exclusive access to the
Contact our circulation assistant at rebecca@appliedartsmag.com, AA Benefits program. Whether
call 416-510-0909 ext. 21, or visit appliedartsmag.com/subscription. youre self-employed or a contract
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Taxes and international rates apply. you can now purchase medical
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ity insurance coverage. Available
in single or family plans, the
AA Benefits program is competi-
tively priced. For more details,
Applied Arts has been an amazing resource and supporter over the email Rosetta Heckhausen at
years. The 2005 Photography & Illustration annual featured images rosetta@appliedartsmag.com.
from our first-ever direct mail piece and weve been super fortunate to
regularly have work published in the Photography & Illustration, Design Whats your Applied Arts story?
Let us know at
and Advertising & Interactive annuals ever since. Plus, we won the very editorial@appliedartsmag.com
first AACE Award for Photography back in 2012! High fives all around! and you could be published
We regularly use Applied Arts as a resource to keep track of both clients in an upcoming issue.

and collaborators and find we flip through each issue more than once.
Congratulations on 30 years, guys! Keep up the great work.
Twitter: @AppliedArts
Facebook: @AppliedArtsMag
Instagram: @AppliedArtsMag
RAINA + WILSON, RWPHOTOGRAPHIC.COM appliedartsmag.com

Applied Arts 10
 COLUMN

ADVERTISING
But social media is useless Gordon McMillan is the chief creative officer and
CEO of McMillan, an Ottawa-based creative agency

without a solid story (mcmillan.com).

The Brand
Will Be

By Those were the days. We had control. Not anymore. And it also means missing out on an expanded
Gordon McMillan set of possibilities that opens up when we
Everything has changed. Its out of control, or combine tradition and technology.
rather, its not controlled. Not by us, anywaynot A Super Bowl ad doesnt even have to run
with the gamejust tag your informative and
by marketers and creatives. Back in the day, we crafted our stories entertaining YouTube video with Super Bowl
and chose our channelsprint, radio, television. Now our audiences, ad. Great magazine spreads are shared on
Pinterest. A trusted LinkedIn group can amplify
our customers, and even our detractors decide where and how our the impact of your creative in ways that your
stories are consumed. budget could never achieve. Even trade shows
have become stages for fresh storytelling
captured to video and launched across social
McLuhan was right. The medium is the mes- Social media is, without a doubt, the big- media. When it works, the brand can be
sage and social media is the ultimate message, gest content distribution platform our industry socialized on a massive scale.
the ultimate story with millions of participants has ever known. New content management, Our stories are the key. Great stories,
not passively consuming but actively promoting lead nurturing and targeting technologies told well, exploit social media. They go viral.
and even contributing to the narrative. Our hoping to take advantage of social media and But technology cannot be expected to boost
job is to give them a good story to start with. big marketing data have spread across the the performance of a not-so-great story.
We must surprise and delight, inform and marketing landscape, and obscured another Poorly conceived, poorly rendered ads dont
entertain, to earn the support of social media. important truth: McLuhan was also wrong. get shared (except for the wrong reasons).
Story is the key. From cave art to Banksy, The message must exploit the medium. Tomorrows most successful agencies will
its our stories that convey our connections, It is tempting to throw over the hard be those that take advantage of the power of
our values and our preferences. Our customers work of compelling storytelling and go with technology. They will look for and even invent
explore our stories for answersfor glimpses an algorithm. In their embrace of the new new and novel ways to combine traditional
of themselves, their problems, and their aspira- marcomms technologies, some agencies may channels with digital channels for ever-greater
tions. Allan Gregg captured it in two questions: have gone too far. Some seem to have rele- reach. And yet, they will only succeed if new
gated storytelling to the back seat, calling it thinking is combined with the big, crazy ideas
Is it like me? content, as if stories exist only to feed the that break through the noise.
Is it for me? technology. And some have even abandoned Social media, new marketing technologies,
the traditional outlets for their stories entirely, and big data are all...well, theyre just big,
When the answer is yes,, our customers opting instead for big data, analytics, target- but they all get better with a big idea. Creative
connect with our brands. When that connec- ing and retargeting. is as important and relevant as everand
tion is made, our stories will be picked up for To take either approach is to misunderstand we have more tools than ever to make big
social distribution. the significance of stories, ideas, and creativity. things happen.

Applied Arts 12
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 COLUMN

DESIGN
A designers guide to producing Catharine Bradbury, CGD is a designer and founder
of the multinational Bradbury Branding & Design

first-rate results, every time (bradburydesign.com).

Do Your
Best
By As designers living in a stream of seemingly end-
Work
know when you move onto the next problem
Catharine Bradbury, to solve.
CGD less deadlines and demands, it can be challenging
7. Keep it simple
for us not to relent and let the strong current take Its easy to get lost in the wanting of excellence.
us to places it wants to go, rather than choosing Things can get out of hand quickly in ways
that may not be helpful. Sometimes you need
to follow our own path and consistently doing our best work. After to take a step back, and, if time allows, put
nearly three decades running my own design business, I have devel- the project away until the next day. Fresh eyes
are honest eyes and will always serve you to
oped a set of guidelines to keep me focused and inspired. Although do your best work.
some of these suggestions may initially seem a bit expected,
8. Always do your best
Ive found steady success with them over the years once applied. The reality is not every project has adequate
time or capital behind it. Regardless, set an
intention to do your best relative to the budget
1. Put the stress aside 4. Let go of being right and projects constraints. See the success of
This one can be difficult when we wear so many This has to do with taking risks. You must your solution within the constraints. Do your
hats in a single day (parent, family member, set aside what you think is right and pursue an best and feel good about what youre able
designer, business owner, etc.) Compounding unknown path. Its important to recognize to produce within the projects limitations.
this are client demands, increasing competi- when youve become attached to an idea that
tion, and the ever-changing landscape in our simply will not work. You need to let it go. 9. Accept that youre not perfect
industry. But clearing your plate of adminis- Form follows function. Take a global view to I find that as soon as I ease up on myself, my
trative tasks and meetings and actually building determine if the solution will be successful creativity flows much better. A seed of mind-
some procrastination time into the process (and in all of the necessary applications. This will fulness can go a long way once Ive identified
being okay with that) sets the stage to focus. allow you to move forward quickly and con- that Im getting stuck in perfectionism.
sider other possibilities.
2. Challenge yourself 10. Love yourself
Once youve absorbed as much information 5. Trust yourself If we base our sense of self-worth on the
about the project as possible, take a step back One of my favourite takeaways from a book creation of an award-winning design, this
to think outside the box. Set the bar high. called The Courage to Create by Rollo May is becomes a very painful process. Perfectionism
Make a point to create solutions youve never that one must trust themselves enough to is both an ally and an enemy. We must be
attempted before, ones that stand head and move forward, but also question themselves careful not to identify the success of our work
shoulders above the competition, regardless enough to thoroughly explore a variety of with our value and success as a human being.
of who the clients competitors are. possibilities. Remind yourself that in the early Although I am very serious about my work,
stages nothing is written in stone, and give sometimes I have to design as if success doesnt
3. Take risks yourself permission to explore. matter. There is great irony in this. Letting go
The beginning of a project is the time for play of wanting to be successful frees up the creativ-
and exploration. Dont concern yourself with 6. Make mistakes and feel good about it ity to problem solve and see more possibilities,
failing. Do the unexpected and see where Granting yourself permission to fail is healthy. and in turn, this freeing of yourself allows you
it takes you. Often once we get out of our own Its not the only way to learn, but it is one of to do award-winning work. As the ancient
way and try something completely outside the best. The more possibilities you explore Chinese philosopher Laozi said, When I let
of the box we find a solution that surprises us. whether successful or notthe more you go of what I am, I become what I might be.

Applied Arts 14
Iconic author Margaret Atwood
as photographed by Asylum Artists
award winning photographer Don Dixon.

One of The Canadian Icons Project

150 Icons for Canadas
Sesquicentennial.

produCtionS
 COLUMN

INTERACTIONS
What Ubers rebrand can teach us Erin Bury is the managing director of 88 Creative, a
Toronto-based digital marketing and creative agency

about CEOs as designers (88creative.ca).

D E
them to jazz it up a bit. But theres an import-
ant place for non-designers in the creative
process. Often I find my feedback on a design
project aligns with our clients feedback, so
I can play devils advocate to make sure that
what were designing is actually meeting their
needs and expectations. After all, following

S I
every design principle to the letter and only
caring about whats good doesnt mean any-
The Business of thing if youre not creating a product that
aligns with someones vision and creative brief.
When I asked our design team their take,
they agreed that its important to bring non-
designers into the process, especially because

G N
the majority of people who will interact with
the finished product will be non-designers.
The involvement should primarily be during
the early stages of design to help determine
the overall direction and concept, and to ensure
both sides are on the same page about the
projects goals. CEOs and non-designers should
By Introducing a new logo is something countless provide style inspiration, clearly outline their
Erin Bury objectives in a concise creative brief, and align
companies have done in the past, with varying with the design team on the overall goals. Then
(and often negative) results. Brands like Gap and they should hand it over to the professionals,
trusting that theyre the best people equipped
Tropicana had disastrous receptions to their new logos, while other to achieve the goal. Designers rooting for
brand refreshes were met with a bit of puzzlement but ultimately ideas that appeal to their own aesthetic instead
of the clients goal is self-indulgent, but so is
acceptance (see Airbnb and the logo that people felt resembled a a CEO insisting on doing it themselves.
part of the female anatomy). The most controversial rebrand of Our junior designer Tim Singleton said it
best in a blog post about the Uber rebrand.
2016 has undoubtedly been from Uber, which introduced a new We should all try new things. But I also dont
logo and style guide in February. The new brand is a departure think a CEO should roll up their sleeves and
take the design process by the throat, strictly
from the black-and-white minimalistic brand, and introduces because theyre keen to figure out all that
bright colours, illustrations, and app icon symbols that replace fancy kerning and colour harmony. A CEO
should be empowering their employees, and
the companys recognizable U. by reducing the job of an entire department
into a discussion over whats pretty, they are
doing more harm than good.
The new brand and logo immediately sparked mainstream through accessible software,
a heated discussion on social media, not only companies like Apple who have showcased
because of its appearance, but also because of the importance of design, and a general move
the way it was conceived. An in-depth article towards public appreciation of great design.
in Wired outlined how the Uber team devel- Yahoos Marissa Mayer, a computer scientist,
oped the new brand, and the key takeaway is helped with Yahoos logo refresh in 2013, and
that Uber founder Travis Kalanick, an engineer wrote on her personal blog about her involve-
by training and an entrepreneur, refused to ment. I love brands, logos, colour, design,
hand over control to an external agency despite and, most of all, Adobe Illustrator. I think its
interviewing more than sixand he also one of the most incredible software packages
didnt hand it over to his in-house design team. ever made, she wrote. Im not a pro, but
Instead he immersed himself in the redesign I know enough to be dangerous.
process, and according to the Wired article he This begs an important question: how
studied up on concepts ranging from kerning involved should non-designers be in the design
to colour palettes and worked side-by-side process, and what role should they play?
with Ubers design director for two years. As a non-designer who runs an agency with
Regardless of whether people liked or dis- a design team, its a question I often consider.
liked the new logo, this highlighted a larger While I know what I like and what I dont like,
design industry trend of non-designers and I find myself becoming a Clients From Hell
CEOs becoming more involved in the design parody when I try to offer design feedback to The previous Uber logo (above), and the updated
process. Its a result of design becoming more our team, who has banned me from asking logo mark (below).

Applied Arts 16
93-96 GE Brightness

60.8, 70, 80, 100 Text

lb 80, 100, 120 Cover
 COLUMN

CRAFT
Unexpected creative partnerships Ben Johnston is a Toronto-based freelance designer and
letterer (@benjohnston25 and benjohnston.ca).

are beneficial for your craft

Stop,

Collaborate

3D type sculpture created with Mark Simmons.

& Listen
work. Before I started collaborating, it seemed
like everything I was working on could be
described as hand-lettered or, plainly,
typography. This new way of collaborative
thinking changed that and allowed for a more
expansive portfolio with more creativity and
By As a designer who predominantly works alone, skill. And by creating projects and briefs that
Ben Johnston represented the lifestyle we love and the de-
it can be difficult to find new and exciting ventures sign and craftsmanship we admire, we were
that are opportunities for creative exploration. also able to attract clients who valued those
qualities and were willing to pay for it. Follow-
Its easy to become complacent and stick to the work you are com- ing the online attention of those collaborations,
fortable with, which can stunt your growth as a creative. This is clients including Aston Martin and Adobe
started to trickle in, allowing us to push our
why I have found it important for designers to explore creativity original concepts, experiment with 3D printing
through collaboration: partnering with someone who pushes the of type, and rent studio space for massive
installation-style work. Although these projects
boundaries of your own craft, while simultaneously pushing theirs. required us to use new and exciting mediums,
the practice of working with our hands was
still an integral part of the process.
There was a period of time where I started to pure: a mutual respect for one anothers work. A lot of new and interesting opportunities
feel like my design and lettering work was be- For collaboration to be successful, you need came from having an open mindset and
coming stagnant and I was unsure of what my to find someone with whom you have a shared willingness to work on pretty much anything
next steps were in becoming a better designer. appreciation. Its simply a matter of coming that came my way. Theres a good chance
While in some ways it can be great to have a up with an idea that excites the both of you that whatever youre passionate about, theres
consistent portfolio with a particular style and even if its for different reasons. Motivations somebody out there who shares those passions.
aesthetic, I wanted to grow. It was around that and goals dont need to be the same, but its a But theyre never going to find you unless
time that I met a talented product designer big plus if they dont conflict. you give them something to look for. The chal-
who was experiencing a similar creative block Knowing that you have someone else lenges are exciting, and the uncertainty
in his career. We decided to work together in relying on you is a strong motivator, especially combined with the confidence in knowing that
order to move through these creative obstacles when it comes to making progress and keep- you can figure it outis invigorating. Youre
we were both experiencing. ing a schedule. This is where a bit of ignorance only going to find inspiration from the same
Moving forward, the motivation was simple. can actually be a good thing. Not understand- thing a certain number of times, so you cant
We wanted to create something that neither ing all the ins and outs of anothers work may be afraid to look for it in places you hadnt
of us could do independently, yet at the same make you more inclined to push their work to thought of before.
time, would serve as a great way for us to another level or into a different direction than Admittedly, it can be tough to let go of your
leverage our individual talents. He knew my if they were on their ownand vice versa. own ideas and give them to others to interpret.
strengths were custom type and illustration, And as you become more familiar with one However, I have found it to be the most liber-
while I knew that he had the ability to give another, you find that the ignorance fades ating creative exercise and the thing that has
physical form to non-material things. By com- but the unlocked potential remains. really been the driving force behind my prog-
bining our design disciplines, we were able By constantly expanding your portfolio ress. If theres anything you take away from
to explore the transition between 2D and 3D with collaborative projects that showcase your this, have it be this: always be creating, never be
spaces, something I had never considered true abilities and passions, its much harder afraid to try, and share your ideas and journey
before. These projects came out of something to be pigeonholed, and easier to find exciting with people who inspire you to do better.

Applied Arts 18
WE GET IT. WORKING WITHOUT BENEFITS SUCKS.

www.appliedartsmag.com/benefits
 COLUMN

ADVICE
Why self-promotion is Istvan (Steve) Pinter is a Vancouver-based creative
retoucher, educator and national director on the

as important as your art CAPIC board (pintercreative.com).

Brand: brings my tiny little studio way more credibility

than any paid ad page I could afford would.
In fact I can draw a straight line from an awards
show win to a jobseveral in fact. Thus I am
always on the lookout for creative opportunities.
(Yes, I am talking to you. Got an idea for
a creative, need a retoucher? I am all ears.
Lets talk.)
Back to word-of-mouth: keeping your
current clients happy is the best advertising
investment you can make. Retaining an exist-
ing client is much easier than getting a new
one so take care of the ones you have. Keep
them up to date on whatever you are doing,
move heaven and earth for them and, sooner or
later, that reputation will get you new clients.
What if you havent got any clients, if you
are still in school or just graduated? Get to
know students in similar disciplines. Photo
students, meet design students. They will be
By Inspirationyou never know where it is going your clients one day. Who is a new designer
Istvan Pinter
to come from. When I heard about an opportunity going to call for that job? That young photog-
rapher they got to know in college. Get involved
to write this column through the Canadian in your community, whether it is professional
Association of Professional Image Creators (CAPIC), I contacted like CAPIC or GDC, or creative like Creative
Mornings or Likemind. These organizations
photographers, illustrators, art directors and students and set up connect you with creative professionals so that
appointments to meet over coffee, lunch or a beer. Seasoned pros, they have a chance to know you before you
strike out on your ownso you wont be a
mid-career and emerging talents all shared their thoughts on stranger when you come calling to drop off
self-promotion in some of the most inspiring and animated conver- a promo.
Find people whose work you admire and
sations I have ever had. tell them. You want to get to know them,
make their lives easier and hopefully work
with them down the road. So build a list of
First, show your clients you are the best per- personalities mesh. If they do, we have some- who youd like to work with, establish contact,
son for the job. Every interaction you have thing we can show our clients, and if not, send them somethinglike a postcard with
should reinforce your professionalism. Your none of our other professional relationships are your work, hand-addressed so it doesnt look
clients are visually sophisticated, so hire a impacted. Over the years I have worked on like a bulk mailingand post it. This shows
professional to design your identity. It will be a number of creative projects that helped time and commitment on your part. Dont
money well spent. Your logo, your website, establish a relationship with a photographer, forget to follow up. Be polite, ask them if
your emails, your phone manner, and your demonstrating to the client that together we you can continue to send them stuff. Some
social media channels are all opportunities for can create compelling imagesthat have then people like paper, some despise it; everybody
you to present the best possible version of gone on to win an award or two. Talk about has a different preference. Respect that
your brand. paying dividends. preference. Expect a low response, dont be
Thats presentation, but you also need The creative project is not limited to the discouraged, repeat.
substancethe work. If you get the job you realm of new relationships. Every year I try to You are in it for the long game so show
have to be able to pull it off, because if you complete a couple of creative projects with growth and development, that you are inter-
choke, you may not get a second chance. So photographers I already know. These projects ested and committed to your craft. All of this
how do you demonstrate your core compe- allow us to try new things, hone new skills, helps your clients get a sense of who you are.
tency? Well, by doing it, of course. Whenever nourish our souls, provide us with new material And once you are getting the work? Do a
I meet with a potential collaborator I always to show our clients and potentially enter great job, be thankful and thank them for
suggest we do a creative project together with awards. Why the award shows you ask? Its the business.
high production value being the only stipula- simplenext to word-of-mouth, award shows On that note Im off to cold-call a bunch
tion. We get to work on a project that doesnt are the second best form of advertising for of people whose work I admire and ask
have the restriction of time and client, the creative supplier. Sitting on the same page them about their thoughts on the art of self-
and allows us to see if our working styles and as Saddington & Baynes in an award annual promotion. Got time for a coffee and a chat?

Applied Arts 20

brad p
brad pickard final AA 2.indd 1 2016-03-30 11:07 PM
 NOTES

New and noteworthy projects and updates from the applied 01

02
A Dolls House
The Anger in Ernest and Ernestine

arts. This issue, weve curated works from both photographers 03

04
The Just
Blood Wedding

and illustrators to celebrate our talented audience of image

makers and visual creators

Notes
01 02

03 04
1.
Poster Envy
Gracia Lam

These illustrations by Gracia Lam are turning

heads on the streets of Toronto where they are
wild postings for the 2016 season of Soulpepper
Theatre. The design team at Soulpepper
was remarkable and gave me complete creative
freedom right from the get-go, says Lam.
She notes the poster design called for simplistic
illustrations that she enhanced using colour:
The colours are drawn from what I felt would
highlight and emit the overarching emotions
of each play.
Lam used hand-painted and drawn ele-
ments and scanned them into the computer for
editing. The challenge is always to generate
images that carry several layers of meanings
while avoiding visual clutter, she says. I aspire
to delight the audience with intelligence
and wit by reimagining objects, environments,
familiar situations and relationships.
Consider us delighted.
gracialam.com

Applied Arts 22
2.
NOTES

On Our Radar
Andrew B. Myers

The Ryerson University grad and Toronto

native first gained attention as an ADC Young
Guns winner in 2012. Now based out of
New York, Myers shoots still-life editorial and
advertising for clients such as GQ, The New
York Times Magazine, Google and Airbnb, who
seek him out for his graphic compositions
and punchy use of colour. Here, some of his
latest work for Bloomberg Businessweek, for
an article about high achievers.
andrewbmyers.com

05
The over-achieving talent, Teddy the
hamster, gets off his wheel long enough
to munch his iPad in a series of shots for
Bloomberg Businessweek.
05

06 07 08

3.
The artist reps at Anna Goodson Illustration
Agency celebrate two decades in business
with the release of the companys third-annual
coaster collection. For the promo kit, which
is sent to clients, friends and prospects, each
of the agencys signed illustrators riffed on
the concept of the number 20. Goodson first
Calling Cards launched the coaster series in response to the
Russian homophobic laws that gained interna-
Games. The series was so moving, and had
such a great effect. I had people from Russia
contact me, says Goodson. It felt so good
to make waves.
Heres to another 20 years of that!
agoodson.com
06 Denis Carrier

Anna Goodson at 20
07 Phil Wheeler
tional attention prior to the Sochi 2014 Winter 08 Marisa Morea

23 June 2016

01
4.
All That Remains
Yuri Dojc
Last Folio: A Photographic Memory (Prestel,
$60) is the last installment in photographer
Yuri Dojcs 15-year-long documentation
of Holocaust survivors living in Slovakia.
The Last Folio project began in 1997 when
Dojc met a woman at his fathers funeral who
visited concentration camp survivors in her
spare time. She took me to a few places and
I was hooked, Dojc says. Whenever he was
in Europe, hed tag along on her visits to shoot
the people and tell their stories.
In 2005, Dojc attended a London reunion
of refugees whod fled Czechoslovakia in
1968 when several of the Warsaw Pact coun-
tries invaded. There, the organizer asked
Applied Arts
NOTES
02
03
him to show slides of the survivor photos hed 01 Torah Scroll, Koice, 2007
taken. Katya Krausova, an ex-producer from 02 Bookshelf, Bardejov, 2006
03 Book Fragment, Bardejov, 2008
the BBC and independent filmmaker, was in 04 Yuris Father, Ludovit Doj,
the audience. Bratislava, 1996
She said, I want to do a movie about
this, Dojc recalls. She had a $50,000 loan
to do work in Czechoslovakia [the region].
The pair set out with a camera crew to revisit
some of the survivors Dojc had photographed.
One pointed them to a derelict building in 04
eastern Slovakia that, at wartime, was a Jewish
school and had since been untouched. The
project shifted as Dojc began photographing
the decaying books, religious texts and school
essays that were abandoned the day the entire
student body was marched off to the camps.
In 2008, Dojc and Krausova visited
another school with a similar story, and it
was there they discovered a book that had
belonged Dojcs grandfather. It was a chain
of serendipities, says Dojc now. Once I
saw that book I realized this was something
totally different.
The evocative images take on new life in a
large-format coffee-table book designed by
the Berlin branch of design studio Pentagram.
lastfolio2.squarespace.com
24
5.
NOTES

Illustrated:
Three New Books
Canadian
talent abounds

Pax Saving Montgomery Sole Sea Change

by Sara Pennypacker, by Mariko Tamaki, by Frank Viva
illustrated by Jon Klassen cover illustrated by Eleanor Davis (Tundra Books, $20)
(Balzer + Bray, $12) (Razorbill, $23)

The Winnipeg-born Klassen created about
a dozen sketches combined with words to give
haunting emotion to this American title for
older kids about war and loss. His detailed,
black-and-white illustrations lend a dreamlike
feel to the story.
On the heels of One Last Summer, her graphic
novel collaboration with cousin/illustrator
Jillian Tamaki, this latest effort from Toronto
writer Mariko Tamaki delves into young adult
fiction and addresses themes of homophobia
and the paranormal. The eye-catching cover
is the work of an American cartoonist.
An unusual colour palette depicts the life
of a boy spending a summer in a seaside Nova
Scotia town. The story, artwork and playful
typography were inspired by the Toronto illus-
trators own childhood memories.
WITH FILES FROM SHANEZA SUBHAN

