aug1988

COMMUNICATION ARTS VOLUME 30, NUMBER 4, PHOTOGRAPHY ANNUAL 1988

Editor and designer Richard Coyne Executive editor Jean A. Coyne Associate editors/designers Patrick Coyne Stephanie Steyer Production Manager Scott Perry Production William Rayburn Advertising Nancy Hagemann Circulation Vickie Baptista Nina Bland Irris Marashian Betty Willis Contributors Tad Crawford Byron Ferris Mark Fulton Barbara Gordon Mike Hicks Jim Johnston Larry Klein Marty Neumeier Rhodes Patterson Wendy Richmond Mill Roseman Dugald Stermer

Communication Arts 410 Sherman Avenue P.O. Box 10300 Palo Alto, California 94303 Phone (415) 326 6040

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ADVERTISING

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BooKs

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EDITORIAL

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FoR SALE

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INSTITUTIONAL

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SELF-PROMOTION

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UNPUBLISHED

COLUMNS

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EDITOR'S COLUMN

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FREE-LANCE

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DESIGN TECHNOLOGY

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BooK REviEws

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CLUBS, CONFERENCES, SEMINARS

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MATERIALS, AVAILABLE LITERATURE

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INDEX TO PHOTOGRAPHERS

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INDEX TO ART DIRECTORS, DESIGN FIRMS, AGENCIES AND CLIENTS

Barbara Gordon Wendy Richmond

Communication Arts Magazine (ISSN 0010-3519) is published eigh t times a year, January/February, March/ April, May/June, July, Aug ust, September/October, November, December,

by Coyne & Blanchard, Inc., 41 0 Sherman Avenue, Palo Alto, California 94306.

Copyright1988 by Coyne & Blanchard, Inc. Second class postage paid at Palo Alto, California and additional offices.

No responsibility will be assumed for unsolicited editorial contrib utions. Manuscripts or other material to be returned should be accompanied by a self-add ressed stamped envelope adequate to retu rn material.

Send change of address notification at least 45 days prior to effective date, incl ude both old and new ad dresses.

Subscription rates : U.S.: one year-$44; two years-$84 Canada and Mexico : one year-$47 (U.S.); two years-$90 Other : one year-$56 (U.S.); two years-$105.

Single issues: $6 except Illustration Annual (July) $12, Photography Annual (August) $12, Design Annual (November) $18 and Advertising Annual (December) $18.

Ou tsi de North America, si ngle copies of CA Annuals are distributed exclusively by RotoVision SA, Route Suisse 9, CH-1295 Mies, Switzerland; phone (022) 55 30 55, Fax (022) 55 40 72, Telex 419 246 rovi ch.

1988

PHOTOGRAPHY

ANNUAL The photographs reproduced in this annual are under prior copyright, by the photographers or by contractual arrangements with their clien ts. They are pub lished here under one- tim e pub lishing rights permission as stipulated in the call for en tries. No photographs shown in this annual may be reproduced in any form without first obtaining permission from the photographer (addresses on page 184) and any other party who may have copyright ownership.

ADVERTISING

Patrick Barta, photographer/art director Don Faia, designer Don Faia Design, design firm Limn, client Ad for a furniture store specializing in progressive and modern classics.

2 Jim Arndt, photographer Pat Burnham, art director Fallon McElligott, ad agency US West, client Poster for company golf tournament.

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ADVERTISING 1 (series) Dennis Manarchy, photographer Althea Gardner, art director Albert Frank-Guenther Law, Inc. Frank B. Hall & Co., client Ads for insurance and brokerage re insurance company.

Headlines : Comebacks put you in the spotl ight.

Somebody has to lose.

2 Marshall Harrington , photographer Dan Wilson , art director Dan Wilson Design , design firm San Diego Padres, cl ient Poster commemorating Tony Gwynn 's first Gold en Glove Award .

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ADVERTISING

Eric Meola, photographer Andy Baltimore, art director GRP Records, client Record album cover for Eddie Daniels "Memo From Paradise:·

2 Chuck Kuhn, photographer Rae Brown, art director Geer, DuBois Inc., ad agency Brown & Williamson Tobacco Corp., client Ad headline: Satisfy Yourself.

Eli Cutter tobacco.

3 (series) Dennis Manarchy, photographer Michael Smith, art director Chiat/Day, Inc., ad agency Christian Dior, client Ads.

Communication Arts 9

ADVERTISING

Steve Uzzell, photographer Bern ie Papin , art director/designer Corporate Communications Group, ad agency Yellow Freight System , client Ad headlines: Season 's greetings from everyone at Yellow Fre ight. The Yellow Line gives you a leading edge.

ADVERTISING

Clint Clemens, photographer Jack Anesh , art director RDA, Inc., ad agency Viking Yachts, client Ad headline : Nowhere does it say that a "stately" motor yacht must be slow.

2 (series) Michael Furman, photographer Joy Modesitt, art director/designer Apple Computers, client Poster headlines: "I can count on my hands:· John Pedraza.

"I can speak my mind:' John Christianson.

3 Craig Cutler, photographer Ann Lemon, art director Doyle Graf Mabley, ad agency Steuben Glass, client Ad headline : Seekers of light. Steuben bowl by Donald Pollard .

4 Bryan F. Peterson, photographer ·· Frank Gosein/Eric Linder!, art directors John Morey, designer Narada,lnc., design firm/client Poster for Narada Artists, Sampler #3.

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ADVERTISING

Joe Baraban, photographer Herb Passberger, art director Wells, Rich, Greene/New York, ad agency Ford Motor Co., client Ad headline: 5,000 mile warranty.

2 (series) John Claridge, photographer Dennis Lewis, art director Bartle Bogie Hegarty Limited , ad agency After Dark Collection by Pretty Polly Hosiery, client Ad headlines : Ultra sheer tights, sheer to the hip, from the After Dark Collection by Pretty Polly. Ultra sheer stockings and tights with pearl frond motif, from the After Dark Collection by Pretty Polly. Ultra sheer hold-ups with lace top, from the After Dark Collection by Pretty Polly.

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ADVERTISING 1 (series) Deborah Turbeville, photographer John C. Jay, art director/designer Bloomingdale's, agency/client Ads to highlight the importance of the bright new colors in fashion.

Communication Arts

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ADVERTISING 1 (series) Aaron Jones, photographer Kristine Pallas, art director Pallas Advertising, ad agency Signet Cruise Line, client Ad headlines: The perfect cruise is as much a matter of inches as degrees. Space. The final frontier on a cruise ship too.

2 Bill Werts, photographer Martin Tonnis/Jean Robaire, art directors Chiat!Day, Inc., ad agency Nissan, client Ad headline : Avoid the human race.

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ADVERTISING 1 (series) Douglas Johns, photographer James Berdy, art director/designer Times Publishing Company, design firm/client Skyway bridge series for use in medi9 kit and promotional poster.

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ADVERTISING 1 (series) Dennis Manarchy, photographer David Page, art director Carmichael Lynch, Inc., ad agency Harley-Davidson Motorcycles, client Ad headlines: When was the last time you felt this strongly about anything? Life should be so simple.

2 Annie Leibovitz, photographer Stacy Drummond/Cyndi Lauper, art directors Stacy Drummond, designer CBS Records, Epic Records, client Record cover for "What's Going On?" 3 (series) Marshall Harrington, photographer John Vitro, art director John Robertson, writer Franklin & Associates, ad agency Great American First Savings Bank, client Two page spread . Headline, left: How we became the 7th largest savings institution in the country. Right: And why we'll never be the biggest.

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ADVERTISING

Greg Epperson, photographer Kath i Carlson , art director Tracy Smith , designer Lost Arrow Design Team , design firm Chouinard Equipment, Maria Cranor, cl ient

2 (series) Robert Mizono, photographer John Donaghue, art director Ketchum Advertising/San Francisco, ad agency Avia Athletic Shoes, client Ad headlines : The Avia 870. For the inside game.

(Kevin Willis) The Avia 850. For the fast game.

(Johnny Dawkins)

Poster of Craig Sm ith climbing Pyroman ia.

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ADVERTISING

Clint Clemens, photographer Michael Smith, art director Chiat/Day, Inc., ad agency National Car Rental, client Ad headline : You don't have to rent the same old car anymore .

2 David Leach, photographer Jim Miller, art director The Phelps Group, ad agency Fender Musical Instruments, client Ad headline : When you're cooking, use the best ingred ients.

3 (series) John F. Cooper, photographer John F. Cooper/Anne Robinson , art directors Anne Robinson, designer Windham Hill Productions, Inc., design firm Windham Hill Records, client Record jacket photos for Nightnoise " Someth ing of Time :·

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ADVERTISING

Bill Robbins, photographer Bob Kay, art director Kolesar & Hartwell, ad agency Northwest Airlines, client Ad headline: The best widebodies to Asia.

2 Dennis Manarchy, photographer Dean Stefanides, art director Scali, McCabe, Slaves, Inc., ad agency Ralston Purina Company, client Ad headline: Some people say we look alike. Ralph 's the one with the big ears.

3 (series) Myron, photographer Cheryl Heller, art director/designer He ller Breene, design firm Frank Xavier, client Posters for the hair salons.

