BILL BITES: 8 POSITIVE THINGS ABOUT ILLUSTRATION IN THE YEAR 2003

Issue #3, by Bill Russell

I decided to spin a little positivity on the industry I know and love. Here's my list of notable and meritorious work and events from the past year in illustration:

One of the best illustrations of the year was C. F. Payne's definitive October cover illustration for the New York Times Magazine about the wacky characters we loved and hated running for Governor of California.

My former intern, Ismael Roldan, had a breakout year as the characterist of choice of the Wall Street Journal, The Washington Post and many other publications, often illustrating a whole page of celebrities.

At the 45th Society of Illustrators Book and Editorial show in February, the jury awarded it's Gold medal to Charles Santore for the beautiful Paul Revere illustration he did. I remember seeing Mr. Santore's work in Illustrators Annual 13 back in 1971. He's gotten better and he's still at it, which is a good sign for the rest of us approaching maturity.

The illustrated kid's book market is thriving and even Madonna joined in.

Milton Glaser delivered the final address at the Icon 3 Illustrators Conference in Philadelphia showing he can still be funny, acerbic, topical, inspiring, and creative. He received a much deserved the "standing O" from those present.

I think Christof Niemann wins the greatest editorial designer/illustrator of the year award. He nails the concept every time with a bold graphic and a unique point of view. I found his work in countless publications especially the New York Times Book Review.

Who would have thought there would be such a thriving community of illustrators up in Calgary, Canada (my homeland)? But on a visit there last summer Rick Sealock set up a meeting (with some brews) of a half dozen all talented and keen illustrators that are vigorously taking on the American market. Check these out, eh: Rick Sealock, Carolyn Fisher and Renata Liwska.

As tough times continue for creatives, new, bolder and cooperative approaches to their work and their promotions become necessary. No better example of this can be seen than in the illustrator cooperatives: Buzz and Monster.

Comments, etc. to Bill@Billustration.com

You can also see the archive of Bill's past columns.