25 June 2016
 FEATURE

The
IMAGE

Anita Kunz
p. 28

Golden
ADVERTISING

Paul Lavoie
p. 34

AACE
DESIGN

Diti Katona

Awards p. 40

Photography by Don Dixon

If youre in the creative industry, you know how often it changes. Ideas get dropped, Thank you to our selection committee:
revised, reinvented. Technology makes our jobs easier, scarcer, more challenging.
Budgets get slashed, reallocated, nixed. Colleagues come and go, and so do trends.
Which is why its so impressive that over the last few decades, the three recipi-
ents of our Golden AACE Awards have not only adapted to all the changes, but also Vanessa Eckstein Donna Braggins
Founder & Creative Associate Dean,
succeeded and thrived. Director, Blok Design Sheridan College
To mark our 30th anniversary year, Applied Arts is recognizing the global
contributions of the Canadian creative industry with the Golden AACEa gilded Anna Goodson Don Dixon
CEO & Founder, Anna Partner & Director,
version of our Applied Arts Creative Excellence (AACE) Award (usually bestowed Goodson Management Asylum Artists
upon the top-scoring entrant in our awards programs). The Golden AACEs are life-
time achievement awards that honour a noteworthy individual in the core disciplines Chris Gordaneer John Farquhar
Partner & Photographer, Partner & Chief
we cover: Image, Advertising and Design. Westside Studio Creative Officer,
We consulted our editorial advisory board (p. 6, and right) and put together Rain43
a list of six deserving nominees in each discipline. Each person on the shortlist Mark Jones
Chair, School of Jon Finkelstein
has been professionally active primarily in Canada for most or all of the last Creative Arts & Animation, Executive Creative
30 years, is award-winning with international accolades, has achieved significant Seneca College Director, Mirum
business success and is considered a change agent, and has been a mentor or
Stephen Jurisic Paddy Harrington
cultivator of talent. Partner & Executive Founder, Frontier Co.
Then it was up to our jury to decide the recipients. Our advisory board, along Creative Director, john st.
with their trusted peers and colleagues, made their selections and the winners Franca Piacente
Clare Meridew SVP, Director of
are on the following pages. Congratulations to all and thank you for your creative Executive Creative Production Services,
contributions. Its been a joy for Applied Arts to watch you work. Director, Clare Meridew Leo Burnett Canada

27 June 2016
 FEATURE
Poking
Giants
Golden AACE Image winner Anita Kunz
looks back on her 35-year career and
how she developed a knack for sharp
editorial commentary
By Alison Garwood-Jones
Applied Arts
Anita Kunz
Photographed in her
studio in Cabbagetown,
Toronto, March 2016.
While shes still a sought-
after artist, Kunz says
shes had to adapt her
strategies when it comes
to getting new work.
There are a lot of great
artists out there; there just
isnt the work that there
used to be, she says.
I wish I had the jobs that
I used to turn down. There
was so much work and
so many fewer artists.
WHEN ANITA KUNZ WAS A FIVE-YEAR-OLD growing up in Kitchener, Ontario
in the early 1960s, she dumped out her Crayolas and practiced drawing
the usual kid stuff: horses, flowers, fluffy clouds. But making decorative
masterpieces for the fridge wasnt enough. Anita drew with a stronger
sense of purpose learned from her uncle, the artist and environmentalist
Robert Kunz. His editorial illustrations for the The Childrens Corner,
a weekly full-page section in the Toronto Telegram, introduced young-
sters like Anita to a range of current affairs and delightfully drawn
explanations of the world around them (things like, where honey comes
from). Uncle Robert taught me that an artists work could actually
play a meaningful role in society and in culture, whether as education
or journalism, says Kunz. That focus in me came very early on.
But whereas Robert Kunzs cast of characters were dwarves and
chatty forest creatures, like Mayor Rob Rabbit of Acorn Valley, his niece
would eventually take on real political animals whose strange habits
and questionable tactics were recast in her hard-won signature style:
an off-kilter hyperrealism with elements of fantasy and surrealism.
A naked and exposed portrait of President Bill Clinton for a 1998 cover
of the now-defunct Saturday Night magazine is typical of Kunz giving
her point of view as a feminist and democratic citizen. The same goes
for her recent depiction of Kim Jong-un, supreme leader of North Korea,
whom Kunz depicts as a big baby playing in his sandbox with some
new toy nuclear missiles. I have to admit, says Kunz, with that cover
I had a few moments where I thought, Oh, shit, are there going to be
repercussions on the Internet? Like most of her illustrations, the idea
was self-generated and pitched to The New Yorker, who put it on a cover
this past January.
To students and competitors, Kunz is known for having scaled every
mountain in publishing, multiple times, with her covers and editorial
drawings for Time magazine, Vanity Fair, Rolling Stone, Atlantic Monthly,
Toronto Life and The New York Times (the paper and magazine). For
the first five years of her career, however, this OCAD grad (class of 78,
when it was still OCA) fielded one rejection letter after another. I wish
Id kept them all, she says. People told me I wasnt in the same
league as some of the male artists. Somehow, she blotted out the sexist
insults and got back to work filling her box of ideas with funny and
mournful sketched observations of human nature, while feeding off
28
 FEATURE

Recent
New Toys, North Koreas Kim Jong-un for The New Yorker, Jan 18. 2016.
As an artist, this whole idea that we can be so incredibly smart and
technologically-savvywith space travel, mapping the genome, etc.
and then be such idiots, at the same time. I cant believe theres this
paradox! Talk about inspiration for an illustrators work, Kunz says. She
installed a wall-mounted TV opposite her drawing board and has CNN
streaming while she works. Knowing whats happening in the world and
with different cultures is central to her concept-driven art.

29 June 2016
 FEATURE

01 02
Feminist First Big Break
Girls Will Be Girls, The Helmut Rauca, Saturday
New Yorker, July 30th, Night, 1982: The Rauca
2007. The covers editor piece was one of [my first
at The New Yorker is significant] assignments.
Francoise Mouly, says The angle of the article
Kunz, and shes married was, theres a monster
to the artist, Art Spiegel- living among us and no
man [of Maus fame]. one has ever done any-
Mouly is amazing to work thing about it.
with. Like most French
people, she loves comics,
cartoons and all kinds
of art, and she makes
sure that she uses a lot
of women illustrators.
Diversity with her artists
is a big deal. Ive sent
her all kinds of stuff that
I know will never make
the cover, but shes really
open to pretty much
everything. And she never
censors me at all.

01 02

the socially and politically charged works of illustrators she admired,
like Sue Coe, Brad Holland and Marshall Arisman.
Given the widespread pressure to brand ourselves, Kunz likes to
remind the curious and ambitious that she didnt spring from the class-
rooms of OCAD fully formed (remember those rejections). Everyone
talks about a style and I know students just graduating especially feel
pressure to settle on one, but my style evolved naturally. It developed
the way it did largely because she didnt rely too heavily on references.
I drew from my head and thats why my work has always seemed a
bit wonky. And she drew constantly. The more you practice, the more
youll get a look thats uniquely yours.
Her first significant assignment came in 1982 when Saturday Night
art director Louis Fishauf, known for creating the brand identities
for Roots, Molson and Toronto Life magazine, called on Kunz to render
German war criminal Helmut Rauca. Rauca, a former SS Master
Sergeant charged with killing over 11,000 Jews, was living freely in
Toronto by the early 80s. Kunz showed him as a skeleton twisted
in the shape of a swastika and balancing the scales of justice filled with
hands reaching up for help. More work from Fishauf and additional
praise from New York artist Marshall Arisman in a Communication Arts
article soon opened the doors to so many assignments from Canadian
and American publications that, until two years ago, Kunz maintained
an apartment in New York in addition to her home base in Toronto.
Through the 1980s and 1990s, Kunz rode the celebrity culture
wave doing portraits of Hollywood actors and monthly end papers on
the history of rock and roll for Rolling Stone. She also drew over 50 book
jacket covers and took on the occasional advertising assignment for
beer brands and chocolate companies, although working in advertising
was never her goal, even if the money was amazing.
September 11, 2001 changed everything, but for illustrators it hit
the tone and volume of their assignments. Before that, you could be
more biting and controversial in print, says Kunz. Darker work was
being widely published. She points to the moment President George
W. Bush declared, Youre either with us or youre with the terrorists
as the turning point when political commentary and satire practically
evaporated, with The New Yorker being the only exception.

Applied Arts 30
JIMENA ARECHAVALA SENECA INDEPENDENT ILLUSTRATION GRADUATE 2014

Imagination and creativity matter.

Our programs in creative arts and animation combine thinking and doing, and
challenge you to refine your talent. With a strong focus on original thinking you
will develop industry-ready skills that will guide your career.

senecacollege.ca/create
 FEATURE

03
Canadian
How Canada Sees
America, Time (Canadian
Edition) Nov 1, 2004: It
used to be that there was
a hierarchy of magazines
and if you did a Time cover
you were the best artist.
But now, with the Internet,
it just works in so many
different ways to get your
work out there and it isnt
as binary. Thats one of the
biggest changes from 20,
even 10 years ago.

03

05
04
Book Covers
Gravitys Rainbow by
Thomas Pynchon, 1984,
Picador Books: This was
one of the most compli-
cated books I ever read,
and really hard to get
the germ of the idea.
Pynchon kept going off
in tangents. I mixed up
the art the same way the
writer did and made an
image that can be read in
all directions.
04

Since then, the aftershocks of 9/11 have been replaced in publishing

05
Allegories
The Fall of Conrad Black,
Toronto Life, Fall 2007:
Kunz often uses word
associations and lateral
thinking to find ways to
visually explain events in
the news. She especially
likes to refer back to
older works in literature
or art history to give these
events a context. To wit:
Conrad Black as Humpty
Dumpty having a great
fall, Lance Armstrong as
Pinocchio riding a bike
and Trayvon Martin
as Munchs Screamer
in a hoodie.
by the pain of a broken advertising model that has drastically reduced
the power of print, scattered readers across the Internet and forever
changed the way all commercial illustrators must work. In the old days,
we would enter the awards annuals or buy a page in Workbook or
Showcase and sit back and wait for an art director to phone us. But very
few of us rely on commissioned work anymore, says Kunz. That
strategy is obsolete. Instead, everyone now is focused on self-generated
work. Kunz has even taken to calling herself a content provider for
the print publications that are left.
With a wall of awards to her creditincluding Officer of the Order
of Canada, the Queens Diamond Jubilee Medal, honorary doctorates
from OCAD University and the Massachusetts College of Art and
Design and now a Golden AACE Image Awardthe biggest highlight
of Kunzs career is still the opportunity to travel the world, including
a jaunt to Spain last fall. I never saw travel as being part of my job.
I thought Id just be in my studio working away, she saysbut Kunz
gives workshops, lectures around the world and regularly attends
international cartoon conferences. Just being able to see how artists
work in other countries [is really eye-opening]. Through my travels,
Ive met artists from Iran, China and Cuba and theyre so amazed by
our [autonomy and] freedom of speech. Its something most of us take
completely for granted. But not Kunz.
Alison Garwood-Jones is a freelance writer whose work has appeared in
Toronto Life and The Globe and Mail (alisongarwoodjones.com).

Applied Arts 32
 The evolution of creativity
A lot has changed over the course of tens of thousands of years. One thing hasnt. And thats our instinctive
need to create using a handheld device.

Whether you prefer an office workstation or a shadowy cave, the Cintiq 27QHD is considered by many to
be the ultimate creative tool. It allows creative individuals to express themselves in the most human way
possible by touch as well as with a pen.

Delivering a 97% Adobe RGB colour gamut and over one-billion colours, the Cintiq 27QHD is ideal for
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 FEATURE
Monsieur
Voila
Thats what they used to call our Golden AACE
Advertising winner around the TAXI office.
A onetime staffer explains: whenever Paul Lavoie
heard no, he turned it into yes
By Will Novosedlik
Applied Arts
Paul Lavoie
Photographed at TAXIs
headquarters in Toronto,
March 2016. Since 1992,
the agency has expanded
from one shop to six
North American offices
New York, Vancouver,
Chicago, Montreal and
two in Toronto.
YOU HEAR HIM BEFORE YOU SEE HIM. I am being escorted through the maze
of corridors and common areas at TAXIs longtime Toronto head-
quarters. The place is unrecognizable to me since I worked here 13 years
ago, but I know were nearing our destination because I can hear the
unmistakable baritone of co-founder Paul Lavoie.
Suddenly there he stands, all 6'3" of him, clad in a bespoke true-blue
gabardine suit that almost radiates its own light. Put it together with
his famously bald, oft-imitated pate and a megawatt smile (oh, and is
that a pair of John Lobb brogues hes wearing?), and Lavoie is the picture
of positivity and confidence. You get the clear sense that the word no
is not in his vocabulary.
And sure enough: No is just a suggestion as far as Im concerned,
he confirms. Its an opportunity. A motivator. Lavoie is nothing if
not an irrepressible optimist. Let me give you an example, he says.
When I went to New York for the first time, I wanted to meet one of
the big consultants down there, and so I called him up. He picks up the
phone and says, What do you want? And I said, I want to meet you.
And he says, why dont you give me a call in two months? and I say,
No, no. Im in New York today. He goes, What? You want to meet
me today? Are you crazy? I dont know where this came from, but I
screamed at him, AW, COME ON! And he says, okay, okay! So we
met. It worked. Try it! Whenever you want something...AW, COME
ON! Works 80 per cent of the time!
(Of course, it helps to have a voice like Darth Vader.)
Lavoie has a lot to be positive about. Along with his co-founder
Jane Hope, he launched a four-person shop in Montreal back in 1992
and has grown it to a network of six offices and 300 employees across
34
 GOLDEN
FEATURE
AACE AWARDS

15 Below
When TAXI celebrated its 15th anniversary in 2007, Lavoie directed the
15 Below Project to give back. When winter temperatures in Canada
drop below -15 degrees Celsius, the government issues a cold weather
alert. But so many people in need never hear about those alerts or
are equipped to prepare. So TAXI created 3,000 jackets with multiple
pockets that could be stuffed with newspaper to create more warmth,
and worked with the Salvation Army to distribute them across Canada.

35 June 2016
 FEATURE

01 02
Clearnet McDonalds Pizza
The early campaigns While at Cossette, Lavoie
Lavoie art directed for the designed the now-iconic
telecom company set the logo for McDonalds much-
colour and nature scheme missed pizza.
that would be used by
TELUS for the rest of its 02
tenure with TAXI.

03

03 04
Viagra Molson Wheelchair
Lavoie was creative This 30-second spot,
director for a 2002 Viagra directed and art directed
spot, which saw a man by Lavoie, is a twist on the
skip his way to work to the phrase, If you drink and
tune of Good Morning. drive, plan ahead.

01 04

Canada and the US. TAXI has long had a global reputation. It has
spawned an entire generation of creative industry leaders, names
like Zak Mroueh (Zulu Alpha Kilo), Peter Ignazi (Cossette), Denise
Rossetto (BBDO) and Judy John (Leo Burnett).
The firm was awarded Agency of the Decade (2000-2010) by
strategy, and the OToole Creative Excellence Award by the American
Association of Advertising Agencies in 2006 and again in 2007.
Lavoie himself has won six lifetime achievement awards, including
the ACA Gold Medal Award, Marketing Hall of Legends, the Prix
Hommage (from the Association of Quebec Advertising Agencies),
the Les Usherwood Award, and the Spiess Award. The Applied Arts
Golden AACE will be number seven. TAXI has indeed been an extra-
ordinary success story. Paul Lavoie is, as they say, living the dream.
He has the knack of keeping the dream alive even when it threatens
to become a nightmare. On more than one occasion he and his firm
have suffered what could have been fatal blows. For 21 years, TAXI and
TELUS (originally Clearnet) were joined at the hip. It was one of the
longest-running and most consistent campaigns ever, and it provided
TAXI with a base upon which to grow its business. TAXI might not
exist were it not for TELUS. But all good things come to an end, and
TELUS pulled its business from TAXI two years ago after a historic run.
Though this was undoubtedly a major setback, Lavoie took it as
an opportunity to rally the troops and motivate them to get past the loss.
He stood in front of them and said, This is going to be the best day
of our lives. Sure enough, since the loss, TAXI has prospered. We won
more business in 2015 than ever before, and 2016 looks like its going
to be a repeat performance of that. Theres a lot of confidence in this
brand. There a sense of positivityan optimism that we can still do
great things. You feel the vibe still.
With Lavoie you feel like the vibe has always been there, as if it
were embedded in the mans DNA. When asked how young he was when
he began to take an interest in the business he has so successfully

Applied Arts 36
 FEATURE

05
Muse des Beaux Arts
The Montreal Museum
of Fine Arts was one of
TAXIs first clients. Lavoie
was creative director
for these 1995 banners.

05

navigated for the last 30-plus years, Lavoie recounts a story from when 06
he was 10 years old in religion class. We had to read a portion of the Le Porc du Qubec
The logo for the pork
Bible and articulate what we had read and what it meant, so I asked farmers association in
Sister Anne if I could put on a play to re-enact the Last Supper. I hired Quebec, which Lavoie
12 of my classmates to play the disciples and of course, I played the designed in 1994, resem-
bles a pig rump and tail.
part of...well, lets just say the CEO. Instead of having winethis was The mark, with typography spots TAXI created for the
what, grade four or fivewe drank Coke, and we ordered pizza, and I by Brenda Lavoie, is still
changed all the references [to ones] that my classmates would connect in use today.
07
Ampd Mobile
Senator sees an escort
trying to resuscitate her
lover so he can enjoy
Ampd Mobiles services.
It was one of a series of
now-defunct company.

with. It worked and I never forgot the impact it had on both them and
me. One wonders if he ever told this story to the folks at Boston Pizza
(one of TAXIs flagship accounts).
At the same time, he had no idea what advertising was about except
for how it was portrayed on TV. He recalled in particular the old show
Bewitched, in which one of the main characters is a bumbling ad man.
Lavoie remembers watching this guy stumble through a pitch and
06
thinking, Youre not getting the most out of this moment. And then
immediately thinking, Im never going to work in advertising.
In fact, Lavoie started out as a designer, but he soon tired of busting
his hump for art directors while they held court at the bar waiting to be
shown creative. So he went into advertising. He was an art director at
JWT before moving to a creative director role at Cossette, where he
had a great job and a big team. But he then tired of the cumbersome
bureaucracy of the big agency and ultimately started TAXIbuilt
on both design and advertising, with a strong aversion for what he
considered to be the unnecessary apparatus of account management
found in larger shops.
Perhaps the ultimate irony of turning his early dislike of advertising
into becoming one of the most influential ad men in Canada can be
illustrated by this little story: when he was a 20-year-old designer carry- 07
ing his portfolio around to different ad shops, he got a meeting at Y&Rs
Montreal office. After waiting for 35 minutes to be seen, he got fed up
and walked out. Now, Y&Rs Canadian office has been absorbed by TAXI.
You could say that, with so many employees and six offices,
TAXI is a big shop, no doubt encumbered by the ponderous apparatus
that Lavoie tried so hard to escape in his earlier days. But to listen to
him, youd never know he is carrying that kind of baggage. Maybe its
because, after all these years, he is playing a more evangelical role,
that of chief cheerleader and proselytizer. There is no one more suited
to the job. After all, saying no to him is just not an option.

Will Novosedlik is a business development executive and head of

growth partnerships at strategic innovation and experience design firm
Idea Couture (ideacouture.com).

Applied Arts 38

Diti
Does It
Despite being our Golden AACE
Design winner and one of Canadas most
celebrated creatives with an enviable
client success record, Diti Katona is a self-
proclaimed master of none
By Chris Daniels
Applied Arts
FEATURE
Diti Katona
Photographed in her
workspace at Concrete,
March 2016. A number
of notable designers have
passed through Katonas
studio, including Fidel
Pea and Claire Dawson
(Underline Studio), Ryan
Crouchman (Leo Burnett),
Edmond Ng (Tung)
and Stphane Monnet
(Monnet Design).
She has more than 25 years experience creating visual identities and
brand stories for clients such as Holt Renfrew, Joe Fresh, Mountain
Equipment Co-op and Aritzia. Her creative work has been honoured
by the American Institute for Graphic Arts in New York and British
Design and Art Direction in London, as evidenced by the hardware on
the fireplace mantle of her long-time firm, Concrete, in Toronto.
But Golden AACE Design winner Diti Katona says the success
hasnt made what she does any easier. In fact, it is harder, she says.
Every job is a test. Every. Single. Job.
Her struggle isnt just about staying relevant in an industry that
gravitates to the new and young. (Even though she has a renewed energy
now that her kids are grown. You feel like youre 23 again, which is
a cool feeling until you realize you dont look it, she says with a laugh.)
Neither is it about her frustration over clients who think just because
they can pick out pretty colours and use a computer that they know how
something should be designed.
Rather, it is largely the fact that her mid-sized agency takes a very
non-linear approach to creating art for commerce, believing each project
deserves its own unique and unpredictable journey to completion.
A lot of agencies put a formula or process onto all the work they do.
They pull one concept from a previous design and one from another
and then they have a presentation. I think that leads to predictable and
boring work, she says. Process just sucks ingenuity, uniqueness
and intelligence out of everything.
Thats why we like to start a project not knowing anything, adds
Katona, who shares creative reigns of Concrete with her husband John
Pylypczak, who too been recognized internationally for his design work.
We like to call ourselves the masters of nothing.
There is certainly nothing cookie-cutter about Concretes portfolio,
which includes the recent rebrand of Joe Freshs apparel and beauty
lines complete with a bolder logo, refreshed packaging, componentry
and displays, and the new environmental systems for McDonalds
restaurants worldwide. But youll also notice something else: in addition
to major brands, Concrete has added many start-up enterprises to
its client list.
One such example is BITE Beauty, a brand specializing in natural
lip products that developed from Concretes 10-year relationship with
40
 FEATURE

BITE Beauty
What makes BITE unique in the market are its bold packaging and edgy coloursat
launch time four years ago, anything other than earth tones was unheard of for an
organic product line. The lipstick tubes in particular celebrate form and function, with
caps that mimic all of the different shapes created when people apply their lip colour.

41 June 2016
 FEATURE

01
MEC
The brand strategy, visual
identity and positioning
for MEC catapulted the
brand to a more diverse
audience. Concrete
developed and executed
the We Are All Outsiders
strategy to appeal to
both urban dwellers and
hardcore adventurers
alike, and dropped the
full Mountain Equipment
Co-op name.

01

02
Joe Fresh
A recent refresh for the
apparel brand extended
to its beauty and inti-
mates collections as well.
Concrete created packag-
ing, componentry, in-store
display and positioned
the brand for its worldwide
takeoverthe Loblaw
brand has plans to open
another 225 stores in
29 countries by 2019.

