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The article offers information on the life and career of David Bohan who founded BOHAN Advertising in Nashville, Tennessee. Topics include insights from BOHAN chief executive officer and president Shari Day regarding the success of the company, the company's approach to develop an open communication by connecting art directors, account managers and writers, and various products and advertisements created by the firm.

The article focuses on advertising agency Alma DDB founded by Luis Miguel Messianu. It states that its campaigns for Hispanic consumers are now crossing over to the general market, Alma's employees represent more Spanish speaking nations and added more staff members causing growth. It mentions that Alma created a poster to show many nationalities on its team by showing the many ways staff said the word popcorn and as the agency expands writers, art directors and interns are thrown together.

The article discusses the business operations of advertising agency Lewis Communications under its president and chief executive Larry Norris, which was described by the author as the healthiest agency environment he had encountered due to its profound level of mutual respect and devotion. Topics discussed include educational and employment background of Norris, the opportunities grabbed by creative director Stephen Curry while working at the agency and the agency's flat hierarchy.

The article profiles designers Shane Cranford and Ross Clodfelter of design firm Device Creative Collaborative. Topics discussed include their focus on printing and typeface design, the firm's focus on craftsmanship, and their desire that all their designs connect with individuals on a human level. Examples of their work are also provided.

The article discusses designer couple Dave Plunkert and Joyce Hesselberth of the Spur design company of Baltimore, Maryland. The history of the collaboration between Hesselberth and Plunkert is examined, Plunkert's education at Shepherd College in West Virginia is described, and the importance of sketches in the development of graphic design ideas is emphasized.

The article discusses the work of the illustrator Mick Wiggins, focusing on his views on the design industry as of January 2014. Topics include Wiggins' childhood, his work with the periodical "PC Magazine: The Independent Guide to IBM-Standard Personal Computing," his attempts to depict traditional art styles with digital technology, and his work designing book jackets for the publishing industry creative director Paul Buckley.

The article profiles photographer Blaise Hayward. Particular focus is given to his early career, his relationships to his subjects, and the challenges faced by commercial photographers. Details on his childhood experiences of abandonment and economic hardship are presented. Other topics include his mentor, designer Irving Penn, and his advertising projects with the firm mcgarrybowen.

The article profiles the artist, illustrator, and photographer Rory Kurtz, focusing on his career as of September 2013. Topics include his fiancée Vanessa Eggers, the impact of the cut shop owner Tom Miller and the illustration executive Sari Schorr in promoting and assisting him, his lack of a formal education, and his studio near Lake Michigan in Chicago, Illinois.

The article profiles artist and designer Ted Kinsella III. The article discusses his education at the Ringling College of Art and Design, his experience at The Art Department (TAD) in Richmond, Virginia with his mentor Sterling Hundley and past clients such as the periodical "Rolling Stone Magazine." The article also discusses Kinsella's exhibition at Ghostprint Gallery in Richmond, Virginia.

The article profiles Design Ranch, a Kansas City, Missouri-based branding and graphic design firm founded in 1998 by Ingred Sidie and Michelle Sonderegger. Topics addressed include how the pair first met, their respective educational and family backgrounds, and their work for clients including the greeting cards company Hallmark.

The article profiles the career of Christopher Wilson, an advertiser who became a photographer. It examines artwork by Wilson, focusing on his advertising photography for companies including the automobile manufacturer Fiat, the Nokota Horse Conservancy, and Ritz-Carlton Hotels. Topics include Wilson's partnership with photographer Jim Henderson, his emphasis on post-production work on photographs, and the role of visual imagery in his success, despite a lack of professional training in photography.

The article profiles the illustrator Jessica Hische, who works at the illustrations studio The Pencil Factory in Greenpointe neighborhood in Brooklyn, New York. The author looks at her artistic career beginning at the Tyler School of Art, her internship at Headcase Design in Philadelphia, Pennsylvania, and her stint at Louise Fili Ltd design firm. Topics include Hische's sense of spontaneity at work and her interaction with illustrator Chris Sickels on a typographical design project.