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30 Photography Annual 1988

ADVERTISING 1 (series) William Coupon, photographer Rick McQuiston, art director Wieden & Kennedy, Inc., ad agency Nike, Inc., client Ad headlines: The road to Forest Hills (Andre Agassi) .

The ball player (Bo Jackson) .

A moment's rest (Joanne Ernst) . The skater off ice (Wayne Gretzky).

Communication Arts 31

ADVERTISING

Joe Baraban , photographe r Jim Beckwith, art di rector Leo Burnett Company, ad agency United Airlines , client Ad headline : The way the wor ld is supposed to be.

2 Denn is Murphy, photographer Don Sedei, art di rector/designer The Bloom Age ncy-Da llas, ad agency Dallas Co nvention & Visi tor's Bureau, c lient Ad headline : The 8 o'clock stage.

3 Eric Meola , photog rapher Steve McMacken , art director Cole & Weber, Inc., ad agency The Boe ing Co., client Ad headline: Boeing customer support-anytime, anywhere , no matter what.

4 Stewart Charles Cohen , photographer David Farmer, art director Levenson, Levenson & Hill , Inc., ad agency Fina Oil & Chemi cal Co., client Poster for athlet ic-schola rsh ips . Headline : Some goals are wor th more than just a few points.

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BOOKS

Burgess Blevins, photographer Jackie Merri Meyer, art director/designer Warner Books, Inc., design firm/client Cover for Nam Baptism.

2 (series) Richard Hamilton Smith, photographer James B. Patrick, art director/editor Donald G. Paulhus, designer Foremost Publishers, client Selections from Illinois: A Scenic Discovery.

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BOOKS 1 (series) Dick Durrance II , photographer Steve Wasserman , editor GM delesseps, designer Farrar Straus & Giroux, client Photographs from Where War Lives.

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BOOKS

Mark Maclaren, photographer Haines Wilkerson, art director Steve Hoffman/John Tom Cohoe , designers Katy Von Brandenfe ls, picture editor Guest Informant, client Man-made larger than life objects in New York.

2 Bob Krist, photographer Bill Strode, art director/designer Harmony House Publishers, Bill Butler, Bill Strode, client Photograph from West Point: The United States Military Academy.

EDITORIAL

3 Tom Levy, photographer San Francisco Chronicle, client Article about John Powell. Aging athlete's attempt at an Olympic return " Giving it one last shot:'

4 Mark Seliger, photographer Fred Woodward , art director James Franco, associate picture editor Rolling Stone , client " Blade Runner:· article on Debi Thomas.

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ED ITORIAL 1 (series) Butch Martin, photographer Christin Gangi, art director Rozanne Leo, fashion editor Lori Modugno, fashion director In Fashion , client Magazine article " Beyond the Blues:· denim's got a major new look.

2 Harald Sund, photographer Genevieve Gigi Schiemann , art director/designer Emphasis Limited , design firm Discovery, client Cathy Pacific inflight magazine article about Coast Starlight railroad .

3 J. Grant Brittain , photographer Garry Davis, art director Transworld Skateboarding Magazine, client Photo essay on Mike McGill.

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EDITORIAL 1 (series) Michael Tighe , photographer Wendall Harrington, art directo r Temple Smith, picture editor Esquire, client "Passions of Men:· Mike Wallace, 60-minutes correspondent, and Des McAnuff, artis tic di rector of La Jolla Playhouse.

2 William Thompson, photographer Jon Schneeberger, photo editor National Geographic, client "At the crossroads of Katmandu :·

3 Steven Pumphrey, photographer D. J. Stout/Nancy E. McMillen, art directors Nancy E. McMillen, desig.ner Texas Monthly, client Visits to the many different regions of Texas.

Portrait of Howard Grant, preac her.

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EDITORIAL 1 (series) Kent Barker, photographer Elizabeth Tindall, art director Steve Connaster, designer Connaster & Co., design firm American Way, client lnflight magazine article on New York dancers.

Communication Arts 45

ED ITOR IAL

Edward McCain, photographer P. K. Weis, photo editor Tucson Citizen, client Newspaper feature on people sliding through tubes at a spo rts park.

2 (ser ies) Oliviero Toscani, photographer Regis Pagniez, publication director Phyll is Scheler, art director Elle , client " Paris Pointers:·

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EDITORIAL 1 (series) Raymond Meier, photographer Wenda ll Harrington, art director Temple Smith, picture editor Esquire, client Fashion article "Tux RedLix;' end-of-the-year elegance.

2 Bruce Hands, photographer Bill Prochnow, art director Sierra, client Magazine article on people in nature.

3 Tony Arruza, photographer Bob Ciano, art director Eileen Smith , photo editor Travel & Leisure , client Europe's coming attraction: Portugal.

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EDITORIAL

Bob Krist, photographer Suzette Curtis, art director/designer Islands, client Cover and opening spread for magazine article " Leningrad: Soviet Islands of Culture:·

2 David G. Toerge, photographer/art director Contra Costa Times, client Hot weather assignment on the shores of San Pablo Bay in Pinole .

3 Gilles Bensimon , photographer Regis Pagniez, publication director Phyllis Schefer, art director Elle, client " Shades of Cool: '

4 Mark Seliger, photographer Carlo Barile , art director Andrew Wilkes, assignment editor Avenue, client Fall fashion report "Fashion's Willing Slaves & Peasants:', house model Marie Seznec and designer Christian LaCroix.

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EDITORIAL

Eddie Adams, photographer Ira Yaffe, art director Ira Yoffe/Christopher Austopchuk, designers Parade , client Article about Navy Seals (sea, air and land team)

2 David G. Toerge , photographer/ art director Contra Costa Times, client Newspaper article on P.G. & E. and its impact on the environment.

3 (series) Brian Smale, photographer Fred Woodward/Joel Cuyler, art directors Joel Cuyler, designer Regardie's, client Portraits of National Rifle Association executives.

Communication Arts 53

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EDITORIAL

Will van Overbeek, photographer Maureen Benziger, photo editor Fortune, client Article on the oil business, photo showing idle oil drilling equipment near Stroud, Oklahoma.

2 (series) Jim Brandenburg, photographer Gerard Valerio, art director Kent Kobersteen , picture editor National Geographic, client Cover and magazine article "At Home with the Arctic Wolves:·

Communication Arts 55

EDITORIAL 1 (series) Elizabeth Naples, photographer Christopher Lione, art director Denise Dorrance, photo editor Art & Antiques, Allison Publ ications, client " Objects for Eternity" the startling modernity of Bronze Age art.

2 Richard Sullivan, photographer Jim Griglak, art director Los Angeles Magazine, client From an article on architecture in downtown Los Angeles, Wells Fargo Plaza, Canary Island date palms .

3 Tom Levy photographer San Francisco Chronicle, client Newscoverage of Sam Pence , firefighter, battling forest fires in Tuolumne County.

56 Photography Annual 1988

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EDITORIAL

Jack W. Dykinga, photographer Gary Bennett, art director/designer Peter Ensenberger, picture editor Arizona Highways, client Photo used to establish a mood for a portfolio of Monument Valley images on inside pages.

2 Timothy White, photographer Ira Yaffe, art director Ira Yoffe/Christopher Austopchuk, designers Parade, client Cover photo of Denzel Washington.

3 Nicolas Bruant, photographer Karen Lee Grant, art director/designer House & Garden, Conde Nast, client

4 Will van Overbeek, photographer Nancy E. McMillen, art director/designer Texas Monthly, cl ient Portrait of Burt Turner, funeral home greeter.

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EDITORIAL

Yousuf Karsh, photographer Kevin Fisher, art director Bob Cato, design director East/West Network, agency United Airlines, Vis a Vis,. client lnflight magazine article on I. M. Pei.

2 Robert Lautman, photographer Karen Lee Grant, art director/designer House & Garden , Conde Nast, client

3 Brian Smale, photographer Nancy Duckworth, art director Los Angeles Times Magazine , cl1ent "The State of the Heart:• one man's journey from death to life.

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EDITORIAL

James Schnepf, photographer Sharon Nelson, art director Milwaukee, client Magazine article "Bullmen" about elephant trainers at the Milwaukee County zoo.

2 (series) Tyen, photographer Regis Pagniez, publication director Phyllis Schefer, art director Elle, client Article on designer lssey Miyake .

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FOR SALE

Myron, photographer/art director/client Tyler Smith , designer/client " Cute Buns" poster.

2 (series) Darrell Peterson, photographer Da rrell Peterson/William Allen , art directors William Allen, designer William Allen and Associates, design firm Oceanic Poster Company, client Posters.

Communication Arts 65

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FOR SALE

Steven Burr Williams, photographer Greeting card .

INSTITUTIONAL 2 (series) Chuck Savage, Henley & Savage Photography, photographer Warren Winchester, designer Colonial Williamsburg Audio Visual Services, design firm Colonial Williamsburg , client Slide presentation .

3 Kurt Markus, photographer Larry Rickards, art director/designer Mountain Bell, agency/client Hand pulled gravure to be used as a gift.