02

Toronto entrepreneur Susanne Langmuir. Katona and Pylypczak had
previously brokered an equity agreement with Langmuirs company,
Susanne Lang, when they worked together on a fragrance endeavour
and another beauty line called Sula. So when Langmuir approached
Concrete to brand and launch BITE, they were in. It proved a smart
deal: Bite was purchased in 2014 by Kendo, a company in the LVMH
(Louis Vuitton Mot Hennessy) umbrella.
While Kendo has its own art department, Concrete is still tasked
with all branding elements for BITE. BITE was an investment emotion-
ally and physically, with a tiny bit of money and an equity stake, says
Katona. But we dont take them on because we think theyre going to
do something [for us financially]. We do them because we think theyre
good for us creatively.
The work has also expanded Concretes work geographically.
Clients outside Canada represent 40 per cent of its revenues, which
Katona attributes to entrepreneurs around the globe who have sought
out the agency after finding its work on the web and Instagram. The
firm has been tapped, for example, by entrepreneurs of an Australian
skincare line called Red Earth to rebrand for a launch in China and
Hong Kong, and by dipndip, a fast-growing chocolate cafe concept based
in the Middle East with 50 locations around the world.
Katona loves working with entrepreneurs and the entrepreneurially
minded, saying they are more likely to trust gut instinct from accumu-
lated work experience.
Her husband Pylypczak poses another theory: She gets along great
with people but not always the people youd expect. She loves the

Applied Arts 42
Image: Home, Yao Yu

THE 2016 STUDENT AWARDS

Launch: March 22, 2016
Deadline: May 13, 2016

Sign up to receive our awards submission details at appliedartsmag.com or call 416-510-0909 x. 27

 FEATURE
03
Keilhauer
Concrete created this
2014 catalogue to mark
a 15-year relationship
between longtime client
Keilhauer and the design
studio EOOS. The foil-
stamped book highlights
furniture products old
and new.
03
04
Aritzia
A major part of the visual
platform Concrete devel-
oped for the Canadian
fashion retailer was the
packaging formula, which
highlights worldwide
emerging talent on boxes,
bags and other collateral.
The imagery directly
reflects the culture of the
Aritzia customer.
04
Applied Arts
cleaning lady, the assistantspeople who actually do the work because
she still very much likes to do the work too. She really is the energy
behind the company and the attraction for many people. People either
love her or hate her, but I think people who love her have the same
appreciation for doing the hard work.
Katona comes to hard work honestly. Her grandfather owned a soda
factory and a bakery in Hungary, and when her father immigrated
to Canada he opened a sandwich shop on King Street called Maggies
Deli. A black-and-white photograph of Katona with her parents in the
deli sits on a bookshelf next to her desk along with other mementos
and gifts. I literally grew up behind the cash register, she says. It was
a little dump but it was fabulous.
She also credits her immigrant upbringing to the fact she and her
husband purchased a multi-storey building in Roncesvalles in 1992,
where Concrete is still based today. That is all we understood as
immigrantsproperty. And purchasing the building was the smartest
thing we ever did, she says.
They started out on the first floor doing annual reports and retail
signage for Reebok, and fashion brochures for Lida Baday. As Concrete
grew, and their tenants upstairs vacated, agency staff eventually filled
up both floors of the building. Now there are about 25 to 35 staff at any
one timebut the husband-and-wife creative team still share a work-
ing space on the main floor. We fight all the time but it is never serious,
says Katona about working in close quarters with her husband. Adds
Pylypczak: We met at work, got married within a year and then
opened up this business here a year later. We dont know anything else.
As thrilled as she is about winning the Golden AACE Award, Katona
says shell probably never feel like shes made it. There are days
when you feel successful and days you feel like a loser because youre
always looking above or to what someone else has done. But I think
that is a part of what drives youto make something as good as you
possibly think it can be.
Chris Daniels is a freelance writer whose work has appeared in Applied
Arts, Macleans, and Marketing (chrisdaniels.ca).
44
 Photo: Paige La Rue, 2nd Year Student
Apply now
for
Fall 2016

A Two-Year
Ontario
College Diploma

PHOTOGRAPHY
Contact:
Gilles Sweet-Boulay
Program Co-ordinator
519-452-4452
gsweet-boulay@fanshawec.ca

fanshawec.ca

Award-winning editor
Ilana Weitzman speaks to
two visual arts students
about getting work published
Photography by Nadia Papineau
Videography by Asylum Artists
Image
Conversation pairs a senior-level creative pro in
the advertising, design, image or production
industries with one or more students in a related
field for a mentorship session.
Applied Arts
CONVERSATION
STARTING YOUR CAREER as an image maker is
exciting, but also confusing. You have your
diploma or degree and some equipment, but
what next? How do you stand out from a
crowd of freelancers? How do you get published
so you can attract clients?
In the second session of our Conversation
series, we asked Ilana Weitzman, editorial
director of Air Canada enRoute and content
director of Air Canada Media, to talk to two
graduating Seneca College students about
commissions, portfolios and what the current
media landscape looks like for a freelance
contributor. Weitzman was at the helm of
enRoute as editor-in-chief for seven years before
becoming its editorial director last year, so
she knows a thing or two about contracting
engaging visual content for one of Canadas
top travel publications.
Heres an edited excerpt of Weitzmans
publishing wisdom, as told to Seneca students
Jessica Sheridan (illustration) and Ariel Pacpaco
(photography). Hear more from them in a
video of the conversation at appliedartsmag.
com/features.
Embrace New Media
If you have open-mindedness about the
different ways you can reach people, theres
just tremendous opportunity. If youre doing
photographyhow can I create a GIF out of
that? How can I recut a video for social? You
can transform your work in so many different
ways and play across so many platforms now.
Theres a lot that were asking of content
creators, and that can be quite intimidating.
But for people who are up for the challenge
and see it as an opportunity to reach people
and have a greater impact, it can be an incred-
ibly exciting time.
Surprise and Delight
The future of media really is a content-driven
landscape. And that means that exceptional
work is the best way to engage audiences.
Were looking for something that is going to
Matters 46
create a moment for our readership. Youre
not delivering something that someone
expects, but something thats going to cause
a little bit of surprise. The greatest imagery
is an amazing access point for a product.
So were not looking for an illustration that
literally is just rendering of the brief. Were
looking for an illustration thats going to
enhance that story, thats going to have a
little wink.
Start Small
Start with smaller print and online publica-
tions to get your work published. You dont
have to be in a national brand right off the bat.
Build from there and at least youll have a
working portfolio.
Be Discoverable
Take advantage of places like Applied Arts
and other awards programs. Get your work
into the showcases designed to promote the
work of emerging artists. Creative directors,
editors and photo editors are all looking at
these things. Festivals are great places to be.
And then of course, building a really good
website, being on Instagramjust make
yourself discoverable.
Theres this weird thing about visual sites
where people do a lot of bells and whistles.
Please, the simplest navigation possible!
Make things easy for people to browse your
work effectively, and to be able to deep dive
into certain pieces of your work that feel like
they match the vision of the outlet. When we
see that youve been able to tell a story, and
we can see a progression in your imagery, it
shows that you are able to think like a story-
teller. It shows you have a sense of voice but
also that you know how to do image selection.
Thats an incredible skill that is undervalued.
Watch the full video of the mentorship session with
Ilana Weitzman, Jessica Sheridan and Ariel Pacpaco
at appliedartsmag.com/features.
Ask the Expert
From left to right:
enRoutes Ilana Weitzman,
students Jessica Sheridan
and Ariel Pacpaco.

47 April 2016
 EVOLUTION
The promise and peril of adopting the digital image,
as witnessed by three visual creators
WAR
THE DIGITAL
IS
OVER!
Its all forgotten now,
but there were wars
over which was better.
THATS PHOTOGRAPHER and videographer Ewan Nicholson on the
transition to digital image making.
But it wasnt so long ago, and at Applied Arts, its a less-than-distant
memory. We were talking about what a filmless, paperless image-making
future would look like as recently as a decade agoand industry insiders
werent exactly touting the virtues of digital. The technology is there,
but theres not enough merit for me to switch, said photographer Shin
Sugino in 2000 (vol. 15 no. 3 p. 54). Most people find that trying to draw
or sketch with a computer mouse is like trying to pick up a feather with
boxing gloves on, wrote Scott Bury in 2001 (vol. 16 no. 4 p. 24).
Indeed, the digital image-making revolution has been fast and
furiousso we checked in with three artists who approached
this post-millennial automated landscape with varying degrees
of acknowledgement.
Applied Arts 48
Photography: Efficiency > Nostalgia
It was almost 25 years after Kodak engineer Steven Sasson used spare
parts to piece together the first digital camera in 1975 that pro photogra-
phers would even entertain the idea of abandoning analogue. The
rudimentary versions available in the 80s and 90s werent considered
high-enough quality for print work.
For Nicholson, the debut of professional-level digital cameras at the
turn of the millennium couldnt have come at a better timein 2001,
hed quit his job as a petroleum engineer after completing a photography
correspondence course that turned his hobby into a second career.
Its probably my technical background that made digital photography
appealing, but I could see that you could do things that you just couldnt
do with film. The technical possibilities were greater; the barriers were
lower, he says. As an amateur, I had loved the darkroom, but as a pro,
I was struck by how much time it consumed and how painful issues like
scratches and dust were.
When the Canon EOS-1DSthe companys first full-frame DSLR
hit the market in late 2002, Nicholson invested in one for $12,000 (yes,
that many zeroes), and budgeted $1,000 for two 1 GB cards. Back then,
49 April 2016
 EVOLUTION
the cost of storage was an issueit was quite common to be running
around with data banks that you had to download your cards to, because
they could only hold 1 GB worth of material. Aside from lugging around
extra equipment, the data bankera had other pitfalls: I once had the
banks fail without me realizing it and lost a significant portion of a shoot.
Montreal shooter Ron Levine approached the transition to digital
photography with more trepidation. He waited until 2004, and only went
so far as to purchase a 10-megapixel digital back for his Hasselblad
camera before selling it a year later. I was really disappointed with it
because it wasnt full frame, he explains. And whenever he used the
digital back, it had to be tethered to a laptop. It drove me insane. I felt
like the laptop took away from the spontaneity that film had.
Following that, he tried a Nikon D200 and eventually pitched it
for the same reasons. I finally got a Canon EOS-5D, and that made a
huge difference. You got the same feeling as a regular 35. But I still had
problems transferring my head from my Hasselblads 2 back to a 35.
It was a hard change. I was dragged kicking and screaming into this age.
But hes quick to point out that a decade later hes well adjusted.
Now, with 15 megapixels, we can get some amazing stuff. The cool
thing about digital is what you do with it later on in Photoshop or
Capture One.
Levines journey is evident in his ongoing Prisoners of Age project,
which started on film in the mid-1990s when he began shooting elderly
inmates at federal corrections facilities across the United States. He
hasnt used film for that since 2012. Its very freeing, he says. Youre
not looking at a laptop; youre just looking at the back of a camera.
But the trouble is, I find myself shooting way too much. Ive gotten better
at choosing what my favourite shots are, but you still spend a lot of
hours behind the computer, editing.
Both Nicholson and Levine agree that sitting behind a computer
makes the life of a photographer somewhat solitary. I miss the
interaction with the labs. You never see the client, laments Levine.
Its unfortunate. I try to make an effort to get out of the studio or
office every day.
Clockwise from left: the first digital
camera by Kodak (1975); Kodak EasyShare
P880 (2005); Kodak Easyshare V570
(2006); Kodak Easyshare-One (2005).
Applied Arts
I got it all set up and went to make
a mark on my digital canvas...
and nothing happened. I thought,
Oh, this is going to be a little
harder than I thought!
While there may be less client interaction at the beginning and end
of a project, Nicholson enjoys the new relationship hes been able to
build with clients while on set. Everything he shoots transmits wirelessly
from camera to iPad, and the client can see it all. They cant tell me to
change things later. Theyre already thrilled, he says. When Im doing
an ad piece or editorial, you know what you want. But with a lot of
other shoots, youre exploring. And this way, you make the client a part
of the review process. You say, okay weve got that, now lets try that.
When I was beginning in my digital career, I could see what I was doing
from five feet back, and it helped me to learn. But that feedback process
now? It helps me to create.
Illustration: Experimentation > Convention
In 1992, I was having lunch with a friend of mine who was a creative
director at Ogilvy & Mather. He was telling me they were getting
computers, recalls Calgary illustrator Jode Thompson. I remember
thinking I would have to stay one step ahead if I wanted to stay
in the game.
Though she didnt know it, computers werent the only tools that were
going to be at her disposal as she embarked on her freelance illustration
career. Graphics tablets were steadily improving their responsiveness
and in 92 had already been in use for a decade after being commercialized
by Apple, KoalaPad and Atari.
Four years later, Thompson, then a designer at an agency with a dream
of freelance illustrating, saw an episode of The Oprah Winfrey Show.
It was about following your passion, she explains. And this particular
guest was saying to do it now, and dont wait. So that day, I ordered
the software I still illustrate on. It was just over $800. And I bought a
tablet, she says. I got it all set up and went to make a mark on my
digital canvas...and nothing happened. I thought, Oh, this is going to
be a little harder than I thought!
She taught herself Painter (now owned by Corel) over the next two
years. Right off the bat, it was overwhelming. There were so many
options, she says. I couldnt decide if I wanted the sky blue, or purple,
or green. And you could go on forever trying this stuff. Once I learned
how to focus, it made me a better illustrator because I wasnt afraid
to try things.
Her last traditional piece on the board was in 1998. The client signed
off on all the preliminary sketches only to tell her they didnt like the
colour of the sky after she sent them the completed artwork. I had to
redo the illustration. And thats when I said, Okay, Im ready. Since
then, her portfolio has been 100 per cent digital, and she uses a large
PHOTO: EASTMAN KODAK COMPANY
Cintiq digital easel while in her studio. While shes not ordering
art supplies anymore, Thompson estimates her costs are similar with
frequent digital upgrades. Im like a kid in the candy store when it
comes to new hardware and software, she says.
I didnt want to be a digital illustrator until I was sure that I
could do everything that I did traditionally. And, of course, now you
can. If you cant do it, its because you havent learned how. Its not
because you cant.
50
 DONT FAKE IT, LIVE IT.
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Applied Arts 52
DIARY

Excerpts from my conversation with

DDB Worldwides CCO for my upcoming
book Diary of a Creative Director:
An exploration of the road to greatness.
By Heidi Ehlers

I FIRST KNEW THAT I WANTED TO interview Amir Kassaei, the chief creative
officer of DDB Worldwide, in the summer of 2015. He had just issued a
Wake-Up Call in Cannes; he was threatening that we should Do This
or Die; he told us we were confusing technology with innovation, and,
finallyin case anyone had failed to pay attentionpunctuated these
statements by telling us that we are Selling Shit to Ourselves.
How do you like him so far? Me too. After a June like that, can you
imagine the conversation? Lots of in-your-face statements, plenty
of unfiltered fearless thoughts, and the rarest of commodities in our
industryan opinion shared without any apparent consideration given
to the potential consequences. In other words, courage.
When we sat down to conduct the Diary of a Creative Director
interview in January of this year at FFWD: Advertising and Marketing
Week in Toronto, Kassaei did not disappoint. In addition to what
I expected, I met a man with an extraordinary amount of heart,
conviction, passion for this business and an irrepressible need to
speak his truth.
There was no stuttering or stammering or hesitation. Kassaei knows
who he is, who he isnt, and what he can and cannot do. Hes not making
it up as he goes. You either buy in, or you dont. Hell keep going.
We spoke about the loneliness of leadership and in particular, a global
role. I think what a lot of people are underestimating is if youre doing

53 June 2016
 DIARY

01 02 a global job like Im doing, youre alone. Eighty per cent of your business
Bosch IKEA life, youre alone. At the end of the day, you have to make decisions by
A bold statement for Another from Kassaeis
Bosch Refrigerators while tenure at DDB Germany: yourself, he told me. Even if youre consulting with a lot of people,
Kassaei was CCO at DDB a series of clutter mon- you have to make a calland these calls can be right or wrong, but you
Germany: Keeps food sters about to be trapped have to stand behind them.
fresh for much longer. by IKEA storage solutions.
In Kassaeis first creative job, he went from copywriter to executive
creative director in record time. I wondered if he was aware of what had
caused that sort of accelerated success. What traits did his employers
see, and what did they like? A crazy guy who doesnt take a no for an
answer and is fighting for the good ideas...and is crazy enough to do
stuff that nobody else would do.
Wasnt he afraid to get fired? No, he said, But that is my attitude
even now. I can get fired every day, but thats the great thing. I dont.
Why not? I asked.
What does it mean to be a creative? Kassaei started. If you are a
creative, you are a rebel, you are a rule breaker. You have to be rock and
roll; otherwise you should not call yourself a creative. If you do not do
crazy stuff that nobody else will do, you are not a creative.
How many creatives do I know today that behave as if they believe
that? Does this industry still have rule breakers? People prepared to get
fired for what they believe in?
How many creative leaders are willing to get naked for the creative
...if youre really trying to make product? When Kassaei joined DDB Germany, it was hardly the kind
a mark, you have to stick with it. of job anyone slapped you on the back for. First order of business was
improving the culture. Everyone says that, but what specifically did
You have to enjoy the pain. You Kassaei do? He put his nuts on the line. Literally. I was betting my
have to push past it. You have account people that we can actually sell crazy ideas to the client. And
they said, Never ever, it will never happen. I said, Im going to try
to be there, you have to fight for it to sell the idea to the client. If Im successful, you will be naked for a
and then you will make it. whole day at the office. And if Im losing, I will be naked for the whole
day in the office. I never lost a bet. But there were a lot of naked account
people around.
01
Towards the end of our conversation, I pressed him. I wanted him
to give me some small, completely original nugget that I had never heard
before. I could feel that he had it in him.
So many people think theyre working so hard and theyre so
passionate and theyre so talented, but theyre not sitting in that chair
being interviewed by me, I said to Kassaei. What is that missing thing?
What is the Big Bang that isnt happening for them? Nobody in this
industry thinks theyre coasting along. We are all working our asses off.
He replied, The question is, are you able to enjoy the pain? I dont
know a lot of people who enjoy the pain. You have to be able to come to
a position where your body and your mind says, Its over. I cannot
do it anymore. There are people who will stop then. But if youre really
trying to make a mark, you have to stick with it. You have to enjoy the
pain. You have to push past it. You have to be there, you have to fight for
it and then you will make it.
Enjoying the pain.
Id never heard it put that way before. It really is the dividing line
02
between great leaders who call themselves Chief Shithead Officer
(as Kassaei has done many times publicly), who will run head first (but
never naked) into battle for their team and the creative product, and
those leaders with very fancy titles, fancy cars and fancy golf club
memberships, who will hide behind any and every excuse not to make
the decisions everyone is waiting for them to make that will allow both
their company and careers to flourish.
Amir Kassaei is not afraid to work. Hes not afraid to be unpopular.
Hes not afraid to call shit shit. Hes not trying to be your best friend.
He makes the right calls, not the popular calls. Hell go counter current.
Hes not afraid to get fired.
Hes got what I call Mental Toughnessone very important trait
that anyone who wants to be successful needs to develop. And one our
industry desperately needs more of.

Heidi Ehlers is the founder of HEIDI CONSULTS, a career consultancy for

creative professionals and companies. Her book, Diary of a Creative Director,
publishes this year (diaryofacreativedirector.com / heidiconsults.com).

Applied Arts 54
Design Studies
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By Wendy Helfenbaum

CELLULOID DREAMS

Shayne Laverdires narrative,

cinematic style and A-list clients
catapult him into the spotlight
Applied Arts 56
57 June 2016
 PORTFOLIO
Actress Marion Cotillard, star of Xavier
Dolans upcoming film, Juste la fin du
monde (Its only the end of the world),
to be released in 2016. Laval, Quebec,
June 2015
Applied Arts
AYNE LAVERDIRE SAYS he still pinches himself every day, amazed at
how his photography career has taken off.
Whats happening to me is unbelievable and so cool, says
Laverdire, 32, a commercial and portrait photographer who splits his
time between Montreal, Toronto, Paris, Milan and New York.
I never really planned things out, but have always repeated to
myself and to the universe that I wanted to become a very successful
photographer internationally, and be amongst the best in the world.
Laverdires cinematic style and elegant, nostalgic imagery has
landed him work in Vogue, LUomo Vogue, Vanity Fair, Interview Magazine,
Flare, Elle France and Dress to Kill. He especially enjoys telling stories
through romantic, narrative portraits of artists and performers,
including Marion Cotillard, Tilda Swinton, Kit Harrington, Audrey
Tatou, Dakota Johnson and Adele.
Laverdire snagged a Grand Prix at Grafikas Concours Lux in
April 2015 for his photo series Into the Kingdomfeaturing Qubecois
film wunderkind Xavier Dolanshot for LUomo Vogue.
Not too shabby for a kid from Quebec City whose first published
shot was of his high school basketball team losing a game.
I was 14 and on top of the world, recalls Laverdire of his early
work using the Minolta SR-T he received at age 10. My math teacher,
Bob Cullerton, really pushed me and gave me the keys to the darkroom.
A weekend jaunt to Toronto at age 15 with his mother Joanne
convinced Laverdire to move there.
It was my first time in a big city, and I knew thats where I needed
to be, so I found a high school with a specialization in photography,
and the plan was: live in Toronto, finish high school, go to Ryerson and
become a photog.
58
 PORTFOLIO
Tilda Swinton in Villa Medici, Rome,
July 2015
Tilda Swinton and Italian film director
Luca Guadagnino for the LUomo Vogue
September 2015 issue, featuring his
latest film, A Bigger Splash
Thats not exactly how things panned out, however. After
graduating high school, Laverdire veered off course to try business
administration for six months before swinging back to photography.
At 18, he went to Montreal to study cinema and communications at
Dawson College.
Laverdire then headed abroad and eventually back home, where
he worked seasonal jobs so he could study photography at College
Marsan. Three weeks in, he wanted out, so in 2005, he moved back to
Montreal, and began assisting fashion and beauty photographers,
including Martin Tremblay, Richard Bernardin and Leda & St-Jacques.
But it was the three years spent working with Barry Harriswho
passed away in July 2015that finally convinced Laverdire to strike
out on his own.
Barry was the Catalogue King; he had such a prolific commercial
career in the U.S. and in Canadawe travelled twice a month to shoot,
recalls Laverdire. Barry was so generoushe gave me a ton of business
acumen and the keys to his studio, saying I could use it whenever
I wanted. Barry really believed in me, and wanted to see me succeed.
59
Laverdire flew solo in 2010. Mutual friends introduced him
to Quebec actor Niels Schneider, winner of the 2011 Prix Chopard in
Cannes, who needed new head shots.
Niels was over the moon with the images and so was I, because
they were beautiful, recalls Laverdire. I felt like Id done something
more than shooting clothing. It was a huge turning point.
As Laverdire left the studio with Schneider, the actor called up-
and-coming film director Xavier Dolan, suggesting he get new head
shots, too. A few weeks later, Laverdire shot Dolan for the first time,
forging a partnership that ultimately advanced both their careers.
Xavier had had some bad experiences with other photographers
who didnt portray him the way he wanted to be portrayed, and when
we took photos together, he felt comfortable; I understood him, says
Laverdire, who then did Dolans on-set photography for his film
Laurence Anyways.
Since then, Laverdire has shot most of Dolans films and the
director himself many times. Keeping Dolans portraits fresh is always
fun and challenging.
June 2016
 PORTFOLIO

...for what I docapturing the human

soul and moments that are very natural
and raw, I think film does it better.
Its finite, rare and magical.

Xaviers look evolves, and the way he thinks is always changing,

explains Laverdire.
When he shot Dolan and Gia Coppola at the famed Chateau
Marmont for the Spring/Summer 2015 cover of Assistant magazine,
he staged them in the water. Visually its a palate refresher, like eating
ginger with sushi. It shows a different aesthetic thats mysterious,
he explains.
One of Laverdires most provocative photos was used as the poster
for Dolans film Mommy, winner of the 2014 jury prize at the Cannes
Film Festival.
When the film came out in France, it was an immediate sensation;
Id drive down the Champs dlysss on my scooter, and my image was
everywhere. That was quite surreal.
Last summer, after British superstar Adele summoned Dolan to
London to discuss her Hello video, Laverdire got the call to head
to Estrie, Quebec for the four-day shoot.
Xavier actually had to fight for me to be on-set, because Adele
came with her own photographer, recalls Laverdire. Most of the
crew was kept in the dark until the first day of production. I shot more
than 50 rolls of film, and in the end, no one has ever seen any of the
other persons photos. The image for the single on iTunes and the photos
in Vanity Fair of Adele are all mine.
When Laverdire shot renowned sculptor Armand Vaillancourt
for Dress to Kill magazine, he took full advantage of the artists
quirky environment.
Armand is 86, and a force of nature. We cherry-picked the best
locations in his studio to do his portraits, and he was super-cooperative
and open to do anything I asked him to do. I love shooting people who
have vision and an amazing talent that Im being asked to show.
Laverdire also does some motion work, but only if the project is a
perfect fit, such as one he did last fall.
Xavier Dolan photographed in his family It was all portraits of women at varying agesthats my forte. I love
cottage for Citizen K Homme Sports
Spring/Summer 2015 issue
natural, beautiful images that are full of emotion, that draw you in.
Laverdire works with the La Cavalarie production house and
continues to be inspired by shooters such as Herb Ritts, German
fashion photographer Peter Lindbergh, Norman Parkinson and Saul
Leiter. And hes determined to keep shooting on 35mm.
Im not a film snob. I think digital is better if were doing a look book
or images that really demand post-production-intensive platforms,
he says. But for what I docapturing the human soul and moments
that are very natural and raw, I think film does it better. People have a
heightened sense of seriousness and importance on a movie or photog-
raphy set where the artist is using film because its not instant. Its finite,
rare and magical. And its physical as wellwere actually burning light
away from celluloid and letting certain colours shine through.

Quebec sculptor Armand Vaillancourt for Wendy Helfenbaum is a Montreal writer and TV producer
Dress to Kill, November 2015 issue (taketwoproductions.ca).

61 June 2016
 MEET
who can help you
make your next ad
campaign or design

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project a winner!
ArtCards introduce
you to commercial

ARTISTS
They can help you makephotographers,
your next ad campaign
illustrators, production
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To see portfolios by this group of talented makers, visit
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makers, visit Applied-Artworks.com/Assignment.
If you're an artist looking for work, consider ArtCards!
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RichBrainerd.com
Every home is
a picture of comfort.