The article profiles illustrator and creative director Brian Stauffer. It describes Stauffer's family and educational background, his lifelong interest in nature and discovery, and his spirit of freethinking and empathy. His career includes work at the "Phoenix New Times" as creative director, graphic designing at "Miami New Times," an illustration assignment for "Rolling Stone," and a stint at Star Media as creative director. Stauffer and his family left New York City and settled in Miami, Florida after the terrorist attacks on September 11, 2001.

The article profiles Allyson Lack and Pamela Zuccker, the partners and founders of the design agency Principle. Pamela earned her fine arts degree in painting at the University of Michigan, while Allyson pursued a bachelor's degree in business at the University of Maryland where she took some art classes and experimented in design. Trusting each other in work ethic, in excellence, and in numbers, the duo were able to accomplish a lot even while working long distance apart. Images of their works as presented in this article manage to inform and delight.

The article profiles artist Chris Sickels of Red Nose Studio. His work with everyday objects including trash is described, noting the variety and creativity of his work and its inherent carbon neutrality. His early life as a dairy farmer's son in Lynn, Indiana is described, including his parents' encouragement for him to discover non-farming skills such as drawing. His marriage to wife Jennifer in 1996 is mentioned, as well as his time working in Los Angeles, California. Sickels' prioritizing of family time over work is also described, noting that he turned down a position with the Nickelodeon television channel in order to move back to Indiana and develop his own art studio.

The article profiles commercial illustrator Sterling Hundley. Hundley studied at Virginia Commonwealth University (VCU) and later at the Illustration Academy program at Ringling College, where he would make many connections to professionals in the illustration industry. He would later teach at both schools. Robert Meganck, Hundley's former teacher, comments on Hundley's work ethic and the development of his unique style. Hundley comments on the influence of his mother and how her creation of dollhouses and furniture influenced the use of texture in his art.

The article describes the activities of HendersomBromestead Art a graphic art company based in Winston-Salem North Carolina. The extensive design projects undertaken by the firm, including the creation of posters, logos and advertisements, are described. The details of the careers of Hayes Henderson and Brad Bromstead, founders of the firm, are presented.

The article presents a profile of the U.S. graphic design company House Industries. An overview of the company's founding by artists Rich Roat, Andy Cruz and Adam Cruz is provided along with a recent history of several examples of their products, particularly in typed font design. Their aesthetic goals and mainstream client base are also explored.

The article reflects on the lessons derived in the application of zig in the business. Among the lessons learned are success in business is all about what you stand and not what you sit or where you sit, go with a sashimi-grade partner when making momentous business decisions over lunch, and try hard to never lose sight of your priorities in order to maintain focus and preserve ones culture and core values.

The article profiles two sports enthusiast and founders of TDA Advertising & Design in Boulder, Colorado. Thomas Dooley is from Scandinavian country but he spent most of his college life in the U.S. He is an athlete and the co-owner of the advertising firm where he worked with his business partner and the creative director of the company, Jonathan Schoenberg. Thomas graduated at the University of Colorado while Jonathan completed his profession at Hobart College in New York.

This article presents information about Holly Lindem, an artist. For many years she has been sharing three different studios with friends and fellow photographers Brent Humphreys and Fredrik Broden. As all three artists grew busier, they found themselves tripping over one another in search of privacy and workspace. To preserve friendships and sanity, in March 2003, Lindem decided to take space at the Lakewood Center. Lindem's narration of her life is both nonnuclear and iconoclastic. But she stresses that her early years, as well as the rest of her life, have been filled with laughter. She was eleven when her parents divorced, and her mother shifted her to Dallas, Texas with her second husband, fun-loving Bob Burkhardt. She learned early to take her own decisions: in seventh grade she decided to take wood and machine shop class. She cannot be explained without describing her deep and vital relationship, which she enjoys with her 70-some-thing mother, Gene Burkhardt, with whom she shares both credit and home.

