Visualizing healthcare

When it comes to the debate over universal healthcare coverage no one can accuse Americans of being apathetic. Your readers are passionate about the subject, and powerful illustrations can illuminate the issue in a way that typical, overused stock just can’t match.
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This issue of Profiles features a selection of healthcare-related images that are anything but typical and they’re available for licensing from the artists at ProFile Stock. And if you have a need for something more specific, I encourage you to work with any of the artists at ProFile Stock to create a custom solution.
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Thank you for supporting artist-friendly stock.
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Jonathan Twingley

Twingley

Brad Holland

Holland

Elizabeth Sayles

Sayles

Elwood Smith

Smith

Cynthia Turner

Turner

Dugald Stermer

Stermer

Nigel Buchanan

Buchanan

Chris Short

Short

Edmond Alexander

Alexander

Jay Montgomery

Montgomery

Jon Krause

Krause

James O’Brien

Obrien

Randall Enos

Enos

© 2010. All images are copyrighted and may not be used in any way without the express written consent of the artist.

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Illustrators cover the hot topics

The images featured in this issue of Profiles demonstrate illustration’s unique ability provide both timely and timeless insight on current events. When today’s hot topics require fresh, intelligent concepts, good illustration can deliver thoughtful, witty, even shocking, visual solutions with up-to-the minute relevance.

As host to many of the world’s most renowned illustrators, ProFile Stock gives you instant access to extraordinary visual commentary on current events – powerful images that you won’t find anywhere else.

I hope you enjoy this sampling of images from www.profilestock.com that are especially relevant at the moment.

 

Jon Krause

Jon Krause

 

 

Chris Lyons

Chris Lyons

Chris Short

Chris Short

 

 

 

Dugald Stermer

Dugald Stermer

 

    

Elwood Smith

Elwood Smith

 

 

 

 

    

Elwood Smith

Elwood Smith

Jon Krause

Jon Krause

 

 

 

 

 

 

      

Jonathan Twingley

Jonathan Twingley

Kyle Webster

Kyle Webster

 

 

 

 

 

 

      

Dan Vasconcellos

Dan Vasconcellos

 

 

 

 

 

 

      

Marc Phares

Marc Phares

 

 

 

 

 

 

Gordon Studer

Gordon Studer

      

Edel Rodriguez

Edel Rodriguez

 

 

 

 

 

 

Jim Tsinganos

Jim Tsinganos

Randall Enos

Randall Enos


        

Dan Vasconcellos

Dan Vasconcellos

 

 

 

 

Randall Enos

If, by some chance, you’re not already familiar with Randall Enos you could be forgiven for thinking you’re looking at the work of the latest hot-shot illustrator to hit the scene. The fact is, he’s been creating his fresh, edgy, in-your-face images for more than 50 years.

A quick stroll through his portfolio reveals a circus of images full of energy and spontaneity, straying delightfully close to the edge of sanity.

Randall’s not only one of the legends of illustration, he’s also one of the nicest guys in the business with a treasure trove of fascinating stories and anecdotes. If you’ve got an assignment for Randall, call (don’t email) Set aside 45 minutes or so and don’t hang up until you’ve heard a tale or two about working with Art Paul at Playboy or the Famous Artists School or the day Satan went to NBC.

Randall took a few minutes from mucking manure on his horse farm in Connecticut to answer my questions . . . and tell a story or two!

Q: Your most recent illustrations seem to be done with the same energy and enthusiasm as your earliest work. After more than 50 years in the business, how do you continue to bring that apparent enthusiasm and freshness to an assignment?

A: I’ve always had a great enthusiasm for just creating something that is unique to me and unlike anybody else. I don’t quite know why I have such enthusiasm for the work but I don’t want to do anything else…no sports, no vacations…nothing. My mind is full of lots of things I haven’t tried yet and want to do. I created my own medium, so to speak, by doing these linocut collages. I’ve never seen anyone do exactly what I do. It’s important to me to be very individual with my work the way the people I admire were with their work. I’ve never tired of my chosen medium and there are still adventures to be found in it.

Q: You’ve worked with a lot of great art directors. Do you have any favorites with whom you’ve particularly enjoyed working?
A:  There have been so many great ones. My favorites were Elton Robinson, Ronn Campisi, Patrick Flynn, Mike Gross (National Lampoon) and a fellow at N.B.C. (now deceased) named Orest Woronewych and Art Paul at Playboy.

Q: From your experience, how do the best art directors work with illustrators to create effective solutions?
A: I think the key is when an art director trusts and respects you and opens the door to lots of freedom. Art Paul and Patrick Flynn and others, for instance, never even asked me for roughs….not that I mind at all doing roughs…it just shows that they felt if they selected you for the job then they were willing to go along with your solution. That doesn’t seem to work in today’s setup. I enjoy working with art directors. I don’t feel that this illustration business is a one man job. I believe it is a collaborative effort. I’ve always been willing to make any changes to create a better page…that’s the important thing after all…the final product in its totality…not my individual picture.

Q: What changes have you observed in the way illustration is used today compared to when you got your start?
A: There are many many differences today than when I started in 1956. One of the big differences is that editors now are the last word on whether or not a rough is accepted. Gone are the days when the major publications had a powerful art director who solely determined the art. Now “word” people make the graphic decisions. Many times they are very literal people and want to dictate the art. They say things like, “Why don’t you draw an angry banker standing in front of a bank?” It wouldn’t occur to them to just have an illustration of an angry bank and eliminate the extraneous banker.

As to the way illustration is USED….well, of course, when I started out, there were still a lot of opportunities to do “narrative” story illustration as opposed to “concept” illustration. One of the major changes is the size that illustrations are used. Magazines have shrunk in size and they seem to want “spot” illustrations mainly. There are no magazines left that have dominant illustrations the way Redbook or Fortune, Holiday, Saturday Evening Post or Sports Illustrated did in the old days. Illustration doesn’t seem to be as important as photography is to the current publications. We are in an age which prefers realism over metaphor I guess.

But I enjoy the challenges of the business today as I enjoyed the challenges of yesteryear. I like making illustrations that the art directors can wrap type around. I have collaborated on many interesting layouts that way. I don’t think we did that so much years ago. Many illustrators nowadays, I notice,  create their pictures squared off…in a “box” rather than the silhouetted or free shapes I prefer. I think they’re thinking more about creating “paintings’ or formal rectangular pictures than creating interesting shapes on a page. Above all, I love the world of graphics and can’t imagine a more interesting life than solving illustration problems.

Read stories of Randall Enos’ “Life on the slanted board” on his blog

See Zina Saunders interview and illustration of Randall