Dan Chan 2016

Dan Chan, MBA

Real Estate Sales Representative Right At Home Realty Inc. Brokerage
& Photographer of Architecture and Design

M: 647-505-4721
E: Dan.Chan@Mac.Com DanChan&Co.
W: www.DanChan.Co Making You Comfortable.
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ETHANPINES.COM | 310 383 1509
 AWARDS

2016 Judges

Photography
& Illustration
Annual Nathalie Cusson
Creative Director, Scooter Design
Montreal, QC

Nathalie is the creative head of
Scooter Design Inc. Her hybrid
expertise includes brand imple-
mentation, advertising, editorial
design and photo direction
We couldnt be more pleased that the beautiful work youre about to (Cossette, TAXI, BBDO, Glow
magazine, Air Canadas enRoute,
see on the following pages marks the first cohort in our redesigned Fairmont Magazine). With an
awards section. We hope youll enjoy the streamlined credits and layout international network of photog-
raphers and illustrators, Nathalie
that allows the winning work to shine. For complete work and credits, is an expert of the image-making
visit our online Winners Gallery. process and understands what is
an efficient, compelling or simply
In February, our jury of senior-level creative professionals poetic image. She believes that
evaluated thousands of entries on creative merit, technical excellence craft should be implicit and that
function and form make the
and suitability for end use. I was blown away by the calibre of a lot strongest alliance. Distinctions:
of the work, says judge Sarah MacDonald, creative director at Colour. Communication Arts, Applied
Arts, Advertising & Design Club
Those entries that met a predetermined cut-off score are pub- of Canada, the One Show (NYC)
lished in this reference book, and online in our Winners Gallery. and the National Magazine
Awards, to name a few.
The cut-off score sets an industry standard and allows each winner
to be treated equally, displayed without prejudice. Its been this way
since the first Applied Arts Awards annual debuted in 1992.
Every winner in this book is eligible to receive the 2016 AACE
Award in Photography or Illustration. We launched the Applied Arts
Creative Excellence (AACE) Awards in 2012 to honour that one
great piece that always garners the most votes. What do you need to
do to become the next AACE winner? Enter the 2017 Photography Lisa Chen-Wing
Art Director, GREY Canada
& Illustration Awards with your best work. If you win, youre eligible. Vancouver, BC
Keep in mind that the judges are looking for the whole package,

says jurist Erin Craig, creative director for womens fiction at Harlequin. Lisa is an ACD and art director
Its not enough to see a well-rendered drawing or a beautifully lit at Grey Canada in Vancouver.
Starting in Toronto at Flavour,
photograph. The image should make you feel and think. Its easy to she then went home to BC to work
learn how to draw or take pretty pictures, but to stir up emotion in at Rethink and DDB Vancouver.
Her work has appeared in many
the viewer is a gift. And thats what separates winners from the rest. advertising award shows. She has
In the meantime, get inspired by the winners of the 2016 degrees in math, education and
graphic design, and is the current
Photography & Illustration Awards. Congratulations to all and thank chairwoman/president of Global
you to everyone who entered. International Worldwide.

67 June 2016

What was most enjoyable
for me was seeing the
range of styles and ideas
from the participants.
ERIN CRAIG
Erin Craig
Creative Director,
Harlequin Enterprises
Toronto, ON
Erin has been a leader in the field
of book design for over 10 years,
and is currently creative director
of Harlequins general fiction
group. Having studied fine arts at
York University and fashion at
Ryerson, she spent several years
in the fashion industry before
accepting a position as art director
with Harlequin, where she has
presided over the design of count-
less best-selling titles. Her work
in book design reflects the strong
sense of style and modern aes-
thetic for which she is known.
Applied Arts
AWARDS
The works were of very
high quality, with creatively
impactful pieces, slick images
and out-of-the-ordinary
illustrations. Very strong
work all around.
STPHANE JEAN
Matt Howe Stphane Jean
Associate Creative Director, Creative Director, Bob
Extreme Group | Montreal, QC
Blammo Worldwide
Toronto, ON
An award-winning art director Stphane began his career as a
and designer, Matt has led copywriter at Cossette where he
campaigns for Coke, Mastercard, quickly made his mark on such
Staples, Buick and many more. key accounts as McDonalds and
As a photographer, Matt has Bell. He later went on to serve
worked with New Era and Juno in creative direction positions at
Award winners Rich Kidd and Palm, Bleublancrouge and TANK.
Kellylee Evans. In addition, he was He has been a creative director at
the lead art director on the 2013 Bob agency for more than a year.
Applied Arts Unlucky Issue. Despite the awards and distinc-
Matt is also creative director for tions his campaigns have earned
The Baitshop, a lifestyle brand him, Stphane sees himself first
in Toronto, and a graduate and foremost as a storyteller.
of Algonquin Colleges graphic
design program and OCADs art
direction program. Best advice
hes ever gotten? Its as much of over 20 branding publications
a big deal as you make it.
68
Alan Krpan RGD
Creative Director, Riordon
Oakville, ON
Alan is an honours graduate
from Sheridan College and over
the last 20 years has been driven
by curiosity and the love of figur-
ing things out in order to create
compelling work. Starting out in
corporate communication design
(annual reports) at Craib Com-
munications in Toronto, Alan
moved on to Riordon to expand
his craft and focus more on brand
development and how that is
expressed through appropriate
mediums for the last 15-plus years.
He has spoken at industry events
and his work has been featured in
worldwide. His expertise in the
strategic consultation side of
the business, creating brands,
interactive design, print collateral
and his keen eye for typography
has played a significant role in the
success of Riordons portfolio.
 AWARDS

Understanding that the subject is often

dictated by the content or the need of the
client, there is most often room for finding
an original way to render the idea. We all
look at things in a slightly different light and
that is the beauty of art.
NATHALIE CUSSON

Sarah MacDonald Mark Pilon Chad Raymond Joanne Vronneau

Creative Director, Colour Designer & Illustrator, Senior Art Director, Art Director, Ardoise Design
Halifax, NS Atomos, UBC Communications Bensimon Byrne Montreal, QC
& Marketing Toronto, ON
Vancouver, BC

Sarah has been a strong force in
the creative industry for more
than nine years. After studying
design and illustration at NSCAD
University, Sarah started her ca-
reer in Toronto at Fuel Advertising
followed by Y&Rs Enfatico. She
traded in the bustle of the big city
for the colourful row houses of
St. Johns, Newfoundland, where
she joined SPARK Marketing as
creative lead. In 2011, Sarah moved
back to the place she calls home,
Halifax, where she joined Break-
house Inc., adding environmental
design to her creative toolbox.
When she joined Colour in 2013,
Sarah brought her award-winning
creative expertise, exceptional
eye for design, attention to detail
and passion for conjuring big
ideas with her.
Mark is currently a designer in
the communications and market-
ing department of the University
of British Columbia. His design
career has spanned 25 years in the
publishing industry and he was
previously creative director of the
Georgia Straight magazine for
six years. Design clients have in-
cluded IKEA and Virgin Records.
He is also an award-winning
illustrator and painter who has
drawn for magazines such as
Motor Trend, Popular Science, and
Wired. Marks painting style can
be described as science fiction
pop. His large-eyed characters
are bubbly, bright, and modern.
Chad is an award-winning senior
art director at Bensimon Byrne,
Canadas largest independent ad
agency. Over the course of his
career, hes worked on blue-chip
brands such as Scotiabank, iShares,
Kraft, General Mills, NBA, Bell,
Dell and Air Miles. Prior to enter-
ing the advertising industry, Chad
spent 10 years running Funkshun
Athletics, a streetwear brand
aimed at the urban skateboard and
snowboard market. Funkshun
Athletics was available across
Canada, the US and UK. He can
pretty much guarantee hes a
better skateboarder than any of
the other judges.
From behind unruly curls, Joanne
is a quiet force. A Montreal grad-
uate of Concordia University
and a graphic designer since 1981,
she took on Toronto at Taylor
Browning, then Michael Peters
London and Proximit BBDO
Paris, picking up awards that
include D&AD, Communication
Arts and AIGA along the way.
Back in Canadaat TAXI and now
Ardoisealways rigorous, worldly,
a connoisseur of music, dance,
and literature, Joanne now hides
her curls, but her design savvy
wont be tamed.

69 June 2016
 YOUNG BLOOD

YOUNG BLOOD is a special section of the Applied Arts Awards programs, celebrating

Young Blood the brightest up-and-coming talents. Young Blood Photography and Illustration
entrants must have three years or less industry experience, and are specially reviewed
by our judging panel.
We recently introduced the Young AACE (Applied Arts Creative Excellence)
Awards, presented to the highest-scoring Young Blood winners in each awards
discipline. The 2016 Young AACE winners will be announced in early 2017.

01

02 03

Applied Arts 70
 YOUNG BLOOD
04
YOUNG BLOOD
ILLUSTRATION SINGLE
01 A Night Out
Hsin Chen, Providence, R.I.
E: hchen05@alumni.risd.edu
W: hsinillustration.com
A night out in the desert.
YOUNG BLOOD
ILLUSTRATION SINGLE
02 Walter Mitty
Jackie Ferrentino, Brooklyn, N.Y.
T: 908-644-2036
E: hello@jackiejackie.com
W: jackiejackie.com
This illustration based on James
Thurbers short story The Secret
Life of Walter Mitty.
71
YOUNG BLOOD
ILLUSTRATION SINGLE
03 Cloud Kid
Jackie Ferrentino, Brooklyn, N.Y.
T: 908-644-2036
E: hello@jackiejackie.com
W: jackiejackie.com
Personal project.
YOUNG BLOOD
ILLUSTRATION SERIES
04 Wolf at the Door/ Labyrinths/
Rodney Bingenheimer
Nicholas Sadek, Williamsburg, Va.
T: 630-484-3356
E: nicksadek@sbcglobal.net
W: sadekart.com
Wolf at the Door: A personal work
illustrating the story of the three
little pigs. Labyrinths: A personal
work illustrating a book cover for
Jorge Louis Borges novel Labyrinths.
Rodney Bingenheimer: A editorial
piece of famed radio DJ Rodney
Bingenheimer for Flaunt Magazine.
June 2016
 YOUNG BLOOD

YOUNG BLOOD
ILLUSTRATION SINGLE
01 The Caterpillar Effect
Eleanor Rosenberg,
Bowen Island, B.C.
T: 604-947-9484
E: eleanor@themadmarker.org
W: themadmarker.org
Art Director:
Ben Barrett-Forrest
Writer:
Catherine Jansen
Publisher:
The Globe and Mail

What could be more beautiful than
a monarch butterfly? That was my
challenge in illustrating this story
about a family that raises butterflies.
The story follows a mothers parti-
cipation in a school experiment,
which becomes a family ritual of
cultivating the near-threatened
species every year. The illustration
depicts the mother and her three
children as they discover each phase
of the remarkable transformation
from egg to caterpillar to chrysalis
to butterfly.

YOUNG BLOOD
PHOTOGRAPHY SINGLE
02 City Boy
Pam Lau, Toronto, Ont.
T: 416-558-3648
E: hello@pamlau.com
W: pamlau.com
Model:
Joseph Adamu

A journey.

01

02

Applied Arts 72
 YOUNG BLOOD

YOUNG BLOOD
PHOTOGRAPHY SINGLE
03 Returning Home (2015)
Marcus Mller Bitsch, Paris
E: info@marcusmb.com
W: marcusmb.com

Returning Home. The photo/series
deals with my return to my old home
in Denmark, after being on the road
for a year. It was a very ambivalent
return. I returned with an idea that
everything would feel the same. It
looked the same, but it didnt feel as
the home I leftI felt alienated. The
photo has no manipulation. This
illusion is achieved with a technique
called forced perspective.

YOUNG BLOOD
PHOTOGRAPHY SERIES
04 -ING 2016
Jiani Lu, Toronto, Ont.
E: info@lujiani.com
W: lujiani.com
Art Director:
Ryan Romanes
Project Coordinator:
Ramy Alawassy

A series of photos captured for a
creative conference in Dubai.
The photos were taken in settings
that resonate with the region.
We identified authentic landscapes
avoiding touristic Dubai spots and
opting for boundless sand dunes
and mountainous barrens. It took
03
hundreds of attempts of throwing a
colourful selection of fabrics up in
the air to capture a wide spectrum of
forms. The final results are multiple
takes layered in surreal compositions.

04

73 June 2016
 PHOTOGRAPHY

ADVERTISING PHOTOGRAPHY ADVERTISING PHOTOGRAPHY

Photography
SINGLE SINGLE
01 VW Valentines 02 World Vision Child Slavery Print Ad
Brad Pickard, Toronto, Ont. KBS, Toronto, Ont.
T: 647-918-4098 T: 416-323-2000
E: brad@bradpickard.net W: kbsp.ca
W: bradpickard.net Chief Creative Officer:
Digital Artist: Matt Hassell
Brad Pickard Client:
Ad Agency: World Vision
DDB Canada Art Director:
Art Director: Travis Cowdy
Loretta Lau Copywriter:
Creative Director: Lyranda Martin-Evans
Rob Sturch Photographer:
Client: Jay Miles
Volkswagen Canada
Together we can create a world with-
Volkswagen Canada decided to out child slavery. Campaign for the
crank up the heat for this Valentines humanitarian aid and development
Day piece. organization World Vision.

ADVERTISING PHOTOGRAPHY
SINGLE
03 All Weather Day
Christian Tremblay Photographe,
Montreal, Que.
T: 514-875-9948
E: info@christian-tremblay.com
W: christian-tremblay.com
Ad Agency:
Agence Rinaldi
Art Director:
Christian Asselin
01 Creative Director:
Michel Van Houtte
Stylist:
Very Much
Makeup Artist:
Jessica Manzo

All weather advertising campaign for
the Quebec Subaru dealers.

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ADVERTISING PHOTOGRAPHY ADVERTISING PHOTOGRAPHY

SINGLE SINGLE
04 Omar Gonzalez MLS LA Galaxy 06 VW Roller Coaster
KC Armstrong, Toronto, Ont. Brad Pickard, Toronto, Ont.
T: 416-834-5808 T: 647-918-4098
E: kc@kcarmstrong.net E: brad@bradpickard.net
W: kcarmstrong.net W: bradpickard.net
Photographer: Digital Artist:
KC Armstrong Brad Pickard
Art Director: Ad Agency:
Milton Melendez DDB Canada
Art Director:
Portrait of Omar Gonzalez of the Italo Siciliano
LA Galaxy. Shot Heineken and Project Coordinator:
Major League Soccer. Jessica Vieira
Client:
Volkswagen Canada
ADVERTISING PHOTOGRAPHY
SINGLE This ad was created for a summer
05 Bradley Wright Phillips MLS promo where Volkswagen Canada
NY Red Bulls was giving VW owners prizes and
KC Armstrong, Toronto, Ont. passes to various amusement parks.
T: 416-834-5808
E: kc@kcarmstrong.net
W: kcarmstrong.net ADVERTISING PHOTOGRAPHY
Photographer: SINGLE
KC Armstrong 07 Lego Christmas
Art Director: Desjean, Montreal, Que.
Milton Melendez Artists Rep:
Rodeo Production
Portrait of Bradley Wright Phillips of Ad Agency:
the NY Red Bulls. Shot Heineken and Brad
04
Major League Soccer. Art Director:
Pascal Tremblay
Assistant to Photographer:
Guillaume Lpine
Makeup & Hair:
Amlie Thomas

Ads for Lego. Christmas is around
the corner.

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ADVERTISING PHOTOGRAPHY ADVERTISING PHOTOGRAPHY

SERIES SERIES
01 Raptors Winter 03 /censored
Sandy Nicholson, Toronto, Ont. Rack & Pinion Creative, Toronto, Ont.
T: 416-530-0016 T: 647-773-7109
E: sandy@sandynicholson.com E: info@randpcreative.com
W: sandynicholson.com W: randpcreative.com
Creative Director: Creative Director:
Matt Coyle Lenny Poplianski
Art Director: Art Director:
Louis Cohen Dorota Pankowska
Account Manager: Copywriter:
Lindsay Carter Adriano Marchese
Stylist: Project Manager:
Stacy L. Troke Deryn Robson

Shot with the team from MLSE on /censored sheds light on the issues
location in the middle of winter at of government censorship of the
-20 degrees, to add to the We The worlds leading information and
North image library. social media outlets. Psiphon allows
users to freely access the Internet
in countries that block websites.
ADVERTISING PHOTOGRAPHY The series of posters showcases
SERIES recognizable popular logos and the
02 The Milk limiting effects that censorship has
Mathieu Lvesque, Montreal, Que. on the Internet. Real 3D shapes from
T: 514-992-0840 paper were used and then photo-
E: mathieu@leconsulat.ca graphed in the process of creating
W: leconsulat.ca these images.
Client:
Producteur de lait du Quebec
Ad Agency: ADVERTISING PHOTOGRAPHY
Nolin BBDO SERIES
Creative Director: 04 Heads Up
Stphane Charier Phoenix Advertising Group,
Art Director: Regina, Sask.
Steve Ppin W: thephoenixgroup.ca
Food Stylist: Photographer:
Chantal Legault Kiriako Iatridis
Client:
Images for The Milk campaign, SGI
Everything is better with milk. Creative/Art Director:
Laila Haus
Creative/Copywriter:
Lee Jones
Account Planner:
Dallas Fidierchuk

Distracted driving is a leading cause
of death on Saskatchewans roads.
We used perspective, in the literal
and lateral senses, to remind people
that one simple action can lead to a
devastating and dramatic end. We
blended a distracted driver with their
grieving family, illustrating that not
keeping your head up while driving
can bow the heads of the people
who love you most, permanently.

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ADVERTISING PHOTOGRAPHY
SERIES
01 AIU Campaign
Jeff Sciortino, Chicago, Ill.
W: jeffsciortino.com

This campaign illustrates that
the fully engrossing experience
of a classroom education can be
achieved, even with a multitude
of distractions, online.

ADVERTISING PHOTOGRAPHY
SERIES
02 Toronto Compost
Brad Pickard, Toronto, Ont.
T: 647-918-4098
02
E: brad@bradpickard.net
W: www.bradpickard.net
Digital Artist:
Brad Pickard
Photography Producer:
Anthony Cheung
Ad Agency:
Publicis 03
Art Director:
Dean Hore
Client:
City of Toronto

This conceptual series is designed to
bring awareness that food waste can
have a second life as compost for
your garden.

ADVERTISING PHOTOGRAPHY
SERIES
03 Lego Christmas
Desjean, Montreal, Que.
Artists Rep:
Rodeo Production
Ad Agency:
Brad
Art Director:
Pascal Tremblay
Assistant to Photographer:
Guillaume Lpine
Makeup & Hair:
Amlie Thomas

Ads for Lego. Christmas is around
the corner.

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ADVERTISING PHOTOGRAPHY
SERIES
04 Ryders Eyewear Campaign 2015
Waldy Martens, Vancouver, B.C.
T: 604-874-0002
E: waldy@waldymartens.com
W: waldymartens.com
Art Director:
Mike Quinn

A fun series of ads for Ryders with
the phrases confidence inspiring
protection and imagine we could
see everything so clearly.

ADVERTISING PHOTOGRAPHY
SERIES
05 Sherlock - Trash
Simon Duhamel, Montreal, Que.
T: 514-583-4665
E: simon@leconsulat.ca
W: simonduhamel.com
Client:
Sherlock
Ad Agency:
bleublancrouge
Creative Director:
Jonathan Rouxel
Art Director:
Julien Hrisson
Copywriter:
Dominique Bulmer

To illustrate the fact that Sherlocks
intensive anti-theft marking system
makes vehicles worthless to car
thieves because of its 52 marking
pointswhich make it virtually
impossible for cars to be chopped
up for partswe created a campaign
that depicts vehicles composed
entirely of garbage and street trash.

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01 ADVERTISING PHOTOGRAPHY ADVERTISING PHOTOGRAPHY

SERIES SERIES
01 A Bored Cat is a Bad Cat 02 At Home with Ra
Andrey Popov, Vancouver, B.C. Ethan Pines, Los Angeles, Calif.
T: 778-316-4072 T: 310-383-1509
E: info@andreyapopov.com E: ethan@ethanpines.com
W: andreyapopov.com W: ethanpines.com
Ad Agency: Ad Agency:
Cossette Arnold Worldwide
Art Director: Creative Director:
Grace Cho Sean McBride
Creative Director: Art Director:
Michael Milardo Nate Donabed
Copywriter: Copywriter:
Cameron Spires Josh Kahn
Art Producer: Photography Producers:
Philippa Groom Kersten Vasey, Mary Zeeble

Print and social campaign At Home with Ra ad campaign for
for Meowbox. Solarcity, featuring the Egyptian sun
god, Ra, doing menial household
chores for a suburban family. Tagline:
Putting the infinite power of the sun
to work for you.

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ARCHITECTURAL
PHOTOGRAPHY SERIES
03 Lightspeed
Adrien Williams, Montreal, Que.
T: 514-802-5759
E: info@adrienwilliams.com
W: adrienwilliams.com
Artists Rep:
Zet Production
Client:
ACDF
Assistant:
Mathieu Gurin

Project by ACDF Architects.

MEDIA PACKAGING
PHOTOGRAPHY SINGLE
04 Art of Dying Rise Up Album Cover
Art of Dying, Vancouver, B.C.
T: 604-446-8038
E: artofdying@me.com
W: artofdyingmusic.com
Art Director:
Jonny Hetherington
Photographer:
James Nizam

Vancouvers Art of Dying commis-
sioned Canadian artist James Nizam
to create the album cover for their
latest musical release titled Rise Up.
The light installation (archetype)
was physically created in the room
and captured on film.

ARCHITECTURAL
PHOTOGRAPHY SINGLE
05 Survival of the Fittest
Craig Boyko, Toronto, Ont.
E: cb@craigboyko.com
W: craigboyko.com
Photographer:
Craig Boyko

Natural History Museum in London.

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MEDIA PACKAGING MEDIA PACKAGING

PHOTOGRAPHY SERIES PHOTOGRAPHY SERIES
01 Dead Obies 03 Karim Ouellet
John Londono, Montreal, Que. John Londono, Montreal, Que.
T: 514-806-6487 T: 514-806-6487
E: john@john-londono.com E: john@john-londono.com
W: john-londono.com W: john-londono.com
Art Director: Photography Producer:
Dead Obies Eliane Sauv
Client: Client:
Bonsound Julien Aidelbaum
Project Director: Art Directors:
Alexandre Caron Sebastien Camden,
Photography Producer: Samuel Charlebois
Sebastien Boyer Prop Stylist:
Photo Assistant: Oliver Steinberg
Kelly Jacob Stylist:
Amanda VanderSiebes
In 2015, I followed Montreal-based
rap band Dead Obies in their image These images were conceptualized
strategies, from the production to promote a series of concerts
of images for their singles to the of pop singer Karim Ouellet with
conception of their album cover symphonic orchestras from Quebec
Gesamtkunstwerk. and Laval. I teamed up with Pusher
Studios to create striking yet simple
images resuming the clash between
ARCHITECTURAL classical and pop culture.
PHOTOGRAPHY SINGLE
02 Venice of the North
Craig Boyko, Toronto, Ont. CATALOGUE SERIES
E: cb@craigboyko.com 04 Holiday Accessories
W: craigboyko.com Colin Faulkner, Toronto, Ont.
Photographer: T: 416-469-1557
Craig Boyko E: colin@faulknerphoto.com
W: faulknerphoto.com
There are more than 100 kilometers Client:
of canals in Amsterdam. Holt Renfrew
Creative Director:
Sandy Kim
Digital Imaging:
Irmina Mikolajczyk

Holiday accessories.

CATALOGUE SERIES
05 Flowers & Shoes
Colin Faulkner, Toronto, Ont.
E: colin@faulknerphoto.com
W: faulknerphoto.com
Client:
Holt Renfrew
Creative Director:
Sandy Kim
Digital Imaging:
Irmina Mikolajczyk
04
Flowers and shoes.

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02
COMPLETE BOOK
PHOTOGRAPHY
01 St-Tite, Coeurs et Ames
Blue Hive, Montreal, Que.
Client:
Ford
Creative Director:
Martin Dessureaux
Copywriter:
Martin Barry
Art Director:
Alexandra-Julie Poirier
Photographer:
Luc Robitaille

For 22 years, Quebec Ford dealers
have been proud partners of the
St-Tite Western Festivala rodeo that
draws thousands of visitors to the
tiny rural town of St-Tite. To celebrate
what makes the festival so
uniquethe people of the town
itselfwe captured a series of striking
and inti-
mate portraits. The resulting images
were presented at an exclusive
exhibition during the festival and in
a limited-edition book.

COMPLETE CALENDAR
PHOTOGRAPHY
02 Le Lait 2016 Calendar
Gabrielle Sykes, Montreal, Que.
T: 514-652-7327
E: jaser@gabriellesykes.com
W: gabriellesykes.com
Artists Rep:
Rodeo Production
Client:
Le Lait
Ad Agency:
Nolin BBDO
Art Producer:
Jose Berniqu
Art Director:
Mlanie Baillairg

2016 calendar for Le Lait.

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COMPLETE BOOK
PHOTOGRAPHY
03 Lumination
Tim Nguyen, Calgary, Alta.
T: 403-560-0116
E: tim@citrusphotography.ca
W: citrusphotography.ca
Designer:
Amanda Ho
Models:
Christina Robertson, Amber
Needham, Raven Virginia,
Peyton Gastel, Zhen Huang

A three-year exploration of subjects
isolated in space. Over 100 models,
non-models, dancers, fetishists,
burlesque performers and cosplayers.
With minimal props and no sets,
subjects bore their raw and vulner-
able selves in the strikingly honest
Lumination light.

COMPLETE BOOK
PHOTOGRAPHY
04 Last Folio
Yuri Dojc, Toronto
T: 416-481-4648
E: stop@yuridojc.com
W: yuridojc.com

Last Folio, a book about books
found in abandoned school and
not cared for since WWII.

