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Awards Round-Up: Tatsuro Kiuchi, Owen Freeman, and Paul Rogers

Posted on 02/24/14 by Sally

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Congratulations to three of our illustrators who recently received honors for their work.

Tatsuro Kiuchi's piece “Tavern on the Green,” for DuJour Magazine, was awarded the gold medal by the Society of Illustrators.

“We were initially drawn to Tatsuro's work for his beautiful use of color and texture,” DuJour's senior designer, Sarah Olin, says. “But what ultimately convinced us that he was the perfect artist for this piece was his ability to take compositions beyond literal interpretation and convey a narrative, a mood. It was Tatsuro's idea to exaggerate the perspective of the red awning, which is what made the illustration so graphically alluring.”

Sally Heflin delivered Tatsuro's acceptance speech on his behalf at the SoI awards ceremony earlier this month. “I (Tatsuro) always respect those highly sophisticated and conceptualized works done by talented illustrators in collaboration with eminent art directors,” it read in part, “and I have been continuously striving to be a part of the circle.”

Tatsuro's piece “Waterfall,” created for Please, a booklet issued by Japan Railway Kyushu, won a silver medal in the institutional category. Also accepted into the show were “A Dog's Grace (for The New York Times), “Le chat et le casino” (for MUZE), “Father's Test” (book cover for title by Takuji Higuchi), and “A Place with a View of Families” (book cover for title by Hiromi Mori).

Owen Freeman got in a piece into Communication Arts: a profile of “Nebraska” director, Alexander Payne, that he created for The New Yorker.

“We chose Owen because he is a great painter with a strong sense of composition,” explains ,Christine Curry Illustration Editor at The New Yorker. “This was an important portrait for us, and we went with an artist who is consistently great and reliable. Glad that the judges saw how wonderful this was!!”

Owen says that his creative process entailed “roughing out visual elements that would give the viewer a sense of the director and his muse, Midwestern America,” adding “I was ultimately happy with the way the billboard and guard rail framed the figure and hinted at a wide-format cinema screen.”

Paul Rogers had the following pieces accepted by the Society of Illustrators “Gatsby” (CD cover for Milan Records), “Grace Kelly” (CD cover for Milan Records), “Hitchcock” (CD cover for Milan Records), “Keystone Pipeline” (for The New Yorker), and “Nazis in Hollywood” (cover for The Hollywood Reporter, also accepted in Communication Arts).

Written by Eve Tolpa