4 Rick English, photographer Paul Bradley, art director M1crosoft, client Product announcement.

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68 Photography Annua/1988

INSTITUTIONAL 1 (series) Arthur Meyerson, photographer Kenny Ragland, art director/designer Savage Design + Baxt Graphics, design firm Vista Chemical Company, client Annual repo rt.

2 Harald Sund, photographer Genevieve Gigi Schiemann', art director David Wong, designer Emphasis Limited, design firm Mandarin Oriental Hotel Group, client From the in-house magazine .

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Communication Arts 69

INSTITUTIONAL 1 (series) Nick Vedros, photographer Nick Vedros/Debbie Robinson, art directors Debbie Robinson, designer Willoughby Robinson & Knauss, design firm American Cancer Society, client Fund raising brochure .

2 Peter Jones, photographer Vartus Artinian, art director/designer Polaroid Design Department, design firm Polaroid Corporation, client Portrait of Philip Morrison from 50th anniversary book.

3 Steve Marse!, photographer Vartus Artinian, art director/designer Polaroid Design Department, design fi rm Polaroid Corporation , Newton Plastics, client Guide to NPC camera backs.

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INSTITUTIONAL

Arthur Tilley, photographer Ken Martin, art director/designer H.B.E. Corp., design firm Adams Mark Hotel, client Facilities booklet.

2 Marty Keeven, Obata Photography, photographer John Vandover/Walter Baetjer, art directors Walter Baetjer, designer Obata Design , Inc., design firm Union Electric Co., client Annual report.

3 (series) Rick Rusing, photographer Barry Shepard, art director Karin Burklein-Arnold, designer SHR Communications Planning and Design , design firm Audi of America, client Dealer brochure .

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INSTITUTIONAL

Bruce Wolf, photographer James Sebastian , art director James Sebastian/Junko Mayumi, designers William Walter, interior designer Designframe Incorporated, design firm Martex/West Point Pepperell, client Catalog .

2 Dale O'Dell , photographer/art director Eugene Walen ius, designer Raphaele/Digital Transparencies, retouching Riaro/Dombrowski Inc. Hair Salon, client Booklet.

3 John Henley, Henley & Savage Photography, photographer Denny Amendola, designer Dix & Eaton Corporate Communi cations, ad agency Figg ie International Corporation , client Product booklet.

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INSTITUTIONAL

Stan Kearl, photographer James Masch, art director/designer Sleek-Vaughn Company, client Direct mail cover for critical thinking book promotio n.

2 Scott Witte, photographer Greg Hajec, designer Perspectives, design firm St. Mary's Medical Cen ter, client Capabilities booklet for hospital services.

3 (se ries) John Curtis, photographer Dean Nob le, art director/designer Wildman Advert isi ng , ad agency Nichols College, client Promotional booklet to students.

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Photography Annua/1988

INSTITUTIONAL 1 (series) John Goodman, photographer Michael Weymouth, art director Tom Laidlaw, designer Weymouth Design, design firm Reebok, client Annual report.

Communication Arts 79

INSTITUTIONAL 1 (series) Daniel Langley/Barbara Penoyar, photographers Peter Richards, art director/designer Cole & Weber, Ogilvy Mather Public Relations, ad agency Great Northern Annuities, client Capabilities brochure.

2 George Simhoni, photographer Brian Moore, designer Hoffman Browne Marketing Inc., ad agency Design Force Inc., design firm CBS Records Canada Special Products, client Company calendar.

3 Geoffrey Clifford, photographer Jacqueline Christie, art director N W Ayer Inc., ad agency Valencia Company, client City promotional brochure .

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INSTITUTIONAL

Steve Brady, photographer Herman Dyal, art director/designer Fuller, Dyal & Stamper, Inc., design firm Mooney Aircraft Corporation, client Announcement brochure .

2 (series) Scott Morgan, photographer Paul Bussman, designer Fleishman Hillard Inc., design firm Blue Cross of Missouri, client Annual report.

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84 Photography Annua/1988

INSTITUTIONAL 1 (series) Jim Sims, photographer Jerry Herring, art director/designer Herring Design, design firm Faith Ranch, client Brochure .

2 Rick Rusing, photographer Barry Shepard , art director SHR Communications Planning and Design, design firm Audi of America, client Dealer brochure.

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86 Photography Annua/1988

INSTITUTIONAL 1 (series) Miche le Clement, photographer John lanz iti , designer J. Stokes & Associates, ad agency Advanced Biosearch, client Capabilities brochure .

2 Steve Brady, photographer Eric Madsen, art director/designer Madsen and Kuester, design firm Unisys Defense Systems, client Article on air traffic control.

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INSTITUTIONAL

Clint Clemens, photographer Tom Kaminsky, art director ClarkeGowardFitts, ad agency Northeastern University, client Image piece of school's mascot shot on location in Alaska.

2 Stewart Charles Cohen, photographer Lorne Brockbank, designer Brockbank & Assoc ., design firm Employers Insurance, client Capabilities brochure .

3 (series) Scott M. Morgan, photographer Jim Berte, art director Rebecca Vianu, designer Robert Miles Runyan & Associates, design firm Nichols Institute, client Annual report.

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SELF-PROMOTION

Dave Wilhelm, photographer/art director/client Greg Flejtuch, designer Promotional ad and mailer.

2 Dennis Manarchy, photographer/art director/client Mailer.

3 Steve Niedorf, photographer Sue Crolick, art director Sue Crolick Advertising & Design , design firm Niedorf Photography, client Mailer.

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SELF-PROMOTION 1 (series) Jeff Corwin, photographer/art director/ client Kimberly Baer, designer Kimberly Baer Design Associates, design firm Taken from a personal project photographing architects. Richard Meier, Antoine Predock, Michael Graves, Stanley Tigerman and others. Booklet sent to designers, ad agencies and corporate clients.

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Communication Arts 93

SELF-PROMOTION

Bill Cagle, photographer/client Katherine E. Walters, art director/designer Katherine E. Walters, Red In c., design firm Brochure mailer.

2 Harry De Zitter, photographer/art director/ client Poster.

3 (series) MP Curtis, photographer Mel Curtis, art director/designer/client Calendar mailers.

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SELF-PROMOTION 1 (series) Stephen Wilkes, photographer Marty Goldstein, art director Posters.

Communication Arts 97

SELF-PROMOTI ON 1 (series) Lee Crum, photographer/art director/ designer/client Promotional ads.

2 Paul Franz- Moore, photographe r/ art directo r Amy Nathan, food stylist Franz-Moore Studio, client Promotional ad .

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SELF-PROMOTION 1 (series) Hans Neleman, photographer/client John Tennant, art director Jeffrey Miller, stylist Promotional ads.

2 Harry De Ziller, photographer/art director/ client Poster.

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Photography Annua/1988

SELF-PROMOTION 1 (series) John Claridge, photographer/client Chris Lower, designer Design House Consultants Limited, design lim Pages from book One Hundred Photographs by John Claridge.

2 Stewart Charles Cohen , photographer Promotional ad .

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SELF-PROMOTION

Charly Franklin , photographer/art director/client Promotional ad.

2 Matthew Savins, photographer/art director/ client Tim Varner, designer Poster.

3 Bryan Kuntz, photographer/art director/client Christmas card sent to clients.

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Photography Annual 1988

SELF-PROMOTION 1 (series) Lee Crum, photographer/ art director Casey Clark, designer Anthony Russell , Inc., design firm U.S. Eye, client Photographer's portfolio.

2 (series) Charles Shotwell, photographer Beth Karnes, designer Liska & Assoc iates, design firm Shotwell & Associates, Inc., client Posters.

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Photography Annua/1988

SELF-PROMOTION 1 (series) Kevin LaTona, photographer Sylvia South , designer LaTona Productions, client Promotional cards.

Communication Arts

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SELF-PROMOTION

Steve Hathaway, photographer/designer Promotional ad.

2 (series) Russ Schleipman·, photographer Dave Lizotte, art director/designer Gunn Associates, design firm The Nimrod Press, client Promotional booklet for printer.

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SELF-PROMOTION

George B. Diebold , photographer/designer Bonnie Berish , art director/designer Johnson & Simpson Graphic Designers, design firm Dolan/Wohlers Company, client Promotional calendar for printing company with "Chair" theme .