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COMPLETE CALENDAR
PHOTOGRAPHY
01 Taco Bell Fiery DLT
Grip Limited, Toronto, Ont.
Designer:
Olivia Harrison
Photographer:
Matt Barnes
Associate Creative Directors:
Ben Weinberg, Patrick Andrews
Social Content Strategists:
Matthew Stasoff, Jacquie Kostuk
Producer:
Liz Crofton

Taco Bell Canada launched the
Fiery DLT by featuring fans and influ-
encers in a limited-edition firefighter
calendar. The calendar also featured
a digital microsite with behind-the-
scenes footage and interviews, and
launch-day content on Snapchat.

CONCEPTUAL PHOTOGRAPHY
SINGLE
02 Renewal
Meaghan Ogilvie, Toronto, Ont.
W: meaghanogilvie.com
Models:
Maxim Bouchard, Emily Law

Renewal from series Requiem of
Water was part of a commissioned
exhibition for the Toronto 2015 Pan
Am/Parapan Am Games. It focuses
on our relationship to water by
exploring indigenous culture and
bodies of water around the world.

CONCEPTUAL PHOTOGRAPHY
SINGLE
03 Nicole Dube
RAPHAEL, Montreal, Que.
T: 514-567-7620 01
E: info@raphaelouellet.com
W: rraapphhaaeell.com
Ad Agency:
KBS
Artists Rep:
La Cavalerie
Art Director: 03
Cyril Drouot
Creative Director:
Sacha Ouimet
Stylist:
Isabelle St-Antoine

Portrait of Nicole Dube, as part of a
campaign to prevent mental illness
in the advertising industry.

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CONCEPTUAL PHOTOGRAPHY
SINGLE
04 Tropical Flower Arrangement in
Pioneer Times
Rod Bland, Edmonton, Alta.
T: 780-691-9231
E: rod@rodblandphotography.com
W: rodblandphotography.com
Model:
Miles Ellis

A farcical glimpse into the non-
existent practice of tropical
flower arrangement, as practiced
by 19th-century fur trappers.

CONCEPTUAL PHOTOGRAPHY
SINGLE
05 Lost
Andrey Popov, Vancouver, B.C.
T: 778-316-4072
E: info@andreyapopov.com
W: andreyapopov.com

I love sci fi, so Ive been wanting to
create something that encompasses
that love for a while. The background
plate had been shot during my trip
to the Death Valley (ironically, not far 04
from there I took a wrong turn and
had to ask for directions), and after
couple of weeks of spaceship model-
ling and texturing it was down to the
relatively easy partget a space suit
and arrange the shoot.

CONCEPTUAL PHOTOGRAPHY
SERIES
06 Toronto Compost
Brad Pickard, Toronto, Ont.
T: 647-918-4098
E: brad@bradpickard.net
W: bradpickard.net
Photography Producer:
Anthony Cheung
Ad Agency:
Publicis
Art Director:
Dean Hore
Client:
City of Toronto
Project Manager:
Tendril

This conceptual series is designed to
bring awareness that food waste can
have a second life as compost for
your garden.

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CONCEPTUAL PHOTOGRAPHY COVER (MAG, BOOK, NEWS)

SERIES PHOTOGRAPHY SINGLE
01 Inhospitably Ours 03 Bouffe Magazine
Philip Kanwischer, Calgary, Alta. LM Chabot, Montreal, Que.
T: 403-978-1531 W: lmchabot.com
E: philip_k@shaw.ca Art Director:
W: philipkanwischer.com Simon Lalibert
Client:
There is a constant flux in nature Patrick Thibeault
between the natural course and Hair & Makeup:
human intervention. This is an ethical Valeria Amirova
dilemma that I explore in my works. Props Stylist:
I acknowledge that I am part of the Oliver Stenberg
problem; photography is a medium Stylist:
that relates to the invasion of person- Tinashe Musara
al and emotional space.
Bouffe Magazines second-edition
theme was Extra Gluten. The
EDITORIAL SECTION (MAG, NEWS) duo chose to illustrate it with irony
PHOTOGRAPHY SINGLE using flour and its visual link with
02 Fred Schueler, Mudpuppy Hunter cocaine, strengthening the concept
Jessica Deeks, Ottawa, Ont. of addiction.
T: 613-323-7076
E: jess@jessicadeeks.com
W: jessicadeeks.com
Client:
ON Nature Magazine
Art Director:
Levi Nicholson
Assistant:
Tony Dib

Fred Schueler is a naturalist and
biologist who hunts for mudpuppies.
The shoot was in the afternoon but
we made it look like evening, as
thats the only time Schueler would
actually hunt them.

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04 CONCEPTUAL PHOTOGRAPHY CONCEPTUAL PHOTOGRAPHY

SERIES SERIES
04 Cant Reach 05 The Observer
Vincent Lions, Toronto, Ont. Wedig & Laxton Photography,
T: 416-854-8380 Atlanta, Ga.
E: contact@vincentlions.com T: 404-822-2876
W: vincentlions.com E: studio@wedigandlaxton.com
Photographer: W: wedigandlaxton.com
Vincent Lions Digital Artist:
Art Director: WeMonsters
Vincent Lions Set Builders:
ReadySet Atlanta
This series is based on a simple Stylist:
concept: two elements trying to The Spin Style Agency
reach for each other are tied up with
a single metallic wire that makes it We created a series of images that
impossible for them to ever meet. take place over a few seconds of
time. The Observer in the red dress
moves throughout the conflict, not
to make changes, but to observe the
good and bad of humanity.

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CONCEPTUAL PHOTOGRAPHY COVER (MAG, BOOK, NEWS)

SERIES PHOTOGRAPHY SERIES
01 Dreams 03 Bouffe
Andrey Popov, Vancouver, B.C. Simon Duhamel, Montreal, Que.
T: 778-316-4072 T: 514-583-4665
E: info@andreyapopov.com E: simon@leconsulat.ca
W: andreyapopov.com W: simonduhamel.com
Client:
This series is meant to show that Bouffe
childrens dreams are magical. Art Director:
They are often unrealistic, but they Simon Lalibert
are beautiful nonetheless, and Photographer:
discarding a dream just because Simon Duhamel
it is unrealistic is...boring.
Cover for the launch issue of Bouffe,
a magazine dedicated to foodies.
CORPORATE PHOTOGRAPHY
SERIES
02 HEC Montreal Gestion Gilbert Rozon EDITORIAL SECTION (MAG, NEWS)
Martin Girard, Montreal, Que. PHOTOGRAPHY SERIES
E: martin@shootstudio.ca 04 Borale
W: shootstudio.ca Maude Chauvin, Montreal, Que.
Photographer: T: 514-572-2140
Martin Girard E: info@maudechauvin.com
Art Director: W: maudechauvin.com
Eric Soulier Client:
Client: Ricardo Magazine
Jean-Marc Gauthier HEC Gestion Artists Rep:
Makeup Artist: Madore Production
Marilou Bergeron Art Director:
Photo Retoucher: Lydia Moscato
Bianca Iasenzaniro
Photo story for Ricardo Magazine
We did a photoshoot for the HEC about boreal agriculture in the
cover and editorial (university region of Saguenay/Lac Saint-Jean
business school magazine). The in Quebec.
protagonist is Gilbert Rozon, the
mastermind behind the Just for
Laughs in Montreal. We had seven
minutes total to do the shooting,
which turned out very nice I guess...

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CONCEPTUAL PHOTOGRAPHY EDITORIAL SECTION (MAG, NEWS)

SERIES PHOTOGRAPHY SERIES
01 Animal Heads 04 Calvin Love
Carlyle Routh, Toronto, Ont. RAINA+WILSON, Toronto, Ont.
W: carlylerouth.com T: 416-508-7694
Art Director: E: studio@rwphotographic.com
Benjamin MacDonald W: rwphotographic.com
Editor: Art Director:
Andrew Sardone Benjamin MacDonald
Stylist: Editor:
Tricia Hall Andrew Sardone
Models: Stylist:
Simon Baker, Tyler Berman Odessa Paloma Parker
Client:
A series of portraits shot for Globe The Globe and Mail
Style showcasing standout mens fall Makeup Artist:
sweaters and turtlenecks. Taylor Savage

Musician Calvin Love photographed
ADVERTISING PHOTOGRAPHY on location at the David Dunlap
SERIES Observatory for The Globe and Mails
02 CHOM FM Style Advisor Magazine.
Hans Laurendeau, Montral, Que.
T: 514-849-0451 ext. 209
E: hans@shootstudio.ca EDITORIAL SECTION (MAG, NEWS)
W: shootstudio.ca PHOTOGRAPHY SERIES
Photographer: 05 Splash of Colour
Hans Laurendeau Christian Lalonde, Ottawa, Ont.
Ad Agency: T: 613-238-3448
Bleublancrouge E: chris@photoluxstudio.com
Art Director: W: photoluxstudio.com/commercial
Sbastien Lafaye Art Director:
Copywriter: Jane Corbett
Cdric Audet
Photography Producer: Editorial story on paint colours and
Kristia Louis-Seize colour-inspired floral designs. Story
was featured in Ottawa Magazines
One song is not enough. Interiors issue.

COVER (MAG, BOOK, NEWS)

PHOTOGRAPHY SINGLE 04
03 Jane Goodall
Jason Gordon, Toronto, Ont.
T: 647-862-9213
E: jason@jgordonphoto.ca
W: jgordonphoto.ca
Photo Editor:
Patrice Larose
Art Director:
Annelise Dekker
Client:
Readers Digest

A portrait of anthropologist Jane
Goodall shot for the February 2016
cover of Readers Digest. 05

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NATURE, LANDSCAPE & WILDLIFE

PHOTOGRAPHY SINGLE
01 Sugar Beach
Scott Ramsay, Toronto, Ont.
T: 416-889-7996
E: scott@
scottramsayphotography.com
W: scottramsayphotography.com

Sugar Beach is a very interesting
beach. Located between Redpath
Sugar Refinery and the Corus
Building, its not your typical spot.
Often photographed with just beach
and the distant view of Toronto
Island, one may never know its sur-
rounded by industry. By looking back
on the city and the freight liners, you
see the true setting of the beach.

01
EDITORIAL SECTION (MAG, NEWS)
PHOTOGRAPHY SERIES
02 Love at First Bite / Chocolate Whisky
Pave / Cupcake Parfaits
Ronald Tsang, Toronto, Ont.
T: 416-588-2523
E: info@ronaldtsang.com
W: ronaldtsang.com
Art Director:
Henrietta Poon
Food Stylist:
Michael Elliot
Stylist:
Laura Branson

Canadian Living, February issue.

EDITORIAL SECTION (MAG, NEWS)

PHOTOGRAPHY SERIES
03 Sail Away
David De Stefano, Montreal, Que.
T: 514-467-8970
E: david@unophotodesign.com
W: unophotodesign.com
Art Director:
Caroline Blanchette
Food Stylist:
Etienne Marquis
Publisher:
Ricardo Magazine
Clients:
Brigitte Coutu, Ricardo Larrive

A day on a sailboat on Lake Ontario
02 for Ricardo Magazine.

03

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EDITORIAL SECTION (MAG, NEWS)

PHOTOGRAPHY SERIES
04 Pan Am Athletes
RAINA+WILSON, Toronto, Ont.
T: 416-508-7694
E: studio@rwphotographic.com
W: rwphotographic.com
Client:
S/Magazine
Art Directors:
Evan Kaminsky, Aurora Lynch
Fashion Editor:
Sahar Nooraei
Editor:
Lisa Felepchuk
Makeup Artist:
Jodi Urichuk
04
Gymnast Patricia Bezzoubenko
and sprinter Kimberly Hyacinthe
photographed for a story on
Pan Am Games athletes.

EDITORIAL SECTION (MAG, NEWS)

PHOTOGRAPHY SERIES
05 Dawn Wall 2015
Corey Rich, South Lake Tahoe, Calif.
E: corey@coreyrich.com
W: coreyrich.com
Photographer:
Big Up Productions
Stock Representation:
Aurora Photos

After spending 19 days on Dawn Wall,
Tommy Caldwell and Kevin Jorgeson
reached the summit of El Capitan
in Yosemite National Park for their
historic first free ascent of the Dawn
Wall (VI 5.14d) on January 14, 2015.

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FASHION & BEAUTY CINEMAGRAPH SINGLE

PHOTOGRAPHY SERIES 03 Blue Butterflies
01 Blade Runner Joseph Ford, London, U.K.
Leda & St.Jacques, Toronto, Ont. T: +44 796 8459 882
T: 416-939-5674 E: awards@josephford.net
E: leda.st.jacques@videotron.ca W: josephford.net
W: leda-st-jacques.com Photographer:
Client: Joseph Ford
Elle Canada
Art Director: Photo loop shot with real butterflies
Denis Desro on models faces.
Artists Rep:
Rodeo Production
Stylist: UNPUBLISHED/PERSONAL
Sara Bruneau PHOTOGRAPHY SERIES
Hair & Make-Up: 04 Ballet
Paco (Folio) Josee Lecompte, Montreal, Que.
E: info@joseelecompte.com
Leda & St.Jacques propel us into a W: joseelecompte.com
science-fiction universe with these
futuristic images directly inspired by During our annual trip with LArchipel,
the film Blade Runner. This editorial I went the ballet school in Havana.
was directed by the Denis Desro, I was offered a backstage view to
whose flowing imagination brings us the preparations and the show. The
to the outer frontiers of the universe children were running, stretching,
with this avant-garde editorial. teasing each other and preparing for
their big moment. Special thanks to
Joao Diezcabeza for his help.
FASHION & BEAUTY
PHOTOGRAPHY SERIES
02 Elizabeth FASHION & BEAUTY
Sandrine Castellan, Montreal, Que. PHOTOGRAPHY SERIES
E: sandrine@shootstudio.ca 05 A Vibrant Soul
W: shootstudio.ca/sandrinecastellan Michael David Adams, Brooklyn, N.Y.
Stylist: E: studio@michaeldavidadams.com
Melanie Lariviere MStyliste W: michaeldavidadams.com
Makeup Artist: Client:
Laurie Draps Dulcedo Management Charleston Style & Design Magazine
Digital Artist: Model:
Bianca Iasenzaniro Shoot Studio Sasha Pereira
Model: Stylist:
Elizabeth Folio Alexandra Munzel
Makeup & Hair:
Personal series of Elizabeth, a young Viktorija Bowers
Canadian model.
A Vibrant Soul fashion editorial,
photographed in Lisbon, Portugal.

04

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01 HOMES & GARDENS

PHOTOGRAPHY SERIES
01 HBC
Rob Fiocca, Toronto, Ont.
W: fioccastudio.com
Creative Director:
Jean Speirs
Assistant Creative Director:
Rebecca Watson
Studio Director:
Ray Soares
Photo Studio Manager:
Marie-Paule Cotie
Photography Producer:
Nancy Dunn

Series of interiors shot for HBC.

EDITORIAL SECTION (MAG, NEWS)

PHOTOGRAPHY SERIES
02 Adeles Hello Behind the Scenes
Shayne Laverdire, Montreal, Que.
W: shaynelaverdiere.com

Editorial for Vanity Fair. The idea
was to capture the magic that
made the success of the clip and the
relationship between Adele and
Xavier Dolan, the director of the clip.

02

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NATURE, LANDSCAPE & WILDLIFE

PHOTOGRAPHY SINGLE
03 Cow Island
Chris Sue-Chu, Toronto, Ont.
E: info@chrissuechu.com
W: chrissuechu.com

Protected land off the coast
of Highway 1.

NATURE, LANDSCAPE & WILDLIFE

PHOTOGRAPHY SINGLE
04 Ode to the Ovibos | Magnificent
Matthew Polvorosa Kline, San
Francisco, Calif.
W: polvorosakline.com
Client:
Orion Magazine

03
While camping amid a particular
group of eight male musk oxen one
winter in their northern mountain
realm, Matthew Polvorosa Kline had
the opportunity to photograph these
animals in depth and put together a
portfolio, Ode to the Ovibos, which
honours them well. This image
was featured on the November/
December cover of Orion Magazine.

NATURE, LANDSCAPE & WILDLIFE

PHOTOGRAPHY SINGLE
05 Herd of Icelandic Horses
Jim Norton, Toronto, Ont.
T: 416-777-1771
E: studio@jimnortonphoto.com
W: jimnortonphoto.com
Photo Editor:
Evonne Bellefleur

A herd of Icelandic horses
near Sauorkrkur.

04

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NATURE, LANDSCAPE & WILDLIFE

PHOTOGRAPHY SINGLE
01 The Coup
Danielle Matar, Toronto, Ont.
W: daniellematar.com
Photographer:
Danielle Matar

The nicest chickens Ive ever met.

NATURE, LANDSCAPE & WILDLIFE

PHOTOGRAPHY SERIES
02 Night Photography
Brad Goldpaint, Bend, Ore.
E: brad@goldpaintphotography.com
W: goldpaintphotography.com
Stock Representation:
Aurora Photos

Astrophotography showing the Milky
Way framing and enhancing the
natural and eerie landscape in the
west and southwest United States.

01
NATURE, LANDSCAPE & WILDLIFE
PHOTOGRAPHY SERIES
03 Microsculpture
Levon Biss, London, U.K.
T: +44 (0) 7710 845 881
E: contact@levonbiss.com
W: levonbiss.com

Microsculpture is a photographic
study of the insect world. Using
microscope lenses and photo
stacking techniques, each image
is made from over 8,000 individual
photographs and takes three
weeks to complete. The insect is
photographed in approximately
25 sections, with each section lit
differently to enhance the beauty of
that particular area of the specimen.
The final photographs are printed
at 3m x 2m.

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NATURE, LANDSCAPE & WILDLIFE

PHOTOGRAPHY SERIES
04 Alaska
Chris Gordaneer, Toronto, Ont.
T: 416-535-1955
E: chris@westsidestudio.com
W: chrisgordaneer.com

A series of photographs captured
while traveling through Alaska.

NATURE, LANDSCAPE & WILDLIFE

PHOTOGRAPHY SERIES
05 Vancouver to Whitehorse
Ryan Szulc, Toronto, Ont.
T: 647-342-7121
E: studio@ryanszulc.ca
W: ryanszulc.ca

Taking a break from my commercial
work, I decided to do a road trip from
Vancouver, BC to Whitehorse, Yukon
and back6,000 km of driving the
glorious west coast and north BC.
Makes you realize what a vast and
beautiful country we live in.

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TRAVEL PHOTOGRAPHY SERIES

01 Death Valley Desert
Gabrielle Sykes, Montreal, Que.
T: 514-652-7327
E: jaser@gabriellesykes.com
W: gabriellesykes.com
Artists Rep:
Rodeo Production

Seen while traveling through the des-
olate Death Valley desert, California.

NATURE, LANDSCAPE & WILDLIFE

PHOTOGRAPHY SERIES
02 King Penguins
Lorraine Turci, Montreal, Que.
E: contact@lorraineturci.com
W: lorraineturci.com
Client:
Ponant

Saint Andrews Bay, South Georgia, a
rookery of 100,000 birds. Variations
at the heart of the multitude, chore-
ography of behaviours and shapes.

01

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HOMES & GARDENS

PHOTOGRAPHY SERIES
03 Anything Chicken
Marnie Burkhart, Calgary, Alta.
T: 403-816-3177
E: marnie@jazhart.com
W: jazhart.com
Stylist:
Marnie Burkhart

We are relatively a small group
photographers that keep chickens.
Not only are they amusing, the
feathers of the rare heritage breeds
are quite beautiful. They inspire me
photographically with their colourful
plumage and their daily gifts of blue
or brown eggs. Chickens are a great
subject and a big part of my life in
the country.

TRAVEL PHOTOGRAPHY SINGLE

04 Vibrant New York
Jean Francois Seguin, Toronto, Ont.
E: info@jeanfrancoisseguin.com
04
W: jeanfrancoisseguin.com
Art Advisor:
Joel Silverstein

Pedal cab in the vibrant city of New
York on a rainy day. Image from the
series New York Minutes.

TRAVEL PHOTOGRAPHY SINGLE

05 Passing Lane
Peter Andrew Lusztyk, Toronto, Ont.
T: 416-999-5066
E: peter@peterandrew.ca
W: peterandrew.ca
Photographer:
Peter Andrew Lusztyk

Highway shot in Cheaha State Park,
Alabama.

TRAVEL PHOTOGRAPHY SINGLE

06 Passing Down
Yingting Shih, Taoyuan, Tai.
T: +88 691 951 3721
E: ludwigshih@gmail.com
W: yingtingshih.com

Offering sacrifices to ancestors on
05
Tomb Sweeping Day allows Chinese
offspring to pass down traditions
from generation to generation.
06

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TRAVEL PHOTOGRAPHY SERIES

01 Blue Lagoon, Iceland
Dominique Lafond, Toronto, Ont.
T: 416-939-5674
E: do@dominiquelafond.com
W: dominiquelafond.com
Artists Rep:
Rodeo Production

Relaxing at the Blue Lagoon near
Reykjavik in Iceland.

TRAVEL PHOTOGRAPHY SERIES

02 Kittitian Confidential
Air Canada enRoute, Montreal, Que.
T: 514-840-5314
E: alison.robins@spafax.com
Photography Producer:
Leila Courey
Photo Editor:
Rachel Wine
Photographer:
Eva Kolenko
Art Director:
Mikala Grante

We showcase how Caribbean resort
food is being brought back into local
hands through bright, sunny imagery
delivered through a sustainably
minded lens.

I-109

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TRAVEL PHOTOGRAPHY SERIES

03 Oman of Mystery
Air Canada enRoute, Montreal, Que.
T: 514-840-5314
E: alison.robins@spafax.com
Photography Producer:
Leila Courey
Photographer:
Mark Hartman
Art Directors:
Nathalie Cusson, Mikala Grante
Photo Editor:
Rachel Wine

On a road trip from the gleaming
metropolis of Dubai to the serene
fjords and mountains of Omans
Musandam Peninsula, we showcase
the region known as the Norway
of Arabia in a dusty desert palette,
punctuated with frolicking dolphins
and quarrelsome goats.

TRAVEL PHOTOGRAPHY SERIES

04 Las Marias Cadiz
Michael Abril, Montreal, Que.
T: 438-837-7742
E: mabril@michaelabril.com
W: michaelabril.com
Artists Rep:
Madore Production

On the beach of La Caleta in Cadiz,
Spain, from the beginning of the
afternoon until sunset, Las Marias
meet, play and laugh between the
castles, offering curious unlookers a
colourful and lively sight. Las Marias
in gaditano slang are these beauti-
ful women with melodious accents,
most of them retired, all friends,
some gossiping, who come together
to play bingo and parchis, but
mostly to share and celebrate life,
the sun, the beach and friendship.

03

04

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02

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FOOD PHOTOGRAPHY SERIES

01 Death By Chocolate
Ryan Szulc, Toronto, Ont.
T: 647-342-7121
E: studio@ryanszulc.ca
W: ryanszulc.ca
Photographer:
Ryan Szulc
Food Stylist:
Matt Kimura
Prop Stylist:
Madeleine Johari

We all love chocolate, its undeniable.
So I teamed up with food stylist
Matthew Kimura and prop stylist
Madeleine Johari to explore the deep
dark pleasures of chocolate.

FOOD PHOTOGRAPHY SERIES

02 Fall Feast
Rob Lee/August Industries,
Montreal, Que.
T: 514-885-3719
E: info@augustindustries.ca
W: augustindustries.ca
Stylist:
David Rollins
03
This series is from the online food
journal Mortar & Pestle. It featured
a recipe for chicken with wild
mushrooms. The story also evoked
the delicious character of fall,
and the transience of life in all of
its ephemeral beauty.

FOOD PHOTOGRAPHY SERIES

03 Au Gr des Champs
Virginie Gosselin, Montreal, Que.
E: virginiegosselin@me.com
W: virginiegosselin.com
Food Stylist:
Marc-Alexandre Mercier
Publisher:
Les ditions du passage
Artists Rep:
Zet Production

Images from the book Au Gre des
Champs. A cookbook that gathers
the story of a small cheese producer
and recipes from local chefs.

FOOD PHOTOGRAPHY SERIES

04 Hot List 2015 Food Issue
Christian Lalonde, Ottawa, Ont.
T: 613-227-5209
E: chris@photoluxstudio.com
W: photoluxstudio.com/commercial

The Ottawa Magazine Food Issues
top 10 restaurant of the year.
This year I went with a cleaner and
simpler approach, less propping
and heavy settings and really con-
centrated on the food and its design.
Shot on location in the various
restaurants, I was able to have the
dishes built and laid out in a way
to create more of an art piece to
showcase the textures and colours.

04

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02

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FOOD PHOTOGRAPHY SERIES

01 Ferreira
Hans Laurendeau, Montreal, Que.
T: 514-849-0451 ext. 209
E: hans@shootstudio.ca
W: shootstudio.ca
Photographer:
Hans Laurendeau
Ad Agency:
Polygraphe
Art Director:
Sbastien Bisson
Project Manager:
Marie-Claude Fortin
Photography Producer:
Kristia Louis-Seize

Photo shoot for the new website
of Feirrera cafe.

