Once considered a niche art form, designing for the web has become an integral component to doing business for graphic designers. It’s impossible to deliver an identity or campaign to a client without considering how it will be represented on a website. In many instances, the web component has become the starting point for designers when embarking on these projects. Unfortunately, there are still plenty of poorly designed sites for companies that otherwise have a strong brand. It goes to show we’re still learning how to make the most of this dynamic medium. It’s a tricky balance between using the technology to its maximum potential without going overboard with too many bells and whistles.

You won’t see any poor or mediocre websites in this issue—we’re only showing the best of the web. Not only are the winners in STEP’s Best of Web competition seasoned pros, but the judges themselves know a thing or two about great web design. Tim Barber of odopod, David Lai of Hello Design, and Christopher Simmons of MINE all have extensive experience in interactive design and know what to look for when judging websites. To get insight into their thinking while they were judging this year’s web competition, see “2006 Best of Web” introduction on page 88.

Grab a piece of the action in “Connecting with Transistor Studios,” on page 46, by Terry Lee Stone. This bicoastal motion graphics collective churns out high-energy, interactive projects for clients such as MTV, HBO, Miller, and Coca-Cola with some of today’s hottest young directors. The key to Transistor’s success? Promoting individual creativity and personal freedom—there’s no pressure to tow the company line here. Believe it or not, this kind of lone genius approach works well for this studio.

Writer Matthew Porter spent a day with the staff at Sub Pop Records in Seattle to get behind the artistic wheels that have moved this company from an indie rock label to a mainstream contender with the likes of Sony and Capitol Records. Jeff Kleinsmith, the creative muscle behind the company that gave the world Nirvana, thrives on the unique qualities each musician brings to the table, seeing each new challenge as a creative opportunity—even after 12 years on the job (“Sub Pop Records: A Taste Worth Acquiring,” page 64).

Vitals may have folded last year, but its influence lives on (“The Vital Influence in Magazine Design,” page 54). Maryjane Fahey dissects the design components that made Vitals so delectable (in her opinion) and how these elements are showing up in start-ups such as Cookie and Blueprint. Former Vitals art director Paul Ritter reflects on his crazy collaboration with editor Joe Zee, and dishes about his new role as art director of Jane magazine.

Sean Adams talks to Kali Nikitas about her commitment to design education and the next generation of designers as she takes on her new role as chair of Otis College of Art and Design’s Communication Arts Department (“Q&A,” page 74).

We also visit with Carlos Segura, who in addition to running his design and type studios under the Segura, Inc., umbrella, also has a few other ventures up his sleeve. This multitasker with no formal design education has made a name for himself through skill and determination. (“Truth, Lies, and Graphic Design,” page 80).

Enjoy this special issue and please take time to visit the winning websites. We’ve made it easy for you to do this by posting all the winning links on our site.