Many folks start out as freelancers and aspire to someday landing a staff position with a prestigious major corporation. Joe Zeff took that aspiration full-circle when he followed his heart and left an key position at Time Magazine to start a private studio. Since striking out on his own, the work produced by Joe’s two-man studio has focused on the field of infographics, or telling a story visually, a field that is growing rapidly with the introduction of 3D graphics and mobile devices into the news delivery pipeline. His clients have included Time, Newsweek, Sports Illustrated, Entertainment Weekly, New York Magazine, Unisys, and many more. NewTek recently had the opportunity to talk to Joe about the changes he has seen being a part of the industry.

You recently worked on a project for Unisys Corporation. Can you tell us about this project?
Unisys contacted me last year, seeking a graphic designer who could translate their business initiatives into strong visuals and understandable concepts. The result was a 36-page book on global commerce, the first of many projects we’ve done together. Each project follows the same pattern — interviewing industry experts, consulting with Unisys management, sorting through pages and pages of white papers — and distilling all of that content into clear, compelling imagery.

I was excited when Unisys called earlier this year and invited me to be a part of their brand re-launch. As Unisys has moved from a hardware manufacturer to a services provider, their corporate identity has become less clear. I proposed a 3D cityscape as a way to visually present their varied customers. The model took a few months to create and render, and served as the basis for a print brochure, several animations and Unisys’ home page. It has become a key part of their corporate identity.

Was it nice to stretch your animation skills on this project?
I’ve always steered clear of animation, for several reasons. I like the way that small details show up on paper — subtleties that add meaning and context and depth that would be lost at 30 frames per second. I like the challenge of capturing an idea in a single image that quickly makes its point. And I like being able to patch problems in Photoshop, without having to re-render dozens of frames in order to make a fix on deadline.

That said, it seemed like a waste to not animate this detailed city. My assistant, Chris O’Riley, played a big role in making that happen. I learned quite a bit along the way. We’re looking forward to more animation projects in the future, but that said, I don’t see animation ever becoming anything more than a complement to the print work. I’m more intrigued by the potential to drive a visual narrative than the nuts and bolts of making all the pieces move. If the animation side of my business ever took off, I’ll likely add staff to focus on the technical side and devote more attention to the content.

For those that are new to the term, what is an infographic?
An infographic is a story told visually. Over the past 15 years, newspapers and magazines have made considerable efforts to enliven columns of gray text with colorful charts, diagrams and maps. At first this was done to capitalize on heavy investments in color printing presses. Over time, infographics gained legitimacy as an indispensable way to present information quickly, and to address the dwindling attention span of the typical reader. Today, the Internet is rapidly putting newspapers and magazines out of business, as readers have come to expect real-time content from computers and cell phones. For newspapers to stay viable, they need to move beyond paper to deliver information that is up-to-the-minute and portable. News you can trust, delivered dynamically, quickly digested. Infographics play right into that evolution. \When I was at Time, few newspapers had 3D capability. Today, most medium- and large-circulation newspapers are working in 3D. And many of those artists will be instrumental in producing the digital newspapers of the future.

Do you come up with the concept for most of your illustrations?
It’s a mix. Many times an art director will call with an idea that needs to be executed, and while some illustrators find that to be heavy-handed, I don’t mind it. The reality is that a slow advertising market has taken creative control away from many art directors, particularly on covers. Marketing plays a larger role than ever, and an increasing number of magazines stick with a tried-and-true formula for their covers. Conversely, there are plenty of times when a magazine calls with a blank cover — read this manuscript and give us your ideas. This can lead to more creative thinking, and more out-of-the-box results. This situation is common for the corporate work that I do — I’m hired to be creative and conceptual, and to collaborate with a group to come up with ideas that best tell the desired story. It’s much more fulfilling, and much like the situations I’m accustomed with in the magazine and newspaper businesses.

From a business standpoint, there are dozens of 3D illustrators who can execute someone else’s idea. But there are few illustrators who can be relied upon to consistently deliver great ideas.