FOOD PHOTOGRAPHY SERIES

02 Chocolate Many Ways
Jim Norton, Toronto, Ont.
T: 416-777-1771
E: studio@jimnortonphoto.com
W: jimnortonphoto.com
Food Stylist: 03
Claire Stubbs
Digital Imaging:
Evonne Bellefleur

Tempted ourselves while trying to 04
discover the many ways to prepare
chocolate in the studio!

FOOD PHOTOGRAPHY SERIES

03 Squid Ink Pasta
Darren Kemper, Toronto, Ont.
T: 416-888-3374
E: studio@darrenkemper.com
W: darrenkemper.com
Food Stylist:
Christina Frantzis
Propping:
Still Life Props
Digital Imaging:
Robyn Mulvena
Artists Rep:
Coup & Company

Squid ink pasta series shot with food
stylist Christina Frantzis.

FOOD PHOTOGRAPHY SERIES

04 Bundt Cakes
Krug Studios, Toronto, Ont.
T: 416-658-4320
E: info@krugstudios.com
W: krugstudios.com
Creative Director:
Meaghan Binstock
Food Stylist:
Meaghan Binstock
Digital Imaging:
Zachary Koski, Evonne Bellefleur
Artists Rep:
FUZE REPS
Photo Assistant:
Christopher Van Doorn

A self-directed creative series about
miniature bundt cakes.

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FOOD PHOTOGRAPHY SERIES

01 Cake
Alyssa Wodabek, Toronto, Ont.
E: info@alyssawodabek.com
W: alyssawodabek.com
Creative Director:
Chris Sue-Chu
Art Directors:
Erinn Weatherbie, Kelly Childs
Food Stylist :
Joanne Tsakos
Publisher:
Random House Canada

Series of cakes from the cookbook
Made with Love.

FOOD PHOTOGRAPHY SERIES

02 Salt Promo
Douglas Bradshaw, Toronto, Ont.
T: 416-535-1771
E: studio@bradshawphoto.com
W: bradshawphoto.com
Food Stylist:
Lasha Andrushko
Prop Stylist:
Janet Walkinshaw

From a promo series titled Salt.
01

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FOOD PHOTOGRAPHY SERIES

03 Baby Gourmet Cookbook
Marnie Burkhart, Calgary, Alta.
T: 403-816-3177
E: marnie@jazhart.com
W: jazhart.com
Photographer:
Marnie Burkhart
Writer:
Jennifer Carlson
Food Stylist:
Marnie Burkhart
Publisher:
Simon and Schuster
Digital Imaging:
Cathy Simone

Baby Gourmet cookbook, publisher
Simon and Schuster, release date
Spring 2016. The author/creator
of Baby Gourmet, Jennifer Carlson,
worked with me in my country
home using my antique furniture
and kitchenware. The premise of
the cookbook is to create one meal,
blend a portion for baby and enjoy!
The challenge: create imagery that
displayed both an appealing family
meal paired with a portion for baby.

FOOD PHOTOGRAPHY SERIES

04 Rorschach Fungus
Danielle Matar, Toronto, Ont.
W: daniellematar.com

Looking into the minds
of mushrooms.

NATURE, LANDSCAPE & WILDLIFE

PHOTOGRAPHY SINGLE
05 Hammer in the Night
Goh Iromoto, Toronto, Ont.
T: 416-817-8763
E: goh@gohiromoto.com
W: gohiromoto.com
Photographer:
Goh Iromoto

A great hammerhead shark looms
into the light during a night dive in 04
Bimini, Bahamas.

05

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PACKAGING PHOTOGRAPHY
SERIES
01 Jamie Oliver/Sobeys
James Tse, Toronto, Ont.
E: studio@jamestsephoto.com
W: jamestsephoto.com
Stylist:
Catherine MacFadyen
Food Stylist:
Sarah Tildesley
Art Directors:
Kristine Ramezani, Pella Economou
Artists Rep:
Coup & Company

Packaging campaign for the Jamie
Oliver collection at Sobeys.

FOOD PHOTOGRAPHY SERIES

02 Canadas Best New Restaurants 2015
Air Canada enRoute, Montreal, Que.
T: 514-840-5314
E: alison.robins@spafax.com
Art Directors:
Catherine Gravel, Mikala Grante
Photo Editor:
Rachel Wine
Photographer:
Rush Jagoe
Food Stylist:
Andrew Bullis
Stylist:
01 Krystin Smith

One photographer took on the epic
task of travelling across Canada
to document the people, places and
02
things behind the top 10 restaurant
openings of the year, striving to
show diversity within a cohesive and
identifiable style for the series.

FOOD PHOTOGRAPHY SINGLE

03 Autumn Feast / Agropur
Dana Dorobantu, Montreal, Que.
T: 514-574-7613
E: info@danadorobantu.comn
W: danadorobantu.com
Ad Agency:
Lg2
Client:
Agropur Signature
Art Directors:
Jennifer Varvaresso, Alex Jourdain
Retoucher:
Claude Lafrance
Food Stylist:
Blake Mackay

This campaign was created in
collaboration with lg2 agency and
03 the cheese producers Agropur.
A moody, festive, yet relaxed table
ambience. Its all about the cheeses!

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PHOTOJOURNALISM
PHOTOGRAPHY SERIES
04 Homage Collective
Homage Collective, Toronto, Ont.
W: homagecollective.com
Photographer:
Marlee Maclean

Homage Collective is a photo-
journalistic series that explores the
lives of artists, innovators and
creatives. A combination of portraits
and handwritten words from the
subject, it is a collective that looks
to tell the stories of their ambitions
and what drives them.

PHOTOJOURNALISM
PHOTOGRAPHY SERIES
05 American Restoration
Derek Shapton, Toronto, Ont.
E: derek@westsidestudio.com
W: derekshapton.com
Photographer:
Derek Shapton
Client:
AWAY magazine
Photo Editor:
Liz Ikiriko

Series of urban landscapes for a
feature article about the revitalization
and restoration of the American
Midwest Rust Belt.

04

05

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PHOTOJOURNALISM PHOTO ILLUSTRATION SINGLE

PHOTOGRAPHY SINGLE 03 VW Roller Coaster
01 Urban Chaos Port au Prince Brad Pickard, Toronto, Ont.
Daniel Desmarais, Val Morin, Que. T: 647-918-4098
T: 514-804-7950 E: brad@bradpickard.net
E: danieldesmarais@mac.com W: bradpickard.net
W: danieldesmarais.com Digital Artist:
Brad Pickard
I have been flying with a helicopter Ad Agency:
over Haiti many times shooting DDB Canada
these landscapes. Art Director:
Italo Siciliano
Client:
POSTER PHOTOGRAPHY SINGLE Volkswagen Canada
02 Pippi Longstocking (Fifi Brindacier) Creative Director:
Julie Beauchemin, St-Colomban, Que. Rob Sturch
E: info@
juliebeaucheminphotographe.com This ad was created for a summer
W: juliebeaucheminphotographe.com promo where Volkswagen Canada
Client: was giving VW owners prizes and
Ville de Montral passes to various amusement parks.

H-078
Project Director:
Annie Ranger
Project Coordinator:
Elisa Belhache
Model/Actress:
Sophie Grenier
I was looking for a place to shoot
this picture that had to reflect
Pippis love for freedom, her playful
personality and all her pirates roots,
for Montreals famous theatre La
Roulotte. It was 8:00 in the morning
when I saw that perfect boat. It was
a little bit scary. A man was cleaning it.
Ill ask the Captain, he said. And
the captain said yes. Always wanted
to thank him. Thanks Captain!
01
PHOTOJOURNALISM
STORY PHOTOGRAPHY
04 Trails West The North American
Cowboy
Greg Bos, London, U.K.
T: +44 759 920 1972
E: gregbos@hotmail.com
W: gregbosphotography.com
My 2015 collection of images of
cowboys is a continuation of a
documentary project I started in
1985 while I was working for a daily
newspaper in BC. Cattle branding
time is a time of communityfamily,
ranch hands, friends all working
together. Im always looking for off-
beat images on the fringes of the
branding itself. I never tire of photog-
raphing the iconic cowboyworking
at some of North Americas most
historic ranches.

STILL-LIFE
PHOTOGRAPHY SINGLE
05 Grainstorming
Krug Studios, Toronto, Ont.
T: 416-658-4320
E: info@krugstudios.com
02 W: krugstudios.com
Ad Agency:
Jacknife Design
Art Director:
Mike Kelar
Food Stylist:
Ruth Gangbar
Client:
Weston Bakeries
Artists Rep:
FUZE REPS

A typographic treatment using
flour photographed for Weston
Bakeries offices.

03

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PHOTOJOURNALISM STORY
PHOTOGRAPHY SERIES
01 Mullys Childrens Family
Adrian Armstrong, Toronto, Ont.
T: 647-296-7335
E: adrian@
adrianarmstrongphoto.com
W: adrianarmstrongphoto.com
Photographer:
Adrian Armstrong
Artists Rep:
FUZE REPS

Mully Childrens Family is a home
for orphans two hours outside of
Nairobi. Over 10,000 abandoned
street children in Kenya have been
rescued and adopted. Along with
adopting children, they also rescue
young girls from abusive situations
and the sex trade. Some of these
girls already have small children who
are also taken in. The girls receive an
education as well as parental training.

MISCELLANEOUS
PHOTOGRAPHY SERIES
02 Cassis et Mlisse Farm
Sylvie Racicot, Montreal, Que.
T: 514-279-9393
E: sylvie@chezvalois.com
W: chezvalois.com
Photographer:
Chez Valois

Three pictures from a series of
photography taken for website and
social, for the sustainable organic
goat dairy farm Cassis & Mlisse.

01

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PHOTO MANIPULATION SINGLE

03 Blanket
Pinter Creative Studio, Burnaby, B.C.
T: 604-568-8531
E: steve@pintercreative.com
W: pintercreative.com
Creative Retoucher:
Istvan (Steve) Pinter
Art Director:
Travis Cowdy
Ad Agency:
KBS
Client:
World Vision

Two girls of the same age connected by one
blanket. How different their two worlds are.

03
PORTRAIT PHOTOGRAPHY SINGLE
04 John Moonlight
Aaron Cobb, Toronto, Ont.
E: info@aaroncobb.com
W: aaroncobb.com
Production House:
Studio M
Digital Imaging: 04
Brad Pickard
Client:
Under Armour

John Moonlight is the captain of the
Canadian rugby 7s team that won
gold at the Pan Am Games in Toronto.
Pictured here at the Canadian Rugby
Centre of Excellence outside Victoria, BC.

POSTER PHOTOGRAPHY SINGLE

(ALSO, SERIES WITH 05A & 05B)
05 Untitled
Chris Gordaneer, Toronto, Ont.
T: 416-535-1955
E: chris@westsidestudio.com
W: chrisgordaneer.com

Portrait series of interesting people.

05 05a 05b

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PORTRAIT PHOTOGRAPHY
SINGLE (ALSO, SERIES WITH
01A & 01B)
01 Pete Devries
Gerard Yunker, Calgary, Alta.
T: 403-615-8345
E: gerard@gerardyunker.com
W: gerardyunker.com
Digital Imaging:
Will Young

An environmental portrait of Pete
Devries, Canadas top male surfer,
shot in his hometown of Tofino BC.

PORTRAIT PHOTOGRAPHY
SINGLE
01a Hanna Scott
Gerard Yunker, Calgary, Alta.
T: 403-615-8345
E: gerard@gerardyunker.com
W: gerardyunker.com
Digital Imaging:
Will Young

An environmental portrait of Hanna
Scott, one of Canadas top female
01 surfers, shot in her hometown of
Tofino BC.

PORTRAIT PHOTOGRAPHY
SINGLE
02 Quiet Beauty
Braden Summers Photography,
San Francisco, Calif.
T: 860-490-1467
E: braden@bradensummers.com
W: bradensummers.com
Model:
Cindy Joseph
Makeup Artist:
Nikol Elaine
Hair Stylist:
01a 01b Ngoce Duong
Set Designer:
Brian Bergeron

Quiet Beauty is a modern take
on traditional portraiture. Braden
Summers combines his love of art and
fantastical characters to conjure up
the inspiration for each image. Using
simple sets, focused colour palettes
and strategic styling, he composes
02
each portrait to emphasize the unique
identity of his subjects.

PORTRAIT PHOTOGRAPHY
03 SINGLE
03 Something Fishy
Jens Kristian Balle, Vancouver, B.C.
T: 604-341-5035
E: jens@jenskristianballe.com
W: jenskristianballe.com

Images from an ongoing series
of conceptual portraits.

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PORTRAIT PHOTOGRAPHY
SERIES
04 TABOUS / CARIBOU
Tania Jimenez, Montreal, Que.
T: 514-574-7613
E: info@danadorobantu.com
W: danadorobantu.com
Photographer:
Dana Dorobantu
Publisher:
CARIBOU
Retoucher:
Claude Lafrance

The series was published as the
cover of Caribou Magazine (which
focuses on local food and producers).
This numbers subject was TABOUS
around the food industry. This portrait
series is of a passionate and respect-
ful owner of a goose farm and those
magnificent and elegant birds, and
their touching relationship. This
project was shot on their farm.

PORTRAIT PHOTOGRAPHY
SERIES
05 Animal Heads
Carlyle Routh, Toronto, Ont.
W: carlylerouth.com
Art Director: 04
Benjamin MacDonald
Editor:
Andrew Sardone
Stylist:
Tricia Hall
Models:
Simon Baker, Tyler Berman

05
A series of portraits shot for Globe
Style showcasing standout mens
fall sweaters and turtlenecks.

SPORTS PHOTOGRAPHY SERIES

06 Toronto FC 2015
Paul Giamou, Toronto, Ont.
T: 416-729-7740
E: info@paulgiamou.com
07
W: paulgiamou.com
Client:
Maple Leaf Sports & Entertainment
Art Directors:
Matt Coyle, Jason Morra

Intensity and preparation from the
2015 Toronto FC season.

06

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PORTRAIT PHOTOGRAPHY PORTRAIT PHOTOGRAPHY

SINGLE SINGLE
01 Leon Bridges 02 Menagerie
Dominique Lafond, Toronto, Ont. Ashlea Wessel, Toronto, Ont.
T: 416-939-5674 T: 416-991-9995
E: do@dominiquelafond.com E: contact@ashleawessel.com
W: dominiquelafond.com W: ashleawessel.com
Artists Rep: Photographer:
Rodeo Production Ashlea Wessel
Art Director: Makeup Artist:
Nathan Marshall Robyn Hancock
Makeup Artist:
Catherine Lemay Collector, traveller and personality
Client: Jessica Phillips with her menagerie
Georgie Magazine a selection of creatures from the
Photo Assistant: Niagara Falls Museum Collection.
Don Loga

Leon Bridges for Georgie Magazine. PORTRAIT PHOTOGRAPHY
SINGLE
03 Mark Oldershaw
Chris Gordaneer, Toronto, Ont.
T: 416-535-1955
E: chris@westsidestudio.com
W: chrisgordaneer.com

A portrait of Canadian Olympic
bronze medalist Mark Oldershaw
shot for the Pan Am Games.

PORTRAIT PHOTOGRAPHY
01
SINGLE
04 Chef
Ronald Tsang, Toronto, Ont.
T: 416-588-2523
E: info@ronaldtsang.com
W: ronaldtsang.com
Creative Director:
Amy Czettisch
Art Director:
Jill Redden
Client:
Toronto Wholesale Produce
Association
Photographer:
Ronald Tsang
Photography Assistant:
Gus Rodriguez

Portrait of a chef.

04

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PORTRAIT PHOTOGRAPHY
SERIES
05 East Africa Portraits
Kristofer Dan-Bergman,
New York, N.Y.
T: 212-533-5383
E: kdb@kristoferdanbergman.com
W: kristoferdanbergman.com

Rwanda, Uganda and Burundi all
suffer from post-war and genocide
stress syndrome. This makes the in-
habitants in a sort of lethargic stage.
Spark Micro Grants helps the villages
believe in the future again by coach-
ing them with creating projects. I
was invited by Spark through Global
Good Fund to travel with them to
the villages. I shot portraits of the
villagers as well as documented their
projects through stills and video.

PORTRAIT PHOTOGRAPHY
SERIES
06 Where Time Has Stopped
Dana Dorobantu, Montreal, Que.
T: 514-574-7613
E: info@danadorobantu.com
W: danadorobantu.com

This series is part of a travel project
in Europes hidden yet so beautiful
corners. A glimpse into the past, yet
so present. Hardworking and attach-
ing habitants of the mountains and
the fields forgotten in time. Stories
of times passed.

05

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SELF-PROMOTION
PHOTOGRAPHY SERIES
01 The Observer
Wedig & Laxton Photography,
Atlanta, Ga.
T: 404-822-2876
E: studio@wedigandlaxton.com
W: wedigandlaxton.com
Digital Artist:
WeMonsters
Set Builders:
ReadySet Atlanta
Stylist:
The Spin Style Agency

We created a series of images that
take place over a few seconds of
time. The Observer in the red dress
moves throughout the conflict, not
to make changes, but to observe the
good and bad of humanity.

SELF-PROMOTION
PHOTOGRAPHY SERIES)
02 Avanto Hole in the Ice
Markku Lahdesmaki,
Palm Springs, Calif.
T: 760-322-4548
E: markkuphoto@gmail.com
W: markkuphoto.com

I was visiting my hometown, Tampere,
Finland, in January and decided to
venture out to the lakeside, called
Rauhaniemi. When I arrived at the
lake, I found it teeming with swim-
05 mers, despite the fact that it was -11
degrees Farenheit! Taking a plunge in
an ice-cold lake is a common ritual
in Finland and it also involves another
Finnish staple, the sauna.
01

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SELF-PROMOTION
PHOTOGRAPHY SINGLE
03 Pollinator
Brad Pickard, Toronto, Ont.
E: brad@bradpickard.net
W: bradpickard.net
Digital Artist:
Brad Pickard

A self-promo piece blending both
CGI and photography.

SELF-PROMOTION PACKAGE
PHOTOGRAPHY
04 2015 KG Promotional Mailing
Kristopher Grunert, Yorkton, Sask.
T: 1-877-574-7478
E: kristopher@grunertimaging.com
W: grunertimaging.com
Design Studio:
Burnkit
Designer:
Chris Allen
Creative Director:
Dylan Staniul
Printing Company:
Blanchette Press
Artists Rep:
Nancy Grant 03

No gimmicks here: just compelling
photographs, personal captions and
clean design, beautifully printed.
This oversized 12-pager in custom
envelope is printed on Rolland Enviro 04
80 lb text.

07

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SELF-PROMOTION PACKAGE
PHOTOGRAPHY
01 A Seasonal Foodie Photography
Look Book
Tracey Kusiewicz, Vancouver, B.C.
T: 604-708-4343
E: tracey@foodiephoto.com
W: foodiephoto.com
Photographer:
Tracey Kusiewicz
Food Stylist:
Tracey Kusiewicz
Designer:
Gerilee McBride

Throughout last year, as each season
changed, I took a few days to shoot
a miniseries of food photos that
embodied that season. The final
result was this lookbook of my
non-commercial photography shot
purely for creative expression and
not necessarily to sell anything.

SELF-PROMOTION PACKAGE
PHOTOGRAPHY SERIES
02 Observations
Steve Gordon, Vancouver, B.C.
T: 416-889-9050
E: witkop@mac.com
W: stevegordon.ca

I love to explore, and while exploring,
I observe, and once I have observed,
I capture what I have explored and
then observed.

PHOTO MANIPULATION SERIES

03 Surrealistic Watches
Le Quartier, Montreal, Que.
T: 514-271-5105
E: info@le-quartier.ca
W: le-quartier.ca
Photographer:
Le Quartier

Construction of different impossible
figures, that interact with objects to
create subtle optical illusions.

01

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02

03

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01

02

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SELF-PROMOTION PACKAGE
PHOTOGRAPHY
01 Tofino Surfers
Gerard Yunker, Calgary, Alta.
T: 403-615-8345
E: gerard@gerardyunker.com
W: gerardyunker.com
Digital Imaging:
Will Young

A self-directed series of environmen-
tal portraits of surfers Pete Devries,
Hanna Scott, Michael Darling, Jeremy
Bowery, Derek Westra-Luney, and
12-year-old Olympic hopeful Mathea
Dempfle Olin. All shot in their home-
town of Tofino, BC.

MOTION SINGLE
02 Jean Pascal March 14th
RAPHAEL, Montreal, Que.
T: 514-567-7620
E: info@raphaelouellet.com
W: rraapphhaaeell.com
Artists Rep:
La Cavalerie
Client:
Jean Pascal
Post Production Company:
Studio Element
Editor:
Olivier Binette
Colourist:
Benoit Cote

Directors cut from Jean Pascals pres-
entation video for his upcoming fight
against Sergey Kovalev for the WBA,
WBO and IBF world titles and WBC
Diamond belt.

SELF-PROMOTION PACKAGE
PHOTOGRAPHY
03 LA HAVANA
Maude Chauvin, Montreal, Que.
T: 514-572-2140
E: info@maudechauvin.com
W: maudechauvin.com
Artists Rep:
Madore Production
Art Director:
Quatre par Quatre

This is a series in Havana, Cuba for
a promotion for the photographer.

03

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SELF-PROMOTION PACKAGE
PHOTOGRAPHY
01 JJ Sulin Self Promo
JJ Sulin, Brooklyn, N.Y.
W: jjsulin.com
Design Studio:
TODA
Creative Director:
Marcos Chavez
Designer:
Stine Nielsen
Printing Company:
Active Graphics

Self-promo sent out last November.
Designed by TODA.

01

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SPORTS PHOTOGRAPHY SINGLE

02 The Luchador
Le Quartier, Montreal, Que.
T: 514-271-5105
E: info@le-quartier.ca
W: le-quartier.ca
Stylist:
Karine Blackburn
Artists Rep:
Madore Production

An ongoing project about amateur
sports.

SPORTS PHOTOGRAPHY SINGLE

03 Flyboard Waterborne Ballet
Peter K.C. Ho, Toronto, Ont.
E: peterho.photo@gmail.com
W: peterho.photoshelter.com
Photographer:
Peter K.C. Ho

Flyboarding is the hottest extreme
watersport that sends high adven-
02 ture thrill seekers flying like joyful
human fish.

SPORTS PHOTOGRAPHY SINGLE

04 Lagos Nigeria
Adrian Armstrong, Toronto, Ont.
T: 647-296-7335
E: adrian@
adrianarmstrongphoto.com
W: adrianarmstrongphoto.com
Photographer:
Adrian Armstrong
Artists Rep:
FUZE REPS

Shot outside the National Stadium
in Lagos, Nigeria. Every day many
come to play wheelchair basketball.
Unfortunately, polio still affects many
in Nigeria.

03

04

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SPORTS PHOTOGRAPHY SINGLE

01 Dream Big Lagos Nigeria
Adrian Armstrong, Toronto, Ont.
T: 647-296-7335
E: adrian@
adrianarmstrongphoto.com
W: adrianarmstrongphoto.com
Photographer:
Adrian Armstrong
Artists Rep:
FUZE REPS

A boy walks with a ball outside the
National Stadium in Lagos, Nigeria.

SPORTS PHOTOGRAPHY SERIES

02 Giants of Africa
Adrian Armstrong, Toronto, Ont.
01
T: 647-296-7335
E: adrian@
adrianarmstrongphoto.com
W: adrianarmstrongphoto.com
02 Photographer:
Adrian Armstrong
Artists Rep:
FUZE REPS

Giants of Africa, founded in 2003, is a
non-profit organization with the goal
of changing this reality. Today the GOA
Top 50 Camp has developed players
at the local, national, international
and professional levels. Over 80 of
our campers attended high school or
university in the United States, and
over 100 attended university in Nigeria.

SPORTS PHOTOGRAPHY SERIES

03 Raptors Winter
Sandy Nicholson, Toronto, Ont.
T: 416-530-0016
E: sandy@sandynicholson.com
W: sandynicholson.com
Creative Director:
Matt Coyle
Art Director:
Louis Cohen
Account Manager:
Lindsay Carter
Stylist:
Stacy L. Troke

Shot with the team from MLSE on
location in the middle of winter at
-20 degrees to add to the We The
North image library.

03

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04

STILL-LIFE PHOTOGRAPHY
SERIES
04 Toronto Compost
Brad Pickard, Toronto, Ont.
T: 647-918-4098
E: brad@bradpickard.net
W: bradpickard.net
Photography Producer:
Anthony Cheung
Ad Agency:
Publicis
Art Director:
Dean Hore
Project Manager:
Tendril

This conceptual series is designed
to bring awareness that food waste
can have a second life as compost
for your garden.

STILL-LIFE PHOTOGRAPHY
SINGLE
05 Cobra
Greg Blue Photography,
Vancouver, B.C.
T: 604-644-7991
E: gregblue@me.com
W: gregblue.com 05

This is actually my sisters caras if I
wasnt jealous enough, she then had
to go and ask me to shoot it.