The article presents information on the shopping mall La comunidad. La comunidad is a precocious five-year-old. Since its beginning in late 2000, It has received calls from numerous internationally recognized brands, including Citibank, Volkswagen, Virgin Mobile, Best Buy, Subway, Aiwa, Sanyo, Perry Ellis, Rolling Stone magazine, Nordstrom and MTV. The South, Central and North American markets are not niches. Large, well-established agency cum shopping malls are huffing and puffing to keep up with this upstart. The agency's state secret is actually revealed in its name, La comunidad, the community. The operation is really more village than office--where everyone's contribution is honored and essential, where the whole is greater than its parts. Their own literature expresses their mindset clearly and succinctly in two languages. When the brothers Joaquin Molla and Jose Molla decided to start this venture, they turned to old friends and acquaintances to help them. Quite a few decided to take the leap with them. It began innocently. Two brothers, separated by time and distance, decide to spend a week sailing about the Virgin Islands, alone together.

The article reports that on the wall of Gerard DuBois's Montréal home and office is an illustration of a black rabbit--an Easter Bunny, to be precise--titled Le Lapin Noir du Chevalier Noir. Like many of the drawings and paintings that grace the walls of the DuBois home, the work is not Gerard's. Drawing was always a passion of Gerard's. An avid comic reader since he was eight, he was drawing even before that. But the first time the idea of "artist" as a career choice occurred to him was at the age of fourteen, when the headmistress of his public school encouraged him to apply for advanced study at an art school in the heart of Paris.

The article reports that over the course of his three-decade career Parish Kohanim has come far-yet he appears timeless: trim, immaculate, fresh. His was a career that never grew in fits and leaps; it evolved, like faith. In truth, his greatest leap occurred the day he boarded a plane, alone at the age of seventeen, to begin a life in the United States, leaving behind a beloved family and happy home in the ancient Persian city of Shiraz. Everything else must have seemed easy after that. Like many artists, Kohanim was shaped by his childhood, but perhaps more so because it ended so abruptly. When he left that childhood world behind, he took with him only its memories. It was a shock to find himself in a new culture and place without family, money-or even a guaranteed place to sleep. To compensate, he began a lifelong obsession for documenting things he loved, things that reminded him of more tranquil times-so as to hold them-possess them, so that he never lost them again.

This article focuses on the design firm Kuhlmann Leavitt Inc. (KLI). The firm is situated in the business district of Clayton, Missouri, the seat of Saint Louis County. The KLI office is a tasteful, understated affair, a story above street-level. The 2,500-square-foot studio is open plan, filled with natural light, dressed in quiet gray, white and black hues. Design director Deanna Kuhlmann-Leavitt grew up in Saint Louis among a family of six with deep Midwestern roots. After beginning college at Washington University in Saint Louis, Leavitt decided to pursue her interest in design. It was in high school where she first exhibited the potential for the design business. To support herself in school, Leavitt took part-time work hand-lettering signs for Jurgensen's a local upscale grocer. Beginning with its principal client Mead Corp., Kuhlmann-Leavitt slowly grew the business. By 1998, Mead remained the largest client, but no longer occupied the majority of the Saint Louis office revenue. Deanna Kuhlmann-Leavitt's fortunes have been heading up ever since. Business is thriving and they have opened up a second office in Chicago, Illinois.

Photographer Fredrik Brodēn's father worked as a buyer in the town's mail-order industry. As a young student, Brodēn visited his dad's office from time to time and acquainted himself with the company photography studio. After assisting various photographers, Brodēn's gained more experience and autonomy. By 1999, he began doing some of his first independent work for "D," the leading city magazine of Dallas, Texas. Still, he was not satisfied with the direction of his career.

Focuses on the work of Fossil's in-house design department in Dallas, Texas. Contributions of design to the company's success; Diversity of designers in the department; Design philosophy; Creativity in design.