Do you find that having an office in New York is a good location for business?
These days, the best location for business is anywhere with a phone, high-speed internet, and a FedEx drop box. I’ve been on my own for five years. The first year was spent in the attic of my house; the second two in a studio in Manhattan, and the last two in a studio a few blocks from my house, in Montclair, NJ. When I first started, I found the credibility of a Manhattan address to be reassuring, and it was convenient for meeting with clients. But it’s fairly inconvenient when you work ridiculously long hours as I do. I found that the tradeoff of commuting into Manhattan was not worth it. Now my studio is near my home, above a barbershop and overlooking a park. It is five times the size of my former studio in Manhattan, and the rent is less. I see much more of my family, and when I need to visit clients I simply cross the street and board a Manhattan-bound bus or train. The reality is that a strong portfolio brings much more business than a fancy address.

What's the biggest challenge of owning and operating a studio?
There’s so much more to running a studio that being a good illustrator. I can’t understate this. You become your own secretary, bookkeeper, promotions department, human resources department, tech support — it can be overwhelming. Fail at any one of the secondary roles, and your business goes down the tubes.

When did you first start using LightWave?
At Time. the artists there were using Strata when I became Graphics Director, and the program lacked the flexibility they needed. We chose LightWave because of its Mac-friendliness and the incredible work we saw online. A trainer showed the staff how to use LightWave over a six-week span, and the learning process continues today. There’s so much capability in this program; I can’t imagine anyone knowing it fully.

What are your favorite features in LightWave?
I’m a big fan of area lights and the soft shadows they provide. I’ve always been amazed by the render quality that LightWave offers. Worley’s FPrime has added much-needed interactivity that makes LightWave even more indispensable.

What's an average work week like for you?
It really varies from week to week, depending on the projects I’m working on. It’s not uncommon that I’m sitting at my workstations at 2 in the morning. It’s just as possible that I’ll be riding my motorcycle all afternoon. I enjoy the flexibility that my schedule provides, and I try to take advantage of the downtime required for rendering!

What is an average deadline for your projects?
A corporate project may require three to four months, as it involves much more than illustration. A magazine cover might take two or three days. An inside illustration might take a day. I’ve done some jobs in 15 minutes. It’s helpful to have a growing library of 3D models that can be repurposed as needed.

Is there an area of 3D that you hope to spend more time with?
I think animation is fascinating, but I just haven’t had enough time to delve into its complexities. Every time I use motion designer, or whatever it’s become, I’m blown away.

Any suggestions to someone wanting to get into 3D for print?

You need to understand your clients and their objectives, and put their needs ahead of yours. Art directors and editors aren’t as fascinated by 3D as we are — they don’t really care whether you’re using spotlights or area lights. They want the most compelling images that communicate most effectively with their audience. They could care less whether you spent three weeks modeling something or whether you found it on TurboSquid. They want fresh ideas and new thinking, but respect for time-honored approval processes, ethical standards and production values. Like any business, it’s a matter of knowing your customer.

Will you be submitting any of your work for the Art of LightWave book?
I don’t enter a lot of contests. Perhaps it sounds like sour grapes, but I find that the work I do is more content-driven and doesn’t fare well in a beauty pageant. There are plenty of incredible 3D artists who are creating work far beyond my capabilities. Better to leave the contests to the truly talented.

Do you have a favorite project from the past?
An illustration that commemorated the first anniversary of the World Trade Center attacks. I modeled the surrounding buildings and replaced the skyscrapers with a pair of memorial candles. I got caught up in the meaning of the piece and pushed myself for days without sleep to create an illustration that would rightfully honor those who died. It was originally scheduled as a Newsweek cover, but the magazine went another direction. A local newspaper, the Asbury Park Press, published the illustration as its entire front page on Sept. 11, 2002. It resonated with the community, which had suffered considerable losses in the attack. Posters were sold to raise money for charity, and the newspaper promoted an effort to reproduce the image as a giant bronze memorial sculpture in a county park that overlooked Lower Manhattan. The county officials chose another proposal, but it was meaningful to be a part of the process.

Do you have any favorite websites that you visit on a regular basis?
There are some terrific artists out there whose work always inspires me. Some of the sites: www.mondolithic.com, www.mirkoilic.com, www.d3d.com, www.christophniemann.com, and www.time.com for examples of brilliantly blended content and visuals; www.newsartists.org for a community with other content-based illustrators; and, of course, www.flay.com.

What's the coolest gadget you have picked up in the last year?
I’m on my fifth BlackBerry, and I couldn’t live without one. It’s liberating to be able to walk outside my office and remain in contact with my clients and colleagues. It gets a little hard to type when riding a motorcycle, but ...

Thanks for taking the time to talk to us, Joe!