STILL-LIFE PHOTOGRAPHY 06

SINGLE
06 Moon Shot
James Tse, Toronto, Ont.
E: studio@jamestsephoto.com
W: jamestsephoto.com
Artists Rep:
Coup & Company

A creative inspired by the excitement
of the final games leading up to the
World Series.

131 June 2016

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01a

H-185

01b

01

02

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PUBLIC SERVICE/CHARITY MISCELLANEOUS

PHOTOGRAPHY SINGLE
(ALSO, SERIES WITH 01A & 01B)
01 Cycling Canada Hop On
Innocean Worldwide Canada,
Toronto, Ont.
W: innocean.ca
Cycling Canadas Hop On is a ral-
lying cry to inspire Canadians to get
involved with cycling. IWCa brought
this simple message to life through a
unique visual: bikes that seemed to
ride themselves. The riderless bikes
serve as an invitation and as a tool
for our target to visualize participat-
ing in the six biking disciplines.
STILL-LIFE PHOTOGRAPHY
SERIES
02 Oranges
Raeff Miles, West Vancouver , B.C.
T: 604-551-7377
E: raeff@raeffmilesphoto.com
W: raeffmilesphoto.com
Part of a product shoot of tableware
for Vancouver artist Martha Sturdy.
PUBLIC SERVICE/CHARITY
PHOTOGRAPHY SERIES
03 Rosie Foundation
Martin Girard, Montreal, Que.
E: martin@shootstudio.ca
W: shootstudio.ca
Photographer:
Martin Girard
This campaign was realized on the
29th of June to sensitize people to
the abuse made on animals when we
leave them as trash on the street the
day we move (July 1). We walked on
the streets finding real props to make
the set-up, and did erasable text on
directly on the ground, not in post.
PHOTOGRAPHY SERIES
04 Mary
Amy Czettisch, Toronto, Ont.
T: 416-569-1108
E: amy@redboxcreative.com
W: redboxcreative.com
Art Director:
Jill Redden
Project Manager:
Jazmin Welch
Photographers:
Michael Graydon, Nikole Herriott
Part of a series capturing the skills
of a 35-year-old manufacturing com-
pany in Toronto using centuries-old
techniques to produce high-quality
custom suits. They are one of the few
remaining businesses of this kind in
North America.
PUBLIC SERVICE/CHARITY
PHOTOGRAPHY SERIES
05 Heads Up
Phoenix Advertising Group,
Regina, Sask.
W: thephoenixgroup.ca
Photographer:
Kiriako Iatridis
Client:
SGI
Creative/Art Director:
Laila Haus
Creative/Copywriter:
Lee Jones
Account Planner:
Dallas Fidierchuk
Distracted driving is a leading cause
of death on Saskatchewans roads.
We used perspective, in the literal
and lateral senses, to remind people
that one simple action can lead to a
devastating and dramatic end. We
blended a distracted driver with their
grieving family, illustrating that not
keeping your head up while driving
can bow the heads of the people
who love you most, permanently.

04

05

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UNPUBLISHED/PERSONAL
PHOTOGRAPHY SINGLE
01 Ermita Catrina
Ric Kokotovich, Merida, Mex.
T: +52 1 999 113 1217
E: ric.kokotovich@gmail.com
W: rickokotovich.com
Photographer:
Ric Kokotovich

Image made in my barrio during
the Dias de los Muertos festival in
Merida, Mexico.

MOTION SINGLE
02 We Belong To It
Goh Iromoto, Toronto, Ont.
T: 416-817-8763
E: goh@gohiromoto.com
W: gohiromoto.com
Director/Cinematographer/Editor:
01
Goh Iromoto
Logistical Coordinator:
Steve Bruno
Motion Designer:
Jay Smith
02
Re-Recording Mixer & Sound
Designer:
Joe Barrucco
Original Music:
Michael Hyer

This film explores the visual beauty
of the Boreal forest landscape, but
also delves into Ray Mearss reflec-
tions on nature and his mastered
skillset in bushcraft.

LIMITED-EDITION/GALLERY PRINTS
(PHOTOGRAPHY) SINGLE
03 Sunflower
Angelina McCormick, Ottawa, Ont.
T: 613-769-2554
E: angelina.mccormick@rogers.com
W: amccormick.ca

A commissioned piece for 10th
anniversary of The School of the Pho-
tographic Arts: Ottawa. Thank you to
the founders of the school, Michael
Tardioli and Khalia Scott, and the first
20 students who gave SPAO a life.
06

03

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UNPUBLISHED/PERSONAL
PHOTOGRAPHY SINGLE
04 Untitled
Chris Gordaneer, Toronto, Ont.
T: 416-535-1955
E: chris@westsidestudio.com
W: chrisgordaneer.com

Portrait series of interesting people.

UNPUBLISHED/PERSONAL
PHOTOGRAPHY SINGLE
05 Portrait of a Carpenter
Jason Gordon, Toronto, Ont.
T: 647-862-9213
E: jason@jgordonphoto.ca
W: jgordonphoto.ca

Craig, a longtime Toronto carpenter,
paused for a portrait in his studio.
04

UNPUBLISHED/PERSONAL
PHOTOGRAPHY SERIES
06 La Chute
Christian Tremblay Photographe,
Montreal, Que.
T: 514-875-9948
E: info@christian-tremblay.com
W: christian-tremblay.com
Art Director:
Christian Tremblay
Makeup Artist:
Brigitte Gareau
Stylist:
Very Much
Digital Artist:
Le Visual Box

A personal series exploring
loneliness and bodies in motion.

05

06

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01

02
PHOTO MANIPULATION SERIES
01 Liva Splash
onwhite.ca, Toronto, Ont.
T: 416-887-0844
E: info@onwhite.ca
W: onwhite.ca
Photographer:
Peter Schafrick

Three-part series for a fabric ad
campaign out of India.

UNPUBLISHED/PERSONAL
PHOTOGRAPHY SERIES
02 Amusements
Jeffrey Milstein, Woodstock, N.Y.
W: effreymilstein.com

When I was young, I had a love of
planes and flying, and was fascinated
by the view from above. Fifty years
later I took to the air again to pho-
tograph the man-made landscape,
documenting its patterns, layering
and complexity, which grow organ-
ically over time. At an altitude of
2,000 feet, a view unavailable from
the ground opens up. From here
you have grand vistas, yet are close
enough to see intimate details.

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LIMITED-EDITION/GALLERY
PRINTS (PHOTOGRAPHY) SINGLE
03 The Last Supper
Dina Goldstein, Vancouver, B.C.
T: 604-726-3462
E: dina@dinagoldstein.com
W: dinagoldstein.com

My reenactment of historys most
famous dinner party is meant to
portray the treatment of the most
vulnerable by society. I have placed
Jesus and his apostles, a street
gang, specifically in Vancouvers
Downtown Eastside. This is Canadas
poorest postal code and a place of
chronic drug abuse, alcohol addic-
tion and mental illness.

LIMITED-EDITION/GALLERY
PRINTS (PHOTOGRAPHY) SERIES
04 The Special 03
Kevin Lanthier, Vancouver, B.C.
T: 604-833-7738
E: info@kevinlanthier.com
W: kevinlanthier.com

Like any city, Vancouver has its
myths and cliches, and digitally
extracting and recomposing pho-
tographed elements from it allows
me to explore these ideas from a
different perspective. The result is a
series of hyperreal yet nostalgic little
worlds, each of them distinctly and
recognizably Vancouver.

PHOTO ILLUSTRATION SERIES

05 Make Light Work of Every Tow
Blue Hive, Toronto, Ont.
Executive Creative Director:
Serge Pennings
Creative Directors:
Allen Kwong, Jonathan Smith
Art Director:
Marilyn Maitland
Writers:
Neal Khosla, Darrel Knight
CGI & Retoucher:
Pierre Bourjo

With best-in-class towing (31,200
lbs and 860 lb-ft of torque) the Ford
Super Duty can tow almost anything
with ease. To show that, we took
extremely heavy objects typically
pulled by trucks, and made them into
inflatable featherweights.
04

05

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01

02
MOTION SINGLE
01 Penningtons Plus-Size Yogi
RAPHAEL, Montreal, Que.
T: 514-567-7620
E: info@raphaelouellet.com
W: rraapphhaaeell.com
Ad Agency:
Lg2
Art Director:
Valerie Wells
Artists Rep:
La Cavalerie
Client:
Penningtons
Copywriter:
Marie-ve Leclerc-Dion

Advertising piece for Penningtons.

MOTION SERIES
02 Concordia Stringers
John Londono, Montreal, Que.
T: 514-806-6487
E: john@john-londono.com
W: john-londono.com
Ad Agency:
Cossette
Photography Producer:
Eliane Sauv
Art Director:
Sebastien Boulanger
Account Director:
Veronik Bastien
Editor:
Jesse Riviere

These films are part of a massive
campaign I shot with Cossette Que-
bec, including photography and film,
for the Concordia University Stingers
athletic teams.

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MOTION SINGLE
03 Cycling Canada Hop On
Innocean Worldwide Canada,
Toronto, Ont.
W: innocean.ca

Cycling Canadas Hop On is a ral-
lying cry to inspire Canadians to get
involved with cycling. IWCa brought
this simple message to life through a
unique visual: bikes that seemed to
ride themselves. The riderless bikes
serve as an invitation and as a tool
for our target to visualize participat-
ing in the six biking disciplines.

MOTION SERIES
04 Cake Face
Sandy Nicholson, Toronto, Ont.
T: 416-530-0016
E: sandy@sandynicholson.com
W: sandynicholson.com
Director of Creative & Broadcast
Services:
Liz Crofton
Associate Creative Partner:
Colin Craig
Account Manager:
Shawna Powell

Shot for Grip. We cast over 200 kids,
looking for ones who had great ways
for eating cake. They all ate a stack
of cake for the shots and walked out
in a chocolate coma.

03

04

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 ILLUSTRATION

Illustration

01

02

EDITORIAL SECTION (MAG, NEWS)

ILLUSTRATION SINGLE
01 Are Hangovers Good for Writing?
Decue Wu, Cambridge, Mass.
T: 857-272-0087
E: decuewu@gmail.com
W: decuewu.com

Editorial piece for online magazine Hopes
and Fears: hopesandfears.com/hopes/
now/question/216775-are-hang
overs-good-for-writing

ADVERTISING ILLUSTRATION
SINGLE (ALSO, SERIES WITH 02A, 02B) 02a 02b

02 Miller Lite Festival Posters

Juniper Park\TBWA, Toronto, Ont.
Chief Creative Officers:
Barry Quinn, Alan Madill,
Terry Drummond
Creative Director:
Louis Duarte
Designer:
Dave Kenny
Senior Print Producer:
Toby Sime

Miller Lite is a major sponsor of
music festivals.

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ADVERTISING ILLUSTRATION
SERIES
03 Great Lakes Brewing Co.
Darren Booth, St. Catharines, Ont.
E: darren@darrenbooth.com
W: darrenbooth.com
Ad Agency:
Brokaw Inc.
Client:
Great Lakes Brewing Co.
Art Director:
Steve McKeown
Designer:
Amira Maher

Illustrations created for Great Lakes
Brewing Co.s label and packaging
rebrandingthe brewerys first image
overhaul since the company started
in 1988. Themes vary for each beer:
Lake Erie Monster, Rye of the Tiger
and Alberta Clipper.

ADVERTISING ILLUSTRATION
SERIES
04 The Samaritans / Gambling /
Heartbreak / Addiction
Owen Gent, Bristol, U.K.
T: 514-845-4730
E: montreal@colagene.com
W: colagene.com/en/illustration/
owen-gent#
Illustrator:
Owen Gent
Art Directors:
Ong Kien Hoe, Simon Fong, Leah
Chen
Client:
The Samaritans ORG

Used as a campaign to promote the
Samaritans throughout Hong Kong,
these poster designs focus on five of
the main focuses of suicidal thoughts
in China and illustrate how talking
can be a hugesupport in times of
great hardship.

03

04

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 ILLUSTRATION

RETAIL APPLICATIONS
ILLUSTRATION SERIES
01 Victoria Strong Legacy Series
Bjoern Arthurs, Toronto, Ont.
E: ba@bjoernarthurs.com
W: bjoernarthurs.com
Creative Director:
House of Singh

This set of illustrations blends the
1920s world of Art Deco leisure and
luxury with contemporary elements
to compliment the timeless elegance
and long history of the clients
moulding and millwork products.

RETAIL APPLICATIONS
ILLUSTRATION SERIES
02 Chinatown Tales
Carson Ting, Vancouver, B.C.
T: 778-991-4427
E: chairmanting@gmail.com
W: chairmanting.com
Clients:
Ken Tsui, Here There, and Take Root
Illustrator:
Carson Ting
Design Studio:
Chairman Ting

Chinatown Tales is a series of post-
cards that explore the kaleidoscopic
enclave of shops in Vancouvers
historical Chinatown and how
they have influenced some of the
neighbourhoods most significant
changemakers. Illustrator Chairman
Ting brings these stories to life,
inspiring the uninitiated to explore
the historic neighbourhood and find
a story their own.

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02

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03 ARCHITECTURAL ILLUSTRATION
SERIES
03 Climbing in Love / House in Kobe /
Painted Ladies / Via Cuneo
Giordano Poloni, Milan, Ita.
T: 514-845-4730
E: montreal@colagene.com
W: colagene.com/en/illustration/
giordano-poloni
Illustrator:
Giordano Poloni

Giordano presents a series of
building portraits from all
around the world, with a personal
interpretation that features love
stories with inverted roles. Buildings
are the lead characters and the
love stories work as background.

CONCEPTUAL ILLUSTRATION
SINGLE
04 Canadas Self Portrait
aquil.ca, Montreal, Que.
T: 514-677-4137
E: aquilvirani@gmail.com
W: aquil.ca/canada
Illustrator:
Aquil Virani
Project Manager:
Rebecca Jones
Sponsors:
Duane Jones, Esme Rothschild,
Dominique Pattinier
Photographer:
Alex Tran
Installation:
Mark Rostrup

Sketch what it means to be
Canadian. This is what artist Aquil
Virani asked 800+ participants
from all 13 provinces and territories.
After travelling coast to coast
with project co-founder Rebecca
Jones, Virani spent over 200 hours
re-drawing and integrating sub-
missions onto 18 wood panels, each
10 by 10 inches. The result was an
intricately detailed representation of
Canadian identity that was unveiled
with a short documentary about
the project.

04

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COVER (MAG, BOOK, NEWS)

ILLUSTRATION SERIES
01 In the Shadow of the Glacier /
Negative Image
Gary Alphonso, Toronto, Ont.
T: 416-505-9522
E: info@i2iart.com
W: i2iart.com/Gary_Alphonso
Art Directors:
Michael Rehder, Kathleen Oudit
Artists Rep:
i2i art inc.

Two book covers in a series of murder
mystery novels by Vicki Delany.

EDITORIAL SECTION (MAG, NEWS)

ILLUSTRATION SINGLE
02 Vested Interests
Sbastien Thibault, Matane, Que.
T: 514-482-0488
E: info@agoodson.com
W: agoodson.com
Art Director:
Robert White
Client:
The Guardian
Artists Rep:
Anna Goodson Illustration Agency

Illustration for The Guardian opinion
section about democracy and how it
no longer seems to serve the people,
01
but rather vested interests.

CORPORATE ILLUSTRATION
SINGLE
03 USPS Retro Truck Stamp Series
Chris Lyons, Rochester, N.Y.
T: 585-615-2781
E: chris@chrislyonsillustration.com
W: chrislyonsillustration.com
Illustrator:
Chris Lyons
Art Director:
Antonio Alcala

A stamp series of retro pickup trucks
for the United States Postal Service.

CONCEPTUAL ILLUSTRATION
SERIES
04 Mmirs Well
SapientNitro, Toronto, Ont.
W: sapientnitro.com
Executive Creative Director:
Michael Howatson
Creative Director:
Alison Garnett
Art Director:
Graham Ameron
User Experience Lead:
Brad Swerdfeger
Copywriter:
Laura Rothstein
02
Every culture has stories that reach
way back into time, passed down
by generations over generations.
03
Myth, folklore, oral historydrawing
inspiration from Norse Mythology, we
brought the nine Norse worlds and
their creatures to life through rich,
interactive 3D illustrations. Audiences
were invited step up to Mmirs Well
and participate in an immersive and
transformative personal experience.

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 ILLUSTRATION

EDITORIAL SECTION (MAG, NEWS)

ILLUSTRATION SINGLE
05 The Song Machine
Nicolas Dehghani, Paris, Fr.
T: 514-845-4730
E: montreal@colagene.com
W: colagene.com/en/illustration/
nicolas-dehghani
Senior Designer:
Zachary Bickel
Client:
The Atlantic Magazine
Illustrator:
Nicolas Dehghani

A huge music box imagined and
created by Nicolas Dehghani that
clashed in the October issue of
The Atlantic magazine for an article
on the Norwegian composers who
work in the shadow of other artists.

COVER (MAG, BOOK, NEWS)

ILLUSTRATION SINGLE
06 Applied Arts
McMillan, Ottawa, Ont.
E: mzavacky@mcmillan.com
W: mcmillan.com
Creative Director:
Jared Young
Designers:
Jacob Bryce, Steve St. Pierre
Illustrator:
Michael Zavacky

An illustration for the cover of
November issue of Applied Arts
magazine. The subject matter was
old and new, and this illustration
represents the changes in our
industry over the past few decades.

04

05 06

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02

03

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 ILLUSTRATION

EDITORIAL SECTION (MAG, NEWS) EDITORIAL SECTION (MAG, NEWS)

ILLUSTRATION SINGLE ILLUSTRATION SINGLE
01 Perfumes. De pies a cabeza 03 Future of Nudezzzz
Cruz Martinez Prieto, Madrid, Spa. Nicolas Dehghani, Paris, Fr.
E: cruz@cruzillustration.com T: 514-845-4730
W: cruzillustration.com E: montreal@colagene.com
Illustrator: W: colagene.com/en/illustration/
Cruz Martinez nicolas-dehghani#
Art Director: Client:
Ana Diaz Casariego BuzzFeed NY
Publisher: Illustrator:
LOfficiel, Spainmedia Nicolas Dehghani

Perfume illustration series for a Porn has long been a driving force
beauty article published in LOfficiels in tech and Internet innovation, but
September 2015 issue the industry now finds itself in un-
precedented danger thanks to piracy
and free tube sites. These are some
COVER (MAG, BOOK, NEWS) of the pioneers and entrepreneurs
ILLUSTRATION SINGLE who are trying to fight back.
02 The Independent Christmas
Books Special
Janne Iivonen, Brighton, U.K. EDITORIAL SECTION (MAG, NEWS)
T: 514-845-4730 ILLUSTRATION SINGLE
E: montreal@colagene.com 04 Iranians Dare to Hope
W: colagene.com/en/illustration/ Sbastien Thibault, Matane, Que.
janne-iivonen# T: 514-482-0488
04 Editor: E: info@agoodson.com
David Lister W: agoodson.com
Illustrator: Art Director:
Janne Iivonen Alex Hunting
Client:
Janne Iivonen created the cover The New York Times
illustration for The Independent Artists Rep:
Radars Christmas Books Special. Anna Goodson Illustration Agency

Illustration for The New York Times
on how the nuclear deal with the
international community could be
a return to hope for Iranians.

EDITORIAL SECTION (MAG, NEWS)

ILLUSTRATION SINGLE
05 Home Improvement
Denise Plauch, Atlanta, Ga.
E: denise@deniseplauche.com
W: deniseplauche.com
Art Director:
Suzanne Beck

Full-page illustration for the July/
August 2015 issue of the Spider
Magazine for Children for a poem
about the shell-swapping habits of
hermit crabs.
05

EDITORIAL SECTION (MAG, NEWS)

06 ILLUSTRATION SINGLE
06 Borderline Personality
Serge Latil, Matane, Que.
T: 514-482-0488
E: info@agoodson.com
W: agoodson.com
Illustrator:
Sbastien Thibault
Client:
LExpress Magazine
Artists Rep:
Anna Goodson Illustration Agency

Illustration for an article for LExpress
Magazine on people with borderline
personality disorder.

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 ILLUSTRATION

FASHION & BEAUTY

ILLUSTRATION SINGLE
01 The Opumo Series
Janne Iivonen, Brighton, U.K.
T: 514-845-4730
E: montreal@colagene.com
W: colagene.com/en/illustration/
janne-iivonen#
Illustrator:
Janne Iivonen
Client:
Opumo

An illustrated style guide for the
independent menswear retailer
Opumo. The illustrations feature
three of six different characters all
representing a specific style and
type of person, from The Creative
to The Adventurer.

PACKAGING ILLUSTRATION
SINGLE
02 Pizza Hut Triple Treat Box
Grip Limited, Toronto, Ont.
Creative Director:
Patrick Andrews
Designers:
Pia Nummi, Olivia Harrison,
Michael Corpuz
Print Producer:
Kendra Plantt

Its not often you come across
pizza innovation in the form of the
pizza box. Pizza Huts Triple Treat
Box, however, featured a totally new
three-drawer designwith pizzas
in two drawers, and sides and dessert
in the bottom. A fun family meal, in
an equally fun and unique package.
The illustrations needed to not only
reflect the playful nature of the box
design but also create appeal around
the great food inside.

01

02

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PACKAGING ILLUSTRATION
SERIES
03 Driftwood Brewing Company
2015 Seasonal Releases
Hired Guns Creative, Nanaimo, B.C.
T: 250-591-6965
E: info@hiredgunscreative.com
W: hiredgunscreative.com
Creative Director:
Hired Guns Creative
Illustrator:
Hired Guns Creative
Designer:
Hired Guns Creative
Copywriter:
Hired Guns Creative
Photographer:
Sean Fenzl
Client:
Driftwood Brewing Company

Label illustrations for a series of
small-batch, seasonal releases from
BCs most adventurous brewery.

PACKAGING ILLUSTRATION
SERIES
04 Rocky Mountain Soap Co. Gift Sets
Barun Fox, Calgary, Alta.
T: 403-702-8014
E: courtney@barunfox.com
W: barunfox.com
Art Director:
Barun Fox
Illustrator:
Barun Fox
Client:
Rocky Mountain Soap Co.
Project Director:
Melanie McKenzie
Copywriter:
Abby-Lynn Knorr

The client was looking for a new
line of gift packages that spoke
true to their artisanal, 100 per cent
toxin-free, Canmore-based nature.
We saw this as an opportunity to
create a heartfelt experience for both
the gift buyer and receiver, in store
and at home. Illustrated box bands
tell stories from front to back with
hand-painted, outdoor-inspired
03
illustrations, hand lettering, hidden
phrases and quirky quips printed
on sustainable, watercolour-like
folding board.

04

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 ILLUSTRATION

PACKAGING ILLUSTRATION
SERIES
01 Park Distillery Bottle Design
Glasfurd & Walker, Vancouver, B.C.
T: 604-662-4445
E: hello@glasfurdandwalker.com
W: glasfurdandwalker.com
Creative Director:
Glasfurd & Walker
Designer:
Glasfurd & Walker
Illustrator:
Cristian Fowlie

Park is a restaurant, bar and distillery
in Banff, Canada. The packaging
for the spirits celebrate the natural
beauty of Banffeach spirit type is
represented by illustrations of iconic
mountains in Banff National Park.

POSTER ILLUSTRATION SINGLE

02 Ink Binds Us
Kelly Mellings, Edmonton, Alta.
T: 780-909-3073
E: kelly@pulpstudios.ca
W: pulpstudios.ca
Client:
Creative Mornings Edmonton
Project Director:
Laura Lynn Johnston
Creative Director:
Corey Lansdell
Copywriter:
Edward Bishop

Screen-print poster for Edmontons
chapter of the breakfast lecture
series Creative Mornings. The quote
is derived from writer/speaker
Edward Bishops book The Social
Life of Ink.

SELF-PROMOTION
ILLUSTRATION SINGLE
03 I Am From the 80s
Ivan Zhao, Toronto, Ont.
T: 647-921-9312
01
E: ivan.zhao@ivanzhao.design
W: ivanzhao.design

I am from the generation that is
free from the overloaded stimulation
of the smartphone screen. Less is
02 more. Simple is better. But I had the
most fun.

03

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04 POSTER ILLUSTRATION SERIES UNPUBLISHED/PERSONAL

04 OIAF Let it Out ILLUSTRATION SINGLE
McMillan, Ottawa, Ont. 05 The Invader
E: mzavacky@mcmillan.com Sbastien Thibault, Matane, Que.
W: mcmillan.com T: 514-482-0488
Designer: E: info@agoodson.com
Jared Barter W: agoodson.com
Writer: Artists Rep:
Ian Driscoll Anna Goodson Illustration Agency
Illustrator:
Michael Zavacky Unused illustration for The Guardian
about politics and invasions in
A series of posters created to foreign country.
promote the Ottawa International
Animation Festival, the largest
event of its kind in North America. UNPUBLISHED/PERSONAL
ILLUSTRATION SINGLE
06 Bear
Barbara Graetzer, Brooklyn, N.Y.
T: 917-627-7769
E: barbaragraetzer@gmail.com
W: barbaragraetzer.com

This sweetly detailed ink and
watercolour illustration celebrates
a little girls unconditional love
for her teddy bear.

