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The article features several firms and their business models. Dinah Coops creates a collection of home items that combine modern design sustainability and sensibility. Giacini Atelier's founder and designer Juliana de Freitas-Draper believes in constantly reviewing and evaluating the company's business model. Grant Design Collaborative has been creating brand strategies and identities, communication design, product development, advertising, packaging, interactive and branded interior design.

The article focuses on trends and developments in visual communications and publishing as reflected in the entries received for this magazine's 2010 Interactive Annual contest. It cites the broadening of the category with more mobile phone applications and interactive installations and environments. It notes the production value of the rich-media content, the use of video as a solution for interactive experiences, and the future impact of mobile technology. The contest jurors are also acknowledged.

An introduction is presented in which the editor discusses various articles within the issue on topics including oldest advertising mediums, print advertising and television commercial.

This article features the advertising agency BooneOakley of Charlotte, North Carolina. The agency received international news coverage when they made a billboard blunder in their first project, a major blunder that still won them the Continental Tire account. The creative partnership of David Oakley and John Boone is less than ten years in the business, but, already, they are revolutionizing the industry with their creative methodology. The agency works in collaboration with their client and creates a sense of community where relationship is nurtured.

The article profiles the company Design Army. Established in 2003 by Pum and Jake Lefebure, the company's first clients were one who has a lot of connections and hired them to make a yard-sale flyer while the fundraising events. It states that 75% of the firm's projects are print-based, while their clients come mostly from the fashion, arts, and entertainment sectors. Pum, the creative director, noted that they focus on the concept and not on the font or style of execution to use. Images of their sample works are also presented.

The article presents a detailed overview of the history and creation of "Communication Arts" in 1959. The magazine was created by Dick Coyne and bob Blanchard, who ran a successful design firm in San Francisco, California. Details about the printing of the debut issue, the first magazine in the U.S. printed using offset lithography, are presented. The transfer of ownership in 1989 is discussed. The evolution of the magazine in the age of the Internet and interactive media is assessed.

The article presents an introduction to the publication's 2008 Advertising Annual edition and includes comments from those involved in the selections process including Lisa Bennett, chief creative officer for DDB San Francisco, Tony Calcao, vice president and creative director at Crispin Porter + Bogusky, and Jim Nelson, executive creative director at Carmichael Lynch.

The article presents a profile of the graphic design company Kinetic Singapore. An overview of the advertising firm's founding by Carolyn Teo and Adrian Tan is given along with its recent history, including several examples and illustrations of their work. Their aesthetic goals and mainstream client base are also explored.

The article reports that the journal has received 11,468 entries to this year's advertising annual, a slight drop from last year. When looking over the winning entries, the most notable creative concepts were based on unusual media buys. Shari Hindman of Siddall, Inc. in Richmond, Virginia, was disappointed with the self-consciousness of some of the entries. "People feel like they have to try so hard to get noticed in the shows instead of just doing good solid advertising. It's like wanting to be Pamela Anderson when you can get as much (better) attention being Audrey Hepburn." As in previous years, we employed a two-step jurying system, screening and finals. However, since adding a multiple-media campaign category, the judges screened the radio commercials and banner ads in their own offices prior to arriving in Menlo Park. In the journal offiice, they worked in teams of three, screening a third of the television, print and slide entries in one of three halls equipped with broadcast equipment and six rows of tables for print. Print entries were spread out on the tables by category and each juror reviewed the entries independently.

The fact that the journal "Communication Arts," continues to publish after 45 years is an anomaly. Just about any rule of successful publishing doesn't apply. Founders had no publishing experience, little financial backing and spent way too much on the product. And yet today the journal is the largest trade journal in visual communications with promising prospects for the future. The first issue was published in August 1959. It was the first U.S. magazine printed by offset litho. It was also perfect bound. Since there were no commercial perfect binders available, the binding tape and cover were applied by hand at Stanford University Press.

With just under 12,000 advertisement entries, the December 1, 2003 issue of the journal "Communication Arts,"'s annual collection of advertisements was about the same size as last year. Numerous media reports suggest that the U.S. economy is improving and the advertising industry hope to see some growth in 2004. When the author asked jurors their overall impressions about this year's entries, it was obvious that cars are driving what advertising spending there is, along with creativity. Out of 12,000 entries there were handful of print advertisements utilizing long copy.

Reports on the results of the 2002 salary survey conducted by the American Institute of Graphic Arts and Aquent. Solo designer; Creative/design director; Art director; Senior designer; Designer; Entry-level designer; Print production artist; Print production manager; Copywriter; Web designer; Web developer; Web producer; Cont developer.

Reports on the Direct Marketing Association's 2002 International Echo Awards. Purpose of the awards; Award categories; Award recipients.

Profiles Alexey Brodovitch, graphic design pioneer and former art director of the magazine 'Harper's Bazaar.' History of Brodovitch's career as a graphic designer; His approach to magazine layout; Legacy as a publication designer; Teaching career.

Presents a salary survey of designers in the U.S. Stability of the salary; Fluctuations in the rate of freelance designers; Job description of various types of designers.

Focuses on the 2001 Interactive Design Annual competition. Categories of the Web entries; Domination of Flash-based projects among the entries; Requirement for the submission proof of ownership by the winners after the competition; Views of the jurors relating to their judging experience and concerning the future of interactive media.