,,,, ••••

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UNPUBLISHED

Chris Shinn, photographer Hong Kong pet store window. © Chris Shi nn 1988

2 Buck Miller, photographer © Buck Miller 1988

3 (series) Rita Maas, photographer © Rita Maas 1988

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UNPUBLISHED 1 (series) Cameron Davidson, photographer Ward Pennebaker, designer Aerial images in Orom , Texas. © Cameron Davidson 1988

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UNPUBLISHED 1 (series) Lonn ie Duka, photographer Bill Corridori, art director © Lonnie Duka 1988

2 Joe Baraban, photographer © Joe Baraban 1988

3 Jim Brandenburg , photographer Arctic hares on El lesmere Island. © Jim Brandenburg 1988

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Photography Annua/1988

UNPUBLISHED 1 (series) Jay Maisel, photographer Aerial shots of waterways and islands. © Jay Maisel1988

Communication Arts

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UNPUBLISHED

Thorn Duncan , photographer © Thom Duncan 1988

2 Hugh Beebower, photographer © Hugh Beebower 1988

3 Linda Getgen, photographer Dr. Ch in with fruit. Toned hand-painted silver print. © Linda Getgen 1988

4 Dan Kremer, Image Source , photographe r Micheal Re il ly, art director/designer © Dan Kremer, Image Source 1988

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UNPUBLISHED

Helen Ainsworth , photographer El Capitan, winter. © Helen Ainsworth 1988

2 Jan is Tracy, photographer © Janis Tracy 1988

3 Brian Harness, photographer Felony cell in old Dallas jail. © Brian Harness 1988

4 Hugh Beebower, photographer © Hugh Bee bower 1988

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UNPUBLISHED 1 (series) Jim Sims, photographer © Jim Sims 1988

2 (series) David Guggenheim, photographer © David Guggenheim 1988

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UNPUBLISHED

Steve Niedorf, photographer © Steve Niedorf 1988

2 Greg Pease, photographer © Greg Pease 1988

3 Keith Nakata, photographer Erik Strom mer, art director Tim Kidwell, writer D'Arcy Masius Benton & Bowles, ad agency Southwestern Bell Telephone , client Production stills from " Home for Christmas" commercial. © Keith Nakata 1988

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UNPUBLISHED

Steve Hathaway, photographer © Steve Hathaway 1988

2 Christina Howe, photographer © Christina Howe 1988

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LIFE HAS ,-;Q OFFER.

For ustrators who are looking to draw attention Join ranks with the best.

There are thousands of Creatives out there who get barraged with millions of pieces of advertising and promo- The reason Creatives overwhelmingly prefer The Black Book? tional material. What can you do to make sure that your self- Simple. When asked which sourcebook has the best talent, promotional efforts get noticed? they mentioned The Black Book twice as often as all of our competitors combined. Maybe that's why twice as many illusFirst you get their attention. trators rate The Black Book "excellent" for getting high pqying The Creative Black Book is a useful tool Creatives know and jobs compared with Showcase. appreciate. A recent independent research study found, in Keep yourself within reach. fact, that 9 out of 10 Creatives are familiar Okay, so Creatives like The Black Book. But what do they with The Black Book, and that twice as do with it?

For one thing, 8 out of 10 Creatives told us many consider it the most useful versus they keep it within reach of their telephones.

American Showcase.* What's more, when We guess that's one good reason no book asked if they could only have one sourceis used more than The Black Book for Illustrabook, four times as many would prefer The tion.

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EDITOR'S

COLUMN

DICK COYNE

HE 1988 PHOTOGRAPHY ANNUAL wasjuried on April 24th and 25th. 5,312 entries were submitted and 153 were accepted. 123 photographers are represented. The five jurors, from various cities in the U.S. and Canada, each represented extensive backgrounds in commissioning and purchasing photography.

T

Having described our juryin.g procedure many times in past Annuals, including last month in the Illustration Annual, I' ll just brietly cover some of the basic features. The jurying is done in two stages: A screening session where the individual jurors selected entries they felt warranted further consideration by the group, and the final voting.

We worked in two large conference halls, each equipped with projection facilities and five rows of tables. Screening began with the first of forty carousels of slides. Each juror expressed an opinion by checking an " in" or " out" column on a prepared scoring sheet. Then the jurors viewed the print entries spread out on tables, by category, and the large transparencies in front of light boxes. Any juror could put an entry into the finals by picking it up from the table and one of our staff would put it into the " in" container. After all the jurors were satisfied that they didn't wish to pick up any more, they moved to the other hall to repeat the procedure. Screening took a day and a half.

Ash

For the final voting, carou~els were reset with the screened-in entries and voting was done by checking " in" or " out" on new scoring sheets. Print entries were again spread out on the tables by category, this time with two paper cups, (a white cup for " in" votes, a red cup for " out" ) upside down with a slot cut in the bottom placed to the right of each entry. Jurors voted by pushing a small ceramic tile through the slot in one or the other cup. Each juror had different color tiles. If someone inadvertently missed voting on an entry, a check of the tile colors told us whom to call back for a vote.

After a hall was completed, the jurors moved to the next hall for another carousel and the cups were lifted and votes recorded on the B form on the back of each entry. This continued until the voting was completed. (continued on page 150)

McQuiston Sm ith Photog raphs by K. Gypsy Zabo rosk1e

142

Ph otography A nnua/1988

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Marsgraphic 3000 Duo. Now The Everything Marker Does Everything Better. ~ Improvements You Really Wanted.

We asked you-professional graphic designers and illustrators-what you liked about Marsgraphic 3000. You told us how much you liked its unique flexible foam tip. You liked the way it laid down color like a marker but also gave the fluidity of a brushstroke. You loved using unusual techniques to produce comps, sketches, calligraphy and pointillism, blending, shading, even watercolor and painterly effects. And you really liked Marsgraphic colors. Their clear, saturated hues let you make soft washes, pastels, brilliant jewel tones and earth colors just by layering. You especially liked the xylene-free ink.

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EDITOR'S COLUMN

(Continued from page 142) I'd like to express our appreciation to each of our jurors for the hard work and conscientious effort to select this year's Photography Annual.

Stuart Ash, Toronto, is a principal and one of the founders of the design firm Gottschalk-Ash International. Since joining Fritz Gottschalk in 1966, his experience has included strategic design, name creation, corporate identity, packaging and environmental design. He is the designer of the Canadian Centennial Symbol and the Canadian Metric Symbol and identity program.

Nancy Butkus, New York, began her career at Rolling Stone in San Francisco, and then worked on Outside, Self and Rocky Mountain. She was art director of New West, California, Newsweek Access and Manhattan, Inc. before opening her own firm a year ago where she has redesigned Ms. and The Cable Guide as well as new designs for Sports Illustrated for Kids, PhillySport and Spring 3100.

Bu tkus

Jerry Herring, Houston, is the principal of Herring Design, a design firm he founded in 1973. He and his wife Sandy, also founded Herring Press in 1984, to design and publish photographic books. Jerry is past president of AlGA-Texas and is currently on the national board of the AlGA. Debra McQuiston Smith was one of the principals of the book producing firm of McQuiston & Daughter, Inc. The many books, brochures and posters that she art directed and photo-edited covered a wide variety of subjects and won a number of national and international awards. Retiring from the graphic industry after fifteen years, Smith says she will continue to enjoy and applaud good commercial photography.

John Van Dyke formed Van Dyke Company, a Seattle-based design firm in 1974.

His projects include exhibits, packaging, corporate publications and annual reports for Canadian and United States clients. A Seattle native, Van Dyke was trained in both fine arts and design and has taught at the University of Washington School of Design.

Herring

Van Dyke

150 Ph otography Annua/1988

LOOK INSIDE

OOK AT THE DETAIL The opulence of the Roaring 20's reproduced here, appropriately, on Reflections.

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FREE-LANCE

BARBARA GORDON

F MY MAIL IS ANY INDICATION, A LOT OF free-lancers are looking for someone to help them in selling their talents. These include a wide variety of free-lancers other than commercial photographers and illustrators. I'd like to give you an overview of the reasons why most reps don'-t handle certain types of freelancers and the advice, if any, I have to give to people in the other categories.

I

Graphic Designers: The largest category approaching representatives to sell their talents are the graphic designers, but only a minority of reps handle graphic design firms.

There's a reason for this. People who buy design are usually a much different audience than the people who buy art and photography. A rep handling illustrators and/or photographers have their contacts heavily in one area and find they have to spread themselves too thin to approach this new audience for graphic design.

If a representative is approached by other design disciplines, interior, industrial, etc., the problem is more severe from the rep's point of view because it means involvement with an even more separate bu-ying audience.

When I am approached by designers seeking representation, I will happily make a referral to any reps I know of who are currently functioning in this area. From my own personal experience, however, I have observed that the best solution for the designers who don't want to sell their own work is to either hire an outside salesperson on salary or go into partnership with a salesperson.

Not-So-Commercial Free-lancers: This is the only way I know to describe that group whose style is not in the heaviest demand areas of the commercial marketplace: Free-lancers working in dimensional art; artists working in very esoteric styles; photographers using highly experimental and/or expensive photo techniques; artists and photographers making strong social and editorial statements in their work are a few that come to mind.

While these people may make some money in the commercial marketplace and, depending on certain vogues and trends, may even have a spectacular season, here and there, for the most part they will not make great earnings on a consistent basis. Because representatives work on a commission, and it is often just as much work to handle someone whose work is not in as much demand , a rep will prefer to take on someone whose work is more appropriate to many markets on a consistent basis.

Occasionally, a representative will have a connection with a client who needs a particular kind of work, or be so intrigued with a free-lancer's talent that they will take on someone in this category. Free-lancers should at least make the rounds of representatives on the off-chance that someone may wish to represent what they have to offer.

158 Photography Annua/1988

To people in this group, I usually suggest that they take out an ad in a regional or national directory and/or buy a mailing list and do some kind of mailing. They, more than anyone else, should comb the directories for magazines that may be markets for their style. They should also approach non-profit, performing arts and educational groups as possible markets for their work since these groups are less apt to do the consumer type of advertising and promotion that the major advertising and editorial organizations do. And they should put the art buyers of advertising agencies on their mailing lists, just in case one of the accounts in the agency may be doing something in their vein this year.