05

06

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01 02

03 04

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POSTER ILLUSTRATION SINGLE POSTER ILLUSTRATION SINGLE

01 The Last Song 04 McMillan Draplin Creative
McMillan, Ottawa, Ont. Workshop Poster
E: mzavacky@mcmillan.com McMillan, Ottawa, Ont.
W: mcmillan.com E: mzavacky@mcmillan.com
Illustrator: W: mcmillan.com
Michael Zavacky Illustrator:
Michael Zavacky
A poster for the final concert given
by the Canadian alt-country band A poster to promote a McMillan
The Fiftymen. creative workshop featuring designer
Aaron Draplin.

PORTRAIT ILLUSTRATION
SINGLE UNPUBLISHED/PERSONAL
02 Vintage Cycle Race ILLUSTRATION SINGLE
Greg Ruhl, Toronto, Ont. 05 Mr. Jack Bunnys Great Hunt
T: 416-928-1997 Narges Jafari, Atlanta, Ga.
E: gregruhl@mac.com T: 912-224-8889
W: gregruhl.com E: nargesjfr@gmail.com
Illustrator: W: nargesart.com
Greg Ruhl
Mr. Jack Bunnys family is going to
Business partner portrayed as have a great Thanksgiving this year!
a vintage Tour de France racer.

PORTRAIT ILLUSTRATION
05 POSTER ILLUSTRATION SINGLE SINGLE
03 The Word on the Street 2015 06 Cervantes
Vigg, Longueuil, Que. Scott McKowen, Stratford, Ont.
T: 514-378-1552 T: 519-271-3049
E: allovigg@gmail.com E: scott@punchandjudy.ca
W: viggillustration.com W: punchandjudy.ca
Artists Rep: Illustrator:
Three in a Box Scott McKowen
Client: Design Studio:
The Word on the Street Skelton Design

Poster concept and artwork for Portrait of Miguel de Cervantes,
The Word on the Street, an outdoor author of Don Quixote, for the
book festival, held across Canada. cover of an alumni magazine from
St. Johns College in Annapolis,
Maryland.

UNPUBLISHED/PERSONAL
ILLUSTRATION SINGLE
07 Protecting the Rhinos
Tara Hardy, Dollard-Des-Ormeaux,
Que.
T: 514-813-9855
E: tara@tarahardyillustration.com
W: tarahardyillustration.com

An illustration created to portray the
06 importance of protecting the rhinos
from poaching. A record number
of 1,215 rhinos were poached in 2014
07
in South Africa. By the end of April
2015, the number of rhinos lost to
poachers was 393.

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CINEMAGRAPH SINGLE
01 Corgi on the Beach
Lynn Chen, Oceanside, Calif.
T: 443-854-0854
E: lynnchenart@gmail.com
W: chenqianliu.com

An gif animation with my imaginary
dog friend. Each frame was hand
painted in Photoshop, then animated
in the Photoshop timeline.

PORTRAIT ILLUSTRATION
SERIES
02 Larry David and Ben Carson
Colleen OHara, Hamilton, Ont.
T: 905-526-9326
E: colleendraws@gmail.com
W: colleenohara.com
01
Illustrator:
Colleen OHara

An ongoing series of portraits of
celebrities and politicians. Comedian
Larry David and Republican presiden-
tial candidate Ben Carson.

PRO BONO ILLUSTRATION

SERIES
03 Were Not Going to Get There
Juniper Park\TBWA, Toronto, Ont.
Chief Creative Officers:
Alan Madill, Terry Drummond,
Barry Quinn
Art Director:
Jennifer Szilagyi
Creative Director:
Neil Walker-Wells
Copywriter:
Neil Walker-Wells
Designer:
Louis Duarte, Jaclyn Hudson

The Canadian National Table Soccer
Team needed donations to get to the
2015 World Cup in Italy.

02

03

Applied Arts 154

 ILLUSTRATION

PUBLIC SERVICE/CHARITY
ILLUSTRATION SERIES
04 Speech Bluddles
Juniper Park\TBWA, Toronto, Ont.
Chief Creative Officers:
Terry Drummond, Alan Madill,
Barry Quinn
Creative Directors:
Hylton Mann, Andy Linardatos
Art Directors:
Andy Linardatos, Hylton Mann
Copywriter:
Andy Linardatos
Illustrator:
Hylton Mann

Reporters are the front line in the
fight to keep free expression free.

SELF-PROMOTION
ILLUSTRATION SERIES
05 When No One Else is Looking
Stephan Schmitz, Zrich, Swi.
T: +41 77 430 02 19
E: stephan.schmitz@gmx.ch
W: stephan-schmitz.ch

Self-promotional series published
as postcards, posters and online.

04

05

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01

02

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 ILLUSTRATION
GRAPHIC NOVEL SERIES
01 The Outside Circle
Kelly Mellings, Edmonton, Alta.
T: 780-904-8995
W: pulpstudios.ca
Writer:
Patti Laboucane-Benson
Colours:
John Rauch
Publisher:
House of Anansi Press
In this important graphic novel,
two Aboriginal brothers surrounded
by poverty, drug abuse and gang
violence try to overcome centuries
of historic trauma in very different
ways to bring about positive change
in their lives.
CARTOON/COMIC
ILLUSTRATION SERIES
02 Creatures 4
Lynn Chen, Oceanside, Calif.
T: 443-854-0854
E: lynnchenart@gmail.com
W: lynnchenart.com
The four characters were inspired
by random, cute animal videos
I watched online. It was fun to rep-
resent those lovely creatures in my
own way and share it with everyone.
03
04
157
RETAIL APPLICATIONS
ILLUSTRATION SINGLE
03 McMillan Christmas Card
McMillan, Ottawa, Ont.
E: mzavacky@mcmillan.com
W: mcmillan.com
A holiday greeting card that was
designed and then hand-silkscreened
on Canadian maplewood veneer.
MOTION SINGLE
04 Dont Fence Me In
Camp Pacific, Vancouver, B.C.
T: 778-331-8340
E: contact@camppacific.com
W: camppacific.com
Creative Director:
Michael Mayes
Art Director:
Jacob Gauthier
Copywriter:
Greg Kieltyka
Project Manager:
Ella McKay
Project Coordinator:
Chris Kleiter
For the past five years, the Manitoba
Telecom Systems (MTS) brand has
revolved around Morty, an animated
bison living in the animated prairies
of Manitoba. This spot was done for
Total Internet, a product that offers
customers more internet freedom.
It showed scenes of Morty and friends
celebrating their newfound freedom,
paired with an original cover of
Cole Porters classic tune Dont
Fence Me In.
June 2016
 ILLUSTRATION

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COMPLETE CALENDAR
ILLUSTRATION
01 Calendar
Juniper Park\TBWA, Toronto, Ont.
Chief Creative Officers:
Terry Drummond, Alan Madill,
Barry Quinn
Creative Director:
Juniper Park\TBWA
Producer:
Toby Sime
Designer:
Juniper Park\TBWA
Illustrator:
Bea Crespo

A bank without a calendar is like
a bike without wheels.

COMPLETE BOOK ILLUSTRATION

02 Le Feuilleton dUlysse
Sbastien Thibault, Matane, Que.
T: 514-482-0488
E: info@agoodson.com
W: agoodson.com
Client:
Bayard Jeunesse
Writer:
Murielle Szac
Project Coordinator:
Charlotte Meriaux
Artists Rep:
Anna Goodson Illustration Agency

Le Feuilleton dUlysse, written by
Murielle Szac, is a picture book
on Greek mythology about the story
of Odysseus the great traveler.

02

159 June 2016


Index
A Bonsound 83
Abril, Michael 105
ACDF 81
Active Graphics 128
Adams, Michael David 97
Adamu, Joseph 72
Agence Rinaldi 74
Agropur Signature 112
Aidelbaum, Julien 83
Air Canada enRoute 104,
105, 112
Alawassy, Ramy 73
Alcala, Antonio 144
Alphonso, Gary 144
Allen, Chris 122
Ameron, Graham 145
Amirova, Valeria 88
Andrews, Patrick 86, 148
Andrushko, Lasha 110
Anna Goodson Illustration
Agency 144, 147, 151, 159
aquil.ca 143
Armstrong, Adrian 116,
129, 130
Armstrong, KC 75
Arnold Worldwide 80
Arthurs, Bjoern 142
Art of Dying 81
Asselin, Christian 74
The Atlantic Magazine 145
Audet, Cdric 93 Carlson, Jennifer 111
Aurora Photos 95, 100
AWAY magazine 113
B Charlebois, Samuel 83
Baillairg, Mlanie 84 Charleston Style & Design
Baker, Simon 93, 119
Balle, Jens Kristian 118
Barnes, Matt 86
Barrett-Forrest, Ben 72
Barrucco, Joe 134
Barry, Martin 84
Barter, Jared 151
Barun Fox 149
Bastien, Veronik 138
Bayard Jeunesse 159
Beauchemin, Julie 114
Beck, Suzanne 147
Belhache, Elisa 114
Bellefleur, Evonne 99, 109
Bergeron, Brian 118
Bergeron, Marilou 91
Berman, Tyler 93, 119
Berniqu, Jose 84 Cossette 80, 138
Bickel, Zachary 145
Big Up Productions 95
Binette, Olivier 127
Binstock, Meaghan 109
Bishop, Edward 150
Biss, Levon 100
Bisson, Sbastien 109 Cowdy, Travis 74, 117
Bitsch, Marcus Mller 73 Coyle, Matt 77, 119, 130
Blackburn, Karine 129
Blanchette, Caroline 94
Blanchette Press 122
Bland, Rod 87
bleublancrouge 79, 93
Blue, Greg 131
Blue Hive 84, 137
Applied Arts
Booth, Darren 141
Bos, Greg 114
Bouchard, Maxim 86
Bouffe 91
Boulanger, Sebastien 138
Bourjo, Pierre 137
Bowers, Viktorija 97
Boyer, Sebastien 83
Boyko, Craig 81, 83
Brad 75, 78
Braden Summers
Photography 118
Bradshaw, Douglas 110
Branson, Laura 94
Brokaw Inc. 141
Bruno, Steve 134
Bryce, Jacob 145
Bullis, Andrew 112
Bulmer, Dominique 79
Burkhart, Marnie 103, 111
Burnkit 122
BuzzFeed NY 147
C Duarte, Louis 140, 154
Camden, Sebastien 83
Camp Pacific 157
CARIBOU 119
Dunn, Nancy 98
Caron, Alexandre 83
Carter, Lindsay 77, 130
Castellan, Sandrine 97
Chairman Ting 142
Charier, Stphane 77 E Huang, Zhen 85
Elaine, Nikol 118
Magazine 97
Chauvin, Maude 91, 127
Chavez, Marcos 128
Chen, Hsin 71
Chen, Leah 141
Chen, Lynn 154, 157
Cheung, Anthony 78, 87, 131
Chez Valois 116
Childs, Kelly 110
Cho, Grace 80
Christian Tremblay
Photographe 74, 135
City of Toronto 78, 87
Cobb, Aaron 117
Cohen, Louis 77, 130
Corbett, Jane 93
Corpuz, Michael 148
Fortin, Marie-Claude 109
Cote, Benoit 127
Cotie, Marie-Paule 98
Coup & Company 109,
112, 131
Courey, Leila 104, 105
Coutu, Brigitte 94
G Johnston, Laura Lynn 150
Craig, Colin 139
Creative Mornings
Edmonton 150
Crespo, Bea 159
Crofton, Liz 86, 139
Cusson, Nathalie 105
Czettisch, Amy 120, 133
INDEX
D 141
Dan-Bergman, Kristofer
121
DDB Canada 74, 75, 114
Dead Obies 83
Deeks, Jessica 88
Dehghani, Nicolas 145,
147
Dekker, Annelise 93
Desjean 75, 78
Desmarais, Daniel 114
Desro, Denis 97
Dessureaux, Martin 84
De Stefano, David 94
Diaz Casariego, Ana 147
Dib, Tony 88
Dojc, Yuri 85
Donabed, Nate 80
Dorobantu, Dana 112, 119,
121
Driftwood Brewing
Company 149
Driscoll, Ian 151
Drouot, Cyril 86
Drummond, Terry 140,
154, 155, 159
Duhamel, Simon 79, 91
Dulcedo Management,
Laurie Draps 97
Duong, Ngoce 118
Economou, Pella 112
Hunting, Alex 147
Elle Canada 97
Elliot, Michael 94
Ellis, Miles 87
F Iasenzaniro, Bianca 91, 97
Faulkner, Colin 83
Felepchuk, Lisa 95
Fenzl, Sean 149
Ferrentino, Jackie 71
Fidierchuk, Dallas 77, 133
Fiocca, Rob 98
Folio, Elizabeth 97
Fong, Simon 141
Ford 84
Ford, Joseph 97
Jacknife Design 114
Fowlie, Cristian 150
Frantzis, Christina 109
FUZE REPS 109, 114, 116,
129, 130
Gangbar, Ruth 114
Gareau, Brigitte 135
Garnett, Alison 145
Gastel, Peyton 85
Gauthier, Jacob 157
Gent, Owen 141
Georgie Magazine 120
160
Giamou, Paul 119 K Madore Production 91,
Girard, Martin 91, 133 Kahn, Josh 80
Glasfurd & Walker 150 Kaminsky, Evan 95
The Globe and Mail 72, 93 Kanwischer, Philip 88
Goldpaint, Brad 100 KBS 74, 114, 117
Goldstein, Dina 137 KBS+ 117
Gordaneer, Chris 101, 117, KBS-P 86
120, 135 Kelar, Mike 114
Gordon, Jason 93, 135 Kemper, Darren 109
Gordon, Steve 124 Kenny, Dave 140
Gosselin, Virginie 107 Khosla, Neal 137
Graetzer, Barbara 151 Kieltyka, Greg 157
Grant, Nancy 122 Kim, Sandy 83
Grante, Mikala 104, 105, Kimura, Matt 106
112 Kleiter, Chris 157
Gravel, Catherine 112 Knight, Darrel 137
Graydon, Michael 133 Knorr, Abby-Lynn 149
Great Lakes Brewing Co. Kokotovich, Ric 134
Kolenko, Eva 104
Greg Blue Photography 131 Koski, Zachary 109
Grenier, Sophie 114 Kostuk, Jacquie 86
Grip Limited 86, 148 Krug Studios 109, 114
Groom, Philippa 80 Kusiewicz, Tracey 124
Grunert, Kristopher 122 Kwong, Allen 137
The Guardian 144
Gurin, Mathieu 81
L Mercier, Marc-Alexandre
Laboucane-Benson, Patti
H 157
Hall, Tricia 93, 119 La Cavalerie 86, 127, 138
Hancock, Robyn 120 Lafaye, Sbastien 93
Hardy, Tara 153 Lafond, Dominique 104,
Harrison, Olivia 86, 148 120
Hartman, Mark 105 Lafrance, Claude 112, 119
Hassell, Matt 74 Lariviere, Melanie 97
Haus, Laila 77, 133 Lahdesmaki, Markku 122
HEC Gestion, Jean-Marc Lalibert, Simon 88, 91
Gauthier 91 Lalonde, Christian 93, 107
Here There 142 Lansdell, Corey 150
Hrisson, Julien 79 Lanthier, Kevin 137
Herriott, Nikole 133 Larose, Patrice 93
Hetherington, Jonny 81 Larrive, Ricardo 94
Hired Guns Creative 149 Latil, Serge 147
Ho, Amanda 85 Lau, Loretta 74
Ho, Peter K.C. 129 Lau, Pam 72
Hoe, Ong Kien 141 Laurendeau, Hans 93, 109
Holt Renfrew 83 Laverdire, Shayne 98
Homage Collective 113 Law, Emily 86
Hore, Dean 78, 87, 131 Leclerc-Dion, Marie-ve
House of Anansi Press 157 138
House of Singh 142 Lecompte, Josee 97
Howatson, Michael 145 Leda & St.Jacques 97
Legault, Chantal 77
Hudson, Jaclyn 154 Le Lait 84
Lemay, Catherine 120
Hyer, Michael 134 Lpine, Guillaume 75, 78
Le Quartier 124, 129
Les ditions du passage
107
I Lvesque, Mathieu 77
i2i art inc. 144 Le Visual Box 135
LExpress Magazine 147
Iatridis, Kiriako 77, 133 lg2 112, 138
Iivonen, Janne 147, 148 Linardatos, Andy 155
Ikiriko, Liz 113 Lions, Vincent 89
Innocean Worldwide Lister, David 147
Canada 133, 139 LM Chabot 88
Iromoto, Goh 111, 134 LOfficiel 147
Loga, Don 120
Londono, John 83, 138
Louis-Seize, Kristia 93,
J 109
Lu, Jiani 73
Jacob, Kelly 83 Lusztyk, Peter Andrew
Jafari, Narges 153 103
Jagoe, Rush 112 Lynch, Aurora 95
Jansen, Catherine 72 Lyons, Chris 144
Jean Pascal 127
Jimenez, Tania 119
Johari, Madeleine 106
M Phoenix Advertising
Jones, Duane 143 MacDonald, Benjamin 93,
Jones, Lee 77, 133 119
Jones, Rebecca 143 MacFadyen, Catherine 112
Joseph, Cindy 118 Mackay, Blake 112
Jourdain, Alex 112 Maclean, Marlee 113
Juniper Park\TBWA 140, Madill, Alan 140, 154, 155,
154, 155, 159 159
105, 127, 129
Maher, Amira 141
Maitland, Marilyn 137
Mann, Hylton 155
Manzo, Jessica 74
Maple Leaf Sports & Enter-
tainment 119
Marchese, Adriano 77
Marquis, Etienne 94
Marshall, Nathan 120
Martens, Waldy 79
Martin-Evans, Lyranda 74
Martinez, Cruz 147
Martinez Prieto, Cruz 147
Matar, Danielle 100, 111
Mayes, Michael 157
McBride, Gerilee 124
McBride, Sean 80
McCormick, Angelina 134
McKay, Ella 157
McKenzie, Melanie 149
McKeown, Steve 141
McKowen, Scott 153
McMillan 145, 151, 153, 157
Melendez, Milton 75
Mellings, Kelly 150, 157
107
Meriaux, Charlotte 159
Mikolajczyk, Irmina 83
Milardo, Michael 80
Miles, Jay 74
Miles, Raeff 133
Milstein, Jeffrey 136
Morra, Jason 119
Moscato, Lydia 91
MStyliste 97
Mulvena, Robyn 109
Munzel, Alexandra 97
Musara, Tinashe 88
N
Needham, Amber 85
The New York Times 147
Nguyen, Tim 85
Nicholson, Levi 88
Nicholson, Sandy 77, 130,
139
Nielsen, Stine 128
Nizam, James 81
Nolin BBDO 77, 84
Nooraei, Sahar 95
Norton, Jim 99, 109
Nummi, Pia 148
O
Ogilvie, Meaghan 86
OHara, Colleen 154
ON Nature Magazine 88
onwhite.ca 136
Opumo 148
Orion Magazine 99
Oudit, Kathleen 144
Ouimet, Sacha 86
P
Paco (Folio) 97
Pankowska, Dorota 77
Parker, Odessa Paloma 93
Pattinier, Dominique 143
Pennings, Serge 137
Penningtons 138
Ppin, Steve 77
Pereira, Sasha 97
Group 77, 133
Pickard, Brad 74, 75, 78,
87, 114, 117, 122, 131
Pines, Ethan 80
Pinter, Istvan (Steve) 117
Pinter Creative Studio 117
Plantt, Kendra 148
 INDEX

Plauch, Denise 147 Rauch, John 157
Poirier, Alexandra-Julie 84
Poloni, Giordano 143
Polvorosa Kline, Matthew
99
Polygraphe 109
Ponant 102
Poon, Henrietta 94
Poplianski, Lenny 77
Popov, Andrey 80, 87, 91
Powell, Shawna 139
Producteur de lait du
Quebec 77
Publicis 78, 87, 131
Q Rodriguez, Gus 120
Quatre par Quatre 127
Quinn, Barry 140, 154,
155, 159
Quinn, Mike 79
R Rouxel, Jonathan 79
Racicot, Sylvie 116
Rack & Pinion Creative 77
RAINA+WILSON 93, 95
Ramezani, Kristine 112
Ramsay, Scott 94
Random House Canada,
110
Ranger, Annie 114
RAPHAEL 86, 127, 138
Sara Bruneau 97
Readers Digest 93 Sardone, Andrew 93, 119
ReadySet Atlanta 89, 122 Sauv, Eliane 83, 138
Redden, Jill 120, 133 Savage, Taylor 93
Rehder, Michael 144 Schafrick, Peter 136
Ricardo Magazine 91, 94 Schmitz, Stephan 155
Rich, Corey 95 Sciortino, Jeff 78
Riviere, Jesse 138 Seguin, Jean Francois 103
Robertson, Christina 85 SGI 77, 133
Robitaille, Luc 84 Shapton, Derek 113
Rob Lee / August Sherlock 79
Industries 106 Shih, Yingting 103
Robson, Deryn 77 Shoot Studio 97
Rocky Mountain Soap Co. Siciliano, Italo 75, 114
149 Silverstein, Joel 103
Rodeo Production 75, 78, Sime, Toby 140, 159
84, 97, 102, 104, 120 Simon and Schuster 111
Simone, Cathy 111
Rollins, David 106 Skelton Design 153
Romanes, Ryan 73 Smith, Jay 134
Rosenberg, Eleanor 72 Smith, Jonathan 137
Rostrup, Mark 143 Smith, Krystin 112
Rothschild, Esme 143 Soares, Ray 98
Rothstein, Laura 145 Soulier, Eric 91
Routh, Carlyle 93, 119 Spainmedia 147
Speirs, Jean 98
Ruhl, Greg 153 The Spin Style Agency
89, 122
Spires, Cameron 80
Staniul, Dylan 122
S St-Antoine, Isabelle 86
S/Magazine 95 Stasoff, Matthew 86
Sadek, Nicholas 71 Steinberg, Oliver 83
The Samaritans ORG 141 Stenberg, Oliver 88
SapientNitro 145 Still Life Props 109
St. Pierre, Steve 145 Tsang, Ronald 94, 120 Watson, Rebecca 98
Stubbs, Claire 109 Tse, James 112, 131 Weatherbie, Erinn 110
Studio Element 127 Tsui, Ken 142 Wedig & Laxton
Studio M 117 Turci, Lorraine 102 Photography 89, 122
Sturch, Rob 74, 114 Weinberg, Ben 86
Sue-Chu, Chris 99, 110 Welch, Jazmin 133
Sulin, Jj 128 Wells, Valerie 138
Summers, Braden 118 U WeMonsters 89, 122
Swerdfeger, Brad 145 Under Armour 117 Wessel, Ashlea 120
Sykes, Gabrielle 84, 102 Urichuk, Jodi 95 Weston Bakeries 114
Szac, Murielle 159 White, Robert 144
Szilagyi, Jennifer 154 Williams, Adrien 81
Szulc, Ryan 101, 106 Wine, Rachel 104, 105, 112
V Wodabek, Alyssa 110
VanderSiebes, Amanda
83 The Word on the Street
T Van Doorn, Christopher 153
Take Root 142 109 World Vision 74, 117
Tendril 87, 131 Van Houtte, Michel 74 Wu, Decue 140
Thibault, Sbastien 144, Varvaresso, Jennifer 112
147, 151, 159 Vasey, Kersten 80
Thibeault, Patrick 88 Very Much 74, 135
Thomas, Amlie 75, 78 Vieira, Jessica 75 Y
Three in a Box 153 Vigg 153 Young, Jared 145
Tildesley, Sarah 112 Ville de Montral 114 Young, Will 118, 127
Ting, Carson 142 Virani, Aquil 143 Yunker, Gerard 118, 127
TODA 128 Virginia, Raven 85
Toronto Wholesale Volkswagen Canada 74,
Produce Association 75, 114
120 Z
Tran, Alex 143 Zavacky, Michael 145, 151,
Tremblay, Christian 135 153, 157
Tremblay, Pascal 75, 78 W Zeeble, Mary 80
Troke, Stacy L. 77, 130 Walker-Wells, Neil 154 Zet Production 81, 107
Tsakos, Joanne 110 Walkinshaw, Janet 110 Zhao, Ivan 150

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 LAST WORD

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PepsiBlue looks more like Socks set the tone of the party.
Windex or 2000 Flushes. Geordie Allen, vol. 17 | no. 6 | p. 77

Naseem Javed, vol. 17 | no. 6 | p. 18

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Elspeth Lynn, vol. 17 | no. 3 | p. 40 Andrew Warren-Blair, vol. 17 | no. 2 | p. 28

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 159 June 2016 CREATE. CELEBRATE. Issue 159

2016 PHOTOGRAPHY & ILLUSTRATION ANNUAL

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