Profiles Gordon Sawyer, founder of the Sawyer Advertising in Georgia. Educational background; Accounts in advertising; Corporate profile of Sawyer Advertising.

Highlights the graphic arts design display during the 2002 Winter Olympics in Salt Lake City, Utah. Aspects of graphic arts design; Presence of ice banners in the streets; Contribution of sports images on a sense of place in the country; Importance of photography styles in environmental and print design programs.

Features the Durham, North Carolina-based advertising agency West & Vaughn. Location and description of the agency's office; Relationship of owners Bill West and Tom Vaughn; Comments of the staff on the company's working environment.

Features Grant Design Collaborative, a corporate image and design company in Canton, Georgia. Information on company owner Bill Grant; Type of commitment sought in clients; Details on design projects undertaken by the company; Involvement of employed staff designers in account management; Strategies for marketing employed by the company.

Features Houston, Texas-based Geer Design. Company ownership and history; Services provided; Creative development process; Awards and recognition received by the company.

The article offers information on several nonprofit organizations. At its previous American Institute of Graphic Arts (AIGA) leadership conference, designers were called on to commit five percent of their time to pro bono. Link, which helps high school students connect through several creative workshops, has been launched in San Diego, California. Art With Heart (AWH) distributes books aimed at assisting high-risk children channel stress and emotion in artistic ways.

Ron Huey and Joe Paprocki's, co-creative directors, seven-year basement experiment in advertising has produced a formula for success. From the outset Huey and Paprocki, made compelling, highly creative work their mission. It started in 1997 at Joe's house. Eighteen months later, they moved from Joe's dining room to the former ballroom of a 1920s-era hotel that had gone from grand to bad to worse to much, much better. The hotel is located in one of Atlanta's coolest, funkiest neighborhoods-Poncey/ Highlands, where families, DINKS, Guppies, Buppies, Skinheads, runaways and strippers share the streets. The below-ground space once hummed as a speakeasy, a ballroom and a single bowling lane before starting a long decline that mirrored the exhausted fortunes of the surrounding neighborhood. But things began to change in the mid-'80s. Young couples, gays and lesbians moved in and began refurbishing apartments and homes. Then came coffee shops, bike shops, book stores and restaurants. Prices rose. New owners came to the hotel, burned the old sheets, added the word inn and made it into a respectable B & B. In 1999, Joe and Ron stepped into this milieu.

Presents the highlights of the AIGA Voice2 design conference. Triumph of substance evident in the progress of the conference; Comments on the design exhibits featured at the conference.

Highlights the American Institute of Graphic Arts Conference in Las Vegas, Nevada. Description on the conference setting; Views of Joel Nakamura on the design conference; Details on the Guadalupe River Ranch.

Features the America: Cult & Culture 1999 conference of the American Institute of Graphic Arts held in Las Vegas, Nevada. Hotel accommodations of participants; Inability of planners to include all participants in its discussions; Size of the conference; Disadvantages of the venue of the conference.

Presents information on the 1997 American Institute of Graphic Arts's Jambalaya conference. Comparison of the conference with Seattle 1995 and Miami 1993; Details on the opening address of the institution's executive director Richard Grefe; Ambience of the conference.

The author discusses the Design for Good initiative of the American Institute of Graphic Arts (AIGA), focusing on the AIGA President Doug Powell's argument that design work can have a positive social impact without being delivered for free as of 2013. Topics include the Common incubator and social innovation promoter and the Design for Good website.

Focuses on the Society of Environmental Graphic Design conference in Miami beach Florida. Description of the conference; Participants of the conference; Activities and topics discussed in the conference.

Reviews the Illustration Conference in Santa Fe, New Mexico on October 1999.

Reports on the Organization of Black Designer's DesigNation 2 conference. Views aired by panelists led by conference founder David Rice; Objective of Rice to make the conference a multicultural exhibit of design thought in the United States.