Many free-lancers in this group will find that, if they are persistent and seek out those markets for their work, they can often build up a solid following through the years.

The plus is they don't have much competition for the assignments that do arise. The trick is to ferret out those clients who appreciate what they have to offer.

Craftspeople: This group includes sculptors, weavers, jewelry designers, stained glass artisans, etc. Once again these people are basically looking for retail or gallery outlets, and a representative is not calling on that buying audience.

If the craftsperson has a skill that can be used in, the commercial marketplace for ads or editorial, sometimes a rep will consider handling that person. I have almost no advice to offer craftspeople except to tell them to try some of the companies that produce "collectibles;' or to try some of the licensing firms, or to simply represent themselves.

Fine Artists: I mean those artists who only want a gallery to handle their work and arrange shows for them. While many of the artists that reps handle are in fine art galleries as well, your typical rep does not handle fine artists. There are a few representatives who handle only fine artists, and I always refer fine artists to them.

Photo Retouchers: They are no problem for reps to handle since the audience that buys photography also buys retouching as well. Many photographic reps quite successfully handle photo retouchers.

Hair & Makeup People: For many reps in the beauty and fa hion area, it is both expedient and profitable to handle hair and makeup people as well as beauty and fashion photographers.

The majority of reps are not handling writers, actors, musicians, models, trained animals, even though we are often contacted by these people. The bottom line is that most successful and effective general representatives are only handling commercial photographers and illustrators.

And some reps who e photographers have developed commercial reels are handling television as well.

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Could we see it in red?"

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Amiga is a regtstered trademark, and the Amiga logo a trademark, ofCom modore-Amiga, Inc.

DESIGN

TECHNOLOGY

WENDY RICHMOND

OME DESIGNERS SAY THAT THEY WON'T touch computers because they hate the computer "look~' The funny thing is, much of the work that is designed and produced using computers shows no physical signs of the computer. Some of the best work you see may have been conceived with a mouse instead of a marker. The factors that do change-the costs, the speed, the efficiency with which the work was created-are invisible in the design itself, but they are clearly evident in the proposal and the invoice to the client.

S

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I've been seeing Ronn Campisi's work for two decades1 saw it weekly when he was art director at the Real Paper, monthly when he was art director at Boston Magazine and daily when he was art director at the Boston Globe.

Somewhere during the latter part of those twenty years, Ron started using computers. When he opened his studio last year, he immediately equipped his office with a personal computer and a laser printer:..

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1WISFOI The look of his designs has not euismodtincidunl ullooreeldoloremogna at~quam eral volulpal. Ul wisi enim ad minim SIYLIONLT changed since the time he used veniam,quisnostrud exll!dtotian~lamcarper 1115101 traditional tools. The change is in suscipitlobortis ni~ ul aiqtip ex eo commodo MIAN110 IE conseqoot. Ouisautemveleumiriuredolo!ir the amount of time and money he IIA01HIS spends to produce his publication ~:':..~;:..~: ~::.::; ~·~.:..... ~ ·": I lUll design prototypes, and the service S.-J:~!~::: E::~~ ~ he provides his clients. There, the ~~~iwa*.:-~ 7.: :::·7.;.~ '; a.- ......_ •I •ibhet~l.-dlla· "1" change is radical: He has provided u them with faster turnaround time, !~~~::;: :;.~=~~c:.:~":r. lower typesetting costs, a better ··:?.~~::~!."" ~?:; g:~;.;;=,i:~ method of type specification and additional advice in production using computers. He is very particular, and will not use something lllustra11on by Anthony Russo. Photograph by Peter Jones. of low quality. He is also conscientious about prices, and will not charge a client $14,000 for typesetting when he knows that The rest of the tools and materials that he uses to produce the job can be produced for under $3,000. the comp have nothing to do with personal computers.

They include a copier, a color transfer machine, magic Ronn has developed a repertoire of tools and materials for markers, Letratone, sample photos from magazines and the work in which he specializes: publication design. His Pan tone sheets.

The separate elements are cut and pasted, studio is an appropriate blend of traditional and new prothen copied on a color laser copier (at a local copy center) cedures, materials and tools:" to create a single sheet for presentation.

For a typical comp of a prototype page, Ronn has deterRonn watches constantly for tools that will allow him to mined the page size, the basic grid, the margins and the work faster, with more fluidity, playfulness and flexibility type styles that he plans to use before he sits down at to make changes. He also watches for tools that will streamthe computer. Then he sets up the underlying grid and, the tasks for producing and documenting the type line using a page layout program, lays out the copy and headspecifications and the guidelines for the layout. lines on the page, tries several different layouts and prints them out on the laser printer. Sometimes he prints out the Ronn's primary need for the computer is access to typepage on transparent paper, and colors the back with to have it immediately, to have it cheaply, to have it any magic marker. size and to have its specifications stored electronically. u.Mqllet, .... UI •• .&.~en ••f...Pelllullafadllti.el • - - et -~~-- et

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164 Photography Annua/1988

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Design on pressure sensitive paper just became as limitless as your imagmation. Here is a new collection of 14 premium papers never before available on adhesive stock. Included are linen, natural, high gloss, dull coat, cast coated. The possibilities are endless. Exciting new dimensions in label design. Totally new perspectives in paper graphics. Now you can consider a mix of color-on-color, the contrast of coated and uncoated, or texture and smooth. Now your labels, annual reports, menus, corporate ID programs and hundreds of other design ideas can speak with stunning new authority. Let your imagination soar.

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This kit contains a complete collection of all stocks, plus actual design applications which can be lifted and applied anywhere to demonstrate your ideas.

Let the adventure begin.

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WENDY RICHMOND

13

THE MAINE TIMES Ron.n Campiri OWgn

Comments

Movies

Ronn gives each element's specifications a name, or a code.

When several elements always appear together, he gives that list of specs-which includes type and relationshipsone name. Basically, he's creating master style sheets.

Later, when laying out pages, he applies the specification names to the appropriate manuscript text. The text appears on the screen with the specified typography. If he has to change the specs for a particular element, or simply wants to try it, he changes the "master spec~' All text that has that name will change automatically throughout the pages ofthe publication.

Those electronic specifications are also descriptions for his laser printer or a compatible high resolution typesetter. If the client's production department is using equipment and software that is compatible with Ronn's, they use the specs directly from Ronn's disk. In fact, Ronn often advises clients on the software that they should use so that they can take full advantage of electronic specifications.

An important outcome of electronic specifications is the documentation that Ronn supplies for his clients. Before he used computers, his documentation of type specs were xeroxes of sample text, with his specs hand written. Now Ronn simply prints out sample pages and indicates the specification names or codes that his clients should use when typesetting their publication. For his clients that do own or use compatible equipment, his hard copy documentation is a reference guide only, the guidelines can be transferred in electronic form. The guidelines are basically "living specifications:' Studios that take advantage of new tools do so with choice.

For much design work, traditional tools may be superior to computer-based tools and materials. If an INTis more accurate than an ink jet print, then that is the method of choice. If a typeface is available on a laser printer, it is clearly more cost effective for comps than traditional typesetting. I don't know any designers who want their work to look like it was designed and produced using a computer. But I do know a lot of designers who want to provide the best work in the most cost-effective manner.

Furthermore, it's essential that your tools are chosen for the work that you do. A design firm that specializes in environmental graphics will not have the same tools and materials as one that specializes in annual reports.

And finally, whether you own the technology, or you hire an outside service who owns the technology, or your client owns the technology, the bottom line is this: If your firm or department is not aware of the radical changes that computers have introduced to your profession, you cannot possibly offer your clients the full expertise they deserve. ~ 1988 Wendy Richmond

166 Photography Annual 1988

CoMMENTS Movies: Masqwerade...Raising Maine: Skating thro!:f,h tjfe... Food: Eat yowr way fy~~~:~~~~f[:;~e;;':/o~f :ime /annt rs...

throuigh New -

11

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One lone •poco of •lyle cm.slg hd30fl

~in~tondthe Diretlt4t,WaCrowll

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• 71tt IAhaptd hairli,., ntlts art;,. tht PagtMakt r tt mplatt pasttboard.

Master style sheet.

CoM~fENrs Mo:f:,}f~~~"ft~:fA~0'::/.':ff~if,:~~//:.':f/f'/}."f.·: &:;';/!a~1111 I• Maine:Stmrwow bwt saf• hiking THE WEATHER REPORT

Time for deer flies and the summer solstice

*Ronn's tools of the trade:

Hardware: Macintosh II; 40 Megabyte Hard Disk; Super Mac Color Monitor; Super Mac Spectrum Video Card; 1 Megabyte Memory (more on order); Extended Keyboard.

Macintosh Plus; 20 Megabyte Hard Disk.

LaserWriter Plus.

Canon copier.

Kroy color machine.

Software: PageMaker 3.0; Microsoft Word.

Plus over 100 fonts , all the pads and markers and paper you'd expect to find in a traditional studio and as much computer memory as he can get his hands on.

GILBERT paper with™ presence

A report on

GILBERT®oxford Text & Cover

1988

GILBER~ oxford AND THE ANNUAL REPORT

There was a tirne when the annual report was a rnere accounting ofa cmnpanysfinancial performance.

Not true today.

The annual report has evolved into something much

The Best

No ane path leads to a successful annual report, but the winners share a cmnmon vision-rejreslting solutions to the sarne olll challenges. '1hey impart a distinct persahality; articulate a clear idea.

They involve the reader, then take a back

more. A year-in-the-life pictorial, it uses text and graphics to paint a corporate soul. It is more than a corporate tally sheet; it is a capabilities book, a recruitment brochure, a purveyor ofplans and aspirations. It is a cmnpanys

------------------··-

story.

The Paper

More and more cmnpanies are taking advantage of the imagemaking opportunities their annual rrmvw-:tc afford them. They know the overall ,.,.,..-iHLw. word, the execution ofphotography,

GILBER~

oxford Thxt and Cover For covers, text and financial data, GILBERT oxford Thxt and Cover offers a look and feel no other grade can duplicate.

The appearance is true oxford cloth; the appeal is a confidence not easily forgotten.

just as clearly as do the numbers on the financial pages. Paper is ane of the first design elements to reach the senses. Make the right choice and let it do its job.

Available in 80 lb. text, and 65 and 80 lb. cover-all with "a touch ofcotton~" GILBERT oxford exhibits ane white and thirteen designer-recmnrnended colors. Color-matched bond weight is available for coordinating printed cmnmunications. All weights respond beautifully to conventional and specialty printing processes.

For your next annual report prqject, specify GILBERT oxford Thxt and Cover. It loves to be read. It speaks very clearly.

Q)

~

Ecru Camel Soft Coral Peach Hello Soft Mauve Wine Sky Blue Moor Mediterranean Fashion Grey Oxford Grey Cadet

GILBERT® oxford presents a genuine oxford finish, one resembling fine oxford cloth.

Designers and their clients can feel confident that the premium communication paper they have selected is exclusive and unique. A US. patent protects its design production.

Into GILBERT oxford we craft "a touch of cotton~" It affords the sheet strength, resilience and the richness in character that only cotton can give.

As a bond, text and cover grade, GILBERT oxford complements any company s annual report by offering color-matched weights for quarterly statements, letters to shareholders or complete stationery systems.

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BOOK REVIEWS

BEAUTY PHOTOGRAPHY IN VOGUE

by Martin Harrison Published by Stewart, Tabori & Chang Distributed by Workman Publishing I West 39 Street, New York, New York 10018

$30.00

This is a unique collection documenting the ever changing face of beauty spanning a half-century of one of the most influential fashion and beauty magazines. The selections follow advances in modern photography by some of the world's foremost photographers.

In the introduction, Harrison states that there is a difference between beauty and fashion photography and there has never been a beauty photographer, only fashion photographers who sometimes specialized in beauty.

When health and exercise became the fashion in the 1930s, Vogue began to show women leading a lifestyle and not just wearing whatever was stylish. Alexander Liberman, Vogue's editorial director, observed "we can no longer think of beauty without motion. These human beings . .. are rendered more desirable by their mobility, their energy~' Technology played an important role in showcasing beauty.

While invented in the mid 1930s, Kodachrome film encouraged experimentation in Vogue in the 1940s. The acceptance of the 35mm camera in the 1950s and the 1960s introduction of the electronic flash made images possible that were unheard of previously.

Six sections make up the major content of the book.

"Basics~' is devoted to the interpretation of the nude.

Limitations created by society morals produced much more creative work than I think we see today. "Preparation" deals with the use of makeup. "Close-up" approaches the model with an almost abstract quality. "Action" deals more closely with what beauty photography was supposed to be. "Headlines" is the experimentation of hair and hairstyles. "Making faces" shows off the most important element of all beauty photography. The constantly changing interpretation of beauty is more apparent in this chapter than all the rest.

Also included are brief biographies of 67 photographers such as Steichen, Horst, Newton, Avedon and Penn who have had an enormous influence on the development of beauty photography. All the discussion is fine, but of more importance is this book's reminder of where we've been.

The future of photography can only improve with a better understanding of the past.

BRIEFLY NOTED:

SELL & RE-SELL YouR PHoTos, by Rohn Engh (Writer's Digest Books, 1507 Dana Avenue, Cincinnati, Ohio 45207, 172 Photography Annua/1988

$16.95). Engh is quick to point out that good photography doesn't necessarily mean profitable photography. This book provides a great deal of valuable information on how to make money as a stock photographer as well as supplement one's existing income. Sections include: Markets you can sell to, and how to sell to them; how to set prices; self-promotion techniques; how to work with stock agencies; organizing your photo library; copyright; model releases; tax laws and how to use a computer to increase profits.

COMMUNICATORS' GUIDE TO MARKETING Edited by Clara Degen (Published by the International Association of Business Communicators. Distributed by Longman Inc., 95 Church Street, White Plains, New York 10601, $34.95).

This book is based on the simple premise that understanding the customers' needs and wants are central to the success or failure of every organization. While it was written for the communications major, graphic designers and advertising creatives would benefit from the book's basic explanation of marketing's role in business. Sections include application of marketing tools, research, specialty marketing for healthcare and non-profit organizations, and integrating public relations into the marketing mix.

DYNAMIC AIRBRUSH by David Miller and James M. Effler (North Light Books, 1507 Dana Avenue, Cincinnati, Ohio 45207, $29.95). The cover made me nervous. A hand is illustrated lying on top of tile work and each finger squeezed into an airbrush, giving the impression of an artistic cyborg. The title is rendered in hot pink and looks as if it were squeezed out of a bottle. Just a sampling of what's inside. The authors are partners in the Cincinnatibased A.I.R. Studios, a firm specializing in airbrush illustration and photo retouching. They have taken several real projects and walk the reader through various techniques for simulating materials and special effects.

This book won't teach you the basics of airbrush but was created to help experienced artists expand their vocabulary of tricks.

THE PHOTOGRAPHER'S GUIDE TO MARKETING AND SELFPROMOTION by Maria Piscopo (Writer's Digest Books, 1507 Dana Avenue, Cincinnati, Ohio 45207, $16.95). This is a how-to book addressing the marketing aspects of the photography business. While a few examples of promotional pieces are shown, this is really a text information book with profiles of successful photographers and clients intermixed. The contents include planning promotions, finding clients, coordinating your campaign, public relations, photo reps, pricing and writing a marketing plan.

-Patrick Coyne

In terms of transparency, Bienfang ISOH Vellum is visibly superior to other papers in its class.

This proven feature is just one of many that make the Bienfang Designer Series America's # 1 conceptual launching pads.

But as demonstrated by the example at the top of this page, the advantages of other brands are still not entirely clear.

MORE DESIGNERS DRAW ON US FOR INSPIRATION.

CLUBS, CONFERENCES, S EMINARS

UCDA

ANNUAL R EPORT CONFERENC E

The University & College Designers Association will hold their 1988 Annual Conference in Washington, D.C. September 25-28 at the Hyatt Regency Hotel. Designers and photographers who will present their work and ideas include illustrator Marshall Arisman, photographer Bob Llewellyn, poster designer Jan Sawka and designer Alan Siegel of Siegel and Gale. For information contact Barbara Carter at the UCDA National Office, 2811 Mishawaka Avenue, South Bend, Indiana 46615 or call (219) 288-UCDA.

Sid Cato, publisher of Sid Cato's Newsletter On Annual Reports, is sponsoring a day-long conference on Thursday, September 29, at New York's Halloran House, 525 Lexington avenue. The theme: " Whither the annual report? What the future holds for this key corporate communique~ ' Registration is $397. That includes a continental breakfast, refreshment breaks and a luncheon. For information: Sid Cato Communications, Inc. , Box 738, Waukesha, Wisconsin 53187 or call (414) 549-3200.

DMA

POPAI

The Direct Marketing Association will hold their 71st annual conference and exhibition at the Georgia World Congress Center in Atlanta, Georgia, on October 16-19.

More than 8,000 direct marketers from the United States and 42 countries will gather at this event to assess the challenges, evaluate opportunities and discuss the latest issues and trends facing the industry. For further information call Chet Dalzell at (212) 689-4977 or write to DMA, 6 East 43rd Street, New York, New York 10017.

The Point of Purchase Advertising Institute Marketplace 88 will be held at the ExpoCenter in Chicago, Illinois, October 11-13. The show, which attracts some 7,000 marketers and retailers, will have more than 300 exhibitors and seminars featuring many of the advertising industry's influential people. Speakers include Alvin Achenbaum, the outspoken critic of ad agency practices; Jack Trout, who pioneered the concept of positioning; John E. Pepper and the Honorable Robert H. Bork. Bork's presentation "And Justice For All?" will examine the American justice system from an insider's viewpoint. For further information contact POPAI, 66 North Van Brunt Street, Englewood, New Jersey 07631 or call (201) 849-8899.

COLOR

Nancy A. Burns, CAE, has been appointed executive director of the Color Marketing Group . Nancy replaces Everett R. Call, one ofthe founders ofCMG, who has left to pursue other interests. The association, started in 1962, has grown to over 900 color professionals who forecast color movement for automotive, communication, home furnishings , fashion and other industries. " Color Marketing: The Competitive Edge" is the theme of the group's fall meeting to be held at the Palmer House in Chicago, Illinois, October 2-4. Prior to the opening on Sunday there will be an educational seminar on Saturday, October 1. This seven-hour session will explore such topics as language of color; computers; color complaints/ marketing problems; light and color; and the latest in color systems. The contract color workshops will begin on Sunday. These workshops play an integral part in forecasting the 1991-92 contract color directions. For more information on the group or the fall meeting, call (703) 528-7666 or write: CMG, 4001 N. Ninth Street, Suite 102, Arlington, Virginia 22203.

AlGA/ MINNESOTA

AlGA/Minnesota is sponsoring an autumn Design Camp for graphic designers, illustrators, photographers, copywriters and others interested in the creative and business aspects of graphic design. The 9th annual conference will be held October 7-9 at Ruttgers Bay Lake Resort, about 2 112 hours northwest of Minneapolis. To receive registration materials, call Deanna Christiansen at (612) 339-6904.

174 Photography Annual 1988

PHOTOGRAPHY

The University of Texas At Dallas announces " Commercial Photography: Promoting The Business" a one-day meeting designed to stimulate the growth of professional photographers through an interchange of ideas with art editors and graphic designers. Some of the confirmed speakers include photo editor Elizabeth Biondi, Vanity Fair; art director Bob Ciano, Travel & Leisure; and graphic designer John Casado. The conference will be held in Richardson, Texas, at the University ofTexas at Dallas Conference Center on Saturday, October 29 from 8:30 a.m. to 5:30p.m. The registration fee of$125 includes two breaks, lunch and reception. For registration or add itional information call (214) 690-2204.

AAAA The 51st annual American Association of Advertising Agencies Western Region Convention will be held at the Hyatt Regency in Scottsdale, Arizona, Wednesday, October 12 through Saturday, October 15. This is an annual event and has attracted as many as 572 registrants from the fourteen western states, New York and Chicago.

For information on fees , speakers and accommodations, contact Robert P. Stephens, Vice President, AAAA Western Office, 8383 Wilshire Boulevard, Suite 342, Beverly Hills, California 90211.

With all the time, energy and creative effort that goes into quality brochures and annual reports, it's not surprising that both designers and printers insist on Vintage when the final product must yield a look and feel of quality.

Vintage has earned a well-deserved reputation for dependability based on unexcelled press performance and outstanding printed results. The exclusive blade coating gives it a smooth surface that easily carries the sharpest detail as well as the most subtle tones. The excellent holdout allows you to cover the page with heavy inks or add just a touch of color here and there with beautiful results. So when there's no substitute for quality, harvest the rich rewards with Vintage.

Vintage is available for web or sheet-fed printing in 70-, 80- and 100-pound text and 60-, 80- and 100-pound cover in both gloss and velvet finishes.

Production Notes Fbper: Vintage Gloss, basis 25 x 38, 100-pound Press: Akiyama , 40 inch, 4 color Screen: 175line Inks: Graphics, Universal Series K,C,M,Y, 877 Metallic Silver 208 Burgundy Typeface: Melior Semibold Compressed Melior Compressed Melior Italic Compressed Photogmphy: David Quinney

Potli\tCh

Potlatch Corporation Northwest Paper Division Cloquet, Minnesota 55720

Printed in U.S.A. 1Cl 1988 Potlatch Corporation

MATERIALS ELECTRONIC PHOTOGRAPHY SOFTWARE

COLOR PAINT SOFTWARE

SnapShot, a software product for the new field of electronic photography, has been introduced by Aldus Corporation. SnapShot captures images from any RS-170 video source, including video cameras, VCRs and still video cameras. Once captured, the video image can be manipulated, placed in a page makeup program and printed on a laser printer or image etter. SnapShot runs under the Microsoft Windows operating program on an IBM PC AT compatible. Suggested retail price is $495.

Find out further system requirements by contacting authorized Aldus dealers.

TRANSPARENCY FILM FOR LASER PR INTERS

Electronic Art announced the release ofDeluxePaint II, for use with IBM PS/2 and compatible models. Darrell Boyle, director of marketing for Electronic Arts creativity division , aid it i the only program to let users see and modify 256 colors on the screen at once. It will create subtle shades of any color, make gradient blends of color and contains a color cycling feature for animation effects.

The program will also draw any image in three dimensional perspective and make a brush pattern from any part of an image. If this is what you're looking for, and $99.99 i in your price range, contact Electronics Arts, 1820 Gateway Drive, San Mateo, California 94404, or call (415) 571-7171 extension 379.

A new film that allows any laser printer to produce presentation overhead transparencies is now available from Arkwright Inc.'s Data/View line of computer transparency films. Packaged in boxes of 50 81J2'' x 11" and A4 sheet sizes, the 4 and 5 mil, dimensionally-stable film comes in clear, yellow and blue. Please note that 300 dot per inch laser printer text will not look the arne as professional typesetting when projected on a wall. For more information contact Arkwright Inc., Department P, Main Street, Fiskeville, Rhode Island 02823, or call1-(800) 942-5900.

Canon has introduced the NP 1215, a small office copier that can print 15 copies per minute and take up only 24" x 22 lf2'' x 13W' of space. The front-loading paper cassette can hold up to 250 letter or ledger sheets. The NP 1215 has zoom capabilities ranging from 50% to 200% in 1% increments. All this for only $3,395 suggested retail price. For more information, contact your local authorized Canon NP dealer.

COMPACT OFFICE COPIER

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Communication Arts

177

MATERIALS

COLOR DESKTOP PUBLISHING SYSTEM

CyberPublishing, Inc.'s CyberChrome workstation can produce four-color separated film when connected to a high resolution Postscript film printer. All separations for color text, color line art and screens, graphics and high resolution color images can be combined on one set of film even though the individual elements are prepared by different software packages including Quark XPress Version 2.0 and Pagemaker 3.0. No stripping or photocomposition is required to prepare plate-ready film. The company claims McGraw-Hill is using the workstation to produce Aviation Week and estimates that its production costs have been reduced by two thirds while color image quality has improved. To find out if your production costs will be improved or if the cost of the equipment will offset any savings, contact CyberPublishing, Inc., Five Science Park Center, New Haven, Connecticut 06536, or call (203) 786-5151.

DRAFTING MACHINES

Mayline has expanded its line ofVemco drafting machines. Features include full-view protractor heads with right-reading figur~.s and double length vernier.

Track machine protractors feature a double-pivot head for maximum maneuverability and optimum board space. Dimensionally stable carriage wheels glide within an anodized aluminum alloy " V-Track" carriage.

Horizontal clamps are movable along the entire track and can be attached in seconds. A three-position vertical braking system offers a choice of on, off or touch and go settings. For more information contact Dave Peterson, May line Company, Inc. , P.O. Box 728, Sheboygan, Wisconsin 53082, or call (414) 457-5537.

M ETALLIC COLOR PALETTE PANTONE~ Inc. , has added 204 metallic colors to its expanding line of printing inks. Responding to the latest trend in packaging and graphic design, the new metallics are a combination of existing colors mixed with gold or silver. In the color specifier books, each color is half overprinted with a gloss varnish for a total of 408 metallic color effects on coated paper. Specifier books are available from printing ink companies, artist material dealers and graphic art distributors. For more information contact PANTONE~ Inc. , customer service department, 55 Knickerbocker Road, Moonachie, New Jersey 07074, or call (201) 935-5500.

D ESKTOP PUBLISHING TYPEFACES

The Font Factory has created a series of type fonts available for use with Xerox Ventura Publisher, Microsoft Windows and Aldus Pagemaker. Called the Professional Series fonts , the company claims that these are the first fonts to provide automatic kerning. Each package contains 178

Ph otography A nnua/1988

a typeface family in normal, bold, italic and bold italic stroke weights. Each stroke weight is supplied in 6, 8, 9, 10, 11, 12, 14, 18, 24, 30 and 36 point sizes. All packages include both portrait and landscape orientations. Typefaces include, CG Times, CG Triumvirate, Antique Olive, ITC Avant Garde, Baskerville II, Brush Script, Century Textbook, Century II, Futura II, Garamond, Gill Sans, CG Omega, Rockwell, ITC Souvenir, Univers, CG Palacio, The Fixed Pitch Font Pac and lTC ZapfDingbats. Most of the packages are priced at $199.95. For more information contact The Font Factory, 2400A Central Parkway, Houston, Texas 77092, or call (713) 688-8973.

DESKTOP PUBLISHING TEMPLATES

Letraset USA, in collaboration with Peter Jeffe, president of the Jeffe Corporation and director of Pratt Center for Computer Graphics, has produced a series of " designer" templates for use with its Ready, Set, Go! page makeup software. More than 40 templates have been created by designers including Kit Hinrichs, Jim Cross, John Waters, April Greiman, Ken Carbone and Leslie Smolan. The packages include color recommendations and paper samples for each set of formats. According to Jeffe, "Anyone who is doing desktop publishing will now have access to the creative ideas of the leaders in graphic design~ ' I wonder how " creative" these ideas could be if the designers are creating canned solutions. At least they should finally receive some profit from this encouraged plagiarism. For more information contact your nearest Letraset dealer.

DESIGN WORKSTATION UPGRAD E

DuPont Design Technologies has introduced an enhanced version of its Vaster design and imaging system. Added software capabilities include page measurement and layout tools and increased text handling capabilities.

According to Barry Dearborn, vice president of sales and marketing, " The enhanced version adds more precise design capabilities to a system that many of our customers call the creative accelerator~' Priced between $47,500 to $200,000, you may call it something else. For more information contact DuPont Design Technologies, Inc., 3100 Patrick Henry Drive, Santa Clara, California 95054, or call the customer information number (800) 341-4004.

ART BOARD

Letraset has expanded its line ofLetraMax art boards with three new additions. LetraMax 6000 Super White Conservation Quality Illustration Board, is a long title for a board that has a coated side for ruling, airbrushing and mechanicals, and an uncoated side for fine art applications, markers and also airbrushing. LetraMax Total Grey Mounting Board is self explanatory. LetraMax UB Utility Board, is a smooth, bright white, two-sided conservation

You

can pile it

up.

Or put it away.

When art starts to pile up, your customers need a system that'll cut the clutter.

The VariFile.

No more bruised boards. Neglected negs. Or misplaced materials. The VariFile's unique design and lockable door see to that.

Best of all, the VariFile can be ordered pre-assembled in a number of interior

configurations that include drawer , box folders, binders, art board dividers and tube storage areas. Art can be stored v rtically, flat or rolled- in a convenient, ali-in-one, secure system.

Learn more about how the VariFile can help you design a storage system custom-fit to your customers' needs.

Call 1-800-443-0100, Ext. 347 today.

PLANfi® HOLD A CPG lnternalional Company

MATERIALS

quality surface paper, available in single and double thicknesses for all mounting needs. Free samples are available for a limited time by sending your business card to LetraMax Art Boards Specifier Offer, Letraset USA, 40 Eisenhower Drive, Paramus, New Jersey 07653. If you want even more information, calli (800) 526-9073.

I

Adventures in Photo Imagery ... from James River highlights hand-colored black and white photos printed on Curtis Brightwater paper. The portfolio shows the steps leading from a black and white contact sheet to a fullcolor, printed piece. Three "frameable" hand-colored prints are included. Portfolios are available from paper merchants who stock Curtis Brightwater, or by contacting Alan L. Rowland, James River's Premium Printing Papers, 145 James Way, Southampton, Pennsylvania 18966.

LITERATURE FoR YouR FILES A request on your lerrerhead to the following companies will bring you the literature described . . .free, unless othetwise noted.

Illuminations ... is Monadnock Paper's most recent demonstration on their Astrolite 65 lb. smooth uncoated cover stock. The brochure features the peaceful photography of Lilo Raymond in various halftones, duotones, tritones and subtle four color images. Monadnock claims that Astrolite is the brightest of all premium high white uncoated papers and is available in 70, 80 and 100 lb. text weights, 65, 80 and 100 lb. cover. To obtain a copy write to Karlene E. Lelan.~, Monadnock Paper Mills, Inc., Bennington, New Hampshire 03442, or call (603) 588-3311.

1988 Conqueror Cover Design Competition ... is a unique way to promote Conqueror writing and cover bristol papers. The competition calls for printed pieces produced between Aprill5 and October 15, 1988 and may range from corporate graphics to invitations, announcements and direct mail pieces. Of course you have to use Conqueror Cover exclusively or in conjunction with Paper Sources International grades, which include Conqueror Writing, Zanders papers, Three Crowns and Mirri. The winning designer and the graphic consultant of the paper merchant organization which provides the paper for the winning entry, will receive a week-long, all-expense trip to England, including a top hotel, theatre tickets in London and a trip to the Wiggins Teape paper mill in Dover, (the highlight of the trip, no doubt). Copies of the contest poster, designer kit, contest rules and entry forms may be obtained from paper merchants carrying the Conqueror line, or by writing to PSI, 301 Veterans Boulevard, Rutherford, New Jersey 07070.

When it's Greek to You ... an eight page folder demonstrating typefaces for setting Greek has been released by Spectrum Multilanguage Communications, for whom translating and typesetting Greek and hundreds of other languages is a daily affair. The new folder is the latest in a continuing series which demonstrate Spectrum's uniquely large library of foreign scripts. Others in the series show faces for setting Russian, Arabic and Oriental languages.

Editions featuring Hebrew and languages of India and Southeast Asia will be released in the coming months.

Copies are available from Spectrum Multilanguage Communications, 225 West 39th Street, New York, New York 10018. Requests for more than a single folder should be accompanied by $1.00 for mailing costs.

Get an advertising education from textbooks like this and instructors who are working professionals.

[9) PORTFOLIO CEHTER

125 Bennett St. N.W, Atlanta, GA 30309. (404) 351-5055

Toll Free 1-800-255-3169 180 Photography Annua/1988

Curtis Brightwater Writing Salutes the American Dream ...

A new portfolio with both printed and blank samples of Curtis Brightwater Writing is the latest in a series issued

by James River Corporation to show off the colors, textures and printing capabilities of its writing grades. It certainly doesn't show the capabilities of its writing. A hypothetical company known as the Snow Monkey Tea Company is featured in stationery and package labels. According to Alan L. Rowland, director of marketing and planning, "The name Snow Monkey was chosen for the tea because,

YOU CAN HAVE COLOR EVEN WHEN YOU DON'T. IT'S ALL IN THE TECHNIQUE.

AND A KEY ELEMENT IN ANY SUCCESSFUL COLOR STRATEGY IS CHOOSING THE RIGHT PAPER STOCK,

IN THIS CASE, WARREN CAMEO DULL. CAMEO IS AN ELEGANT SURFACE, OFFERING A CONSISTENT AND

BALANCED WHITE, A SMOOTH SURFACE, AND THE WONDERFUL ABILITY TO MAKE BOTH PHOTOGRAPHIC

DETAIL AND TYPOGRAPHY BLOSSOM. WARREN CAN CHANGE THE WAY YOU SEE THINGS. 8

WARREN CAMEO DULL IS THE APPROPRIATE MEDIUM FOR REACHING A HIGH-TONED AUDIENCE. YOU

CAN TRUST CAMEO TO PERFORM EQUALLY WELL WITH FINE COLOR PHOTOGRAPHY, TOP-NOTCH BLACK-

AND-WHITE, AND AN INFINITE VARIETY OF TINTS AND TONES. CAMEO DULL ADDS WEIGHT TO YOUR

WORDS, WITH ITS CRISP, GLARE-FREE READABILITY FOR TEXT. AND IN TERMS OF RUNNABILITY, CAMEO

PERFORMS ON PRESS LIKE THE TRUE THOROUGHBRED IT IS. CAMEO DULL IS STOCKED IN BOOK WEIGHTS

OF 80 AND .100 POUND AND COVER WEIGHTS OF 60, 80, AND 100 POUND. WE ALSO STOCK CAMEO

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FREE ... SEND FOR OUR LATEST CAMEO DULL MAILER, A UNIQUELY FORMATTED EXPOSITION OF COLORFUL GARDENS AND EFFECTIVE TECHNIQUES ON WARREN CAMEO DULL.

NAME COMPANY

TITLE

STREET

CITY

STATE

ZIP

~ S.D. WARREN COMPANY A SUBSIDIARY OF SCOTI PAPER COMPANY, 225 FRANKLIN STREET, BOSTON, MA 02110 © 1988, S.D. WARRE N COMPANY, A SUBSIDIARY OFSCOTT PAPER COMPANY. PRINTED IN U.S.A. ON CAMEO DULL 80 LB.

88-17

MATERIALS

besides implying the Asiatic origins of the product, it connotes this paper's radiance and purity~ ' Quite fitting to saluting the American dream don't you think? Regardless, blank samples are always handy and yours are available by contacting your local Curtis Brightwater Writing paper merchant.

Paul Davis Portfolio . . . Mohawk Paper Mills continues its Mohawk Graphics collection series with a portfolio of works by artist and graphic designer Paul Davis. Reproduced on Mohawk's brilliant white Poseidon paper, the portfolio features a sampling of all three finishes available in various weights of both text and cover. Your free copy is available by contacting your local Mohawk distributor.

Opaques ... is the title of a Classic Linen promotion from Neenah Paper. This die-cut letter folder demonstrates how opaque printing inks look on Classic Linen's palette of colors. The folder contains hypothetical letterheads from hypothetical companies printed with all the specialty printing techniques including embossing and 4-color process. For a free copy of Opaques, contact your local Neenah Paper merchant.

Sam Flax 1989 ... is the latest catalog of more than 30,000 items for sale by Mr. Flax. The cover and divider pages feature important works of the masters that have been altered with the addition of art materials. Van Gogh's self portrait has an X-Acto knife tucked behind his ear.

Mantegna's St. Sebastian is martyred by pushpins rather than arrows. Clever. To see where it goes from there, send $5 to Sam Flax, TeleServe Department C, 39 West Street, New York, New York 10011, or call (212) 620-3000.

StarLiner Special Permanent Sample Kit . .. features demonstration labels, stock samples and a stock selector