The article discusses design in the age of social, mobile and tablet applications and the reemergence of microsites, which dominated the 2015 Interactive Competition of magazine "Interactive Annual 2015." Topics discussed include the role of HTML 5 and open web technologies in the return of microsites, the disadvantage brought by parallax scrolling on web sites and the importance of value-creation in the future of interactive media.

Presents an interview with `Communication Arts' publisher Dick Coyne about the origin of the magazine and some of the obstacles he had to overcome. Starting the magazine; Magazine editing; Difficulties in meeting production costs and attracting advertisers; Future editorial content.

The article focuses on the jury of 2014 Interactive Annual, a visual communications competition for DVD, Web, and interactive kiosk organized by the magazine "Communication Arts." Topics include evaluation of the submitted projects by jurors such as Dustin Callif, Kris Kiger, Troy Lachance, their comments on interactive installations, and an interview with juror Troy Lachance.

An introduction is presented in which the editor discusses the periodical "Communication Arts" Interactive Annual including the reconfiguration of the categories, the number of entries and the jurors which included Dave Curry, Sophie Henry and Hillman Curtis.

In this article the author discusses various topics relevant to the periodical "Communication Arts." Particular focus is given to the periodical's Interactive Annual competition and to the jurors involved including the designers Keith Butters, Kelly Goto and Michael Potts. The impact technology is having on the field of visual communications is also discussed.

The article offers a look at the opinions of several jurors of the journal's annual marketing campaign competition, part of the 52nd annual exhibition. It presents the thoughts of jurors including Mike Caguin, James Clunie, and Chuck Rachford on the originality, design, branding, and format of campaigns by companies such as the Gatorade sports drink company, the American Standard plumbing fixtures company, and and American Civil Liberties Union (ACLU).

The article discusses the 2009 entries and judging mechanics of the 50th Design Annual. Compared to the number of entries in previous years, it notes a drop of 16% or only 7,092 entries to choose from. The article explains that the judges applied a two-step process, that is, screening and finals. The judges worked in three-member teams with one team per hall which, in turn, are equipped with digital projectors for images and six tables for print.

The editor of the periodical reflects upon the experience of choosing the best advertisements in several categories, including consumer print advertisements, online advertisements, radio advertisements, and television advertisements. An overview is presented of how the editors of the periodical came to their decisions. The article also presents brief biographical overviews of the editors.

The article presents the author's views on the blurring lines between advertising media and consumer skepticism. He cites Michael Ancevic, vice president and creative director at Mulien, who says print and television advertising is alive and well, but consumers have increasingly shorter attention spans. David Oakley co-creative director at BooneOakley says that engaging radio advertising is lacking.

The article provides information on the December 2005 issue of the journal "Advertising Annual," which reflects the changes in the advertising industry with substantial growth in online advertising, integrated campaigns and broadcast media. A drop was registered in the traditional print media. However, it showed innovation in creative media buys and positioning. Guy Seese of Seattle, Washington-based Cole & Weber/Red Cell, was shocked by the sheer number of entries. Isidoro DeBellis of Berlin Cameron/Red Cell in New York, New York, added that he was surprised how the television production values between the big budget national advertisers and the small local retailer has been bridged. Lisa Francilia of TBWA Vancouver, British Columbia, Canada, said the Internet is still the weak sister in many campaigns and after listening to all the radio, one no longer know how to use that medium either. Creative people who have the skills to capture the public's attention and communicate effectively across a host of platforms are more important than ever.

Profiles the jurors of the December 2002 issue of the publication 'Communication Arts.' Role of Jim Amadeo at Clarke Goward Advertising; Career highlights of executive Rob Bagot; Background of creative director Bart Cleveland.

Profiles designer Nicolas Sidjakov. Education background; Career in art; Citation of works.

Profiles the people who have served as jurors in selecting print advertisements for the 'Communication Arts' magazine's 41st Design Annual. Art director Bridget de Socio; Design firm executive Stan Evenson; Design director Slaughter Hanson.

Features the jurors of the 40th Design Annual competition. Career highlights; Expertise in design; Educational background.

Talks about the `Communication Arts' magazine's 39th Design Annual. Growth of the design annual in 1998; Judging process; Judges for the design annual.

A table of contents is presented for the May and June 2014 issue of the periodical "Communication Arts."

The article reports that grabbing the attention of consumers is getting harder and harder. It's not just because of the dizzying array of media and entertainment choices, it's the quantity of messages demanding attention. In 1985, consumers experienced an average of 650 media messages a day. Today, that figure is 3,000. During that same period, consumers haven't quadrupled the amount of time they spend with media. In fact, it has changed very little. Consumers in the developed world still spend eight to nine hours a day involved with information, communications, entertainment and media technologies. What's happening instead is consumers are getting better at filtering-deciding in ever smaller fractions of a second whether your message is of interest. Currently, 40% of direct mail is tossed unopened; readership of newspaper and magazines is dropping almost as fast as network television viewer- ship. Yes, consumers are spending more time online, but much of that is spent deleting the growing number of spam messages.

The article presents information about the book "Slow Motion," a collection of moments and short stories told through the use of film strips that British filmmaker Tom Flemming created from Workbookstock images. The book is available with the book publisher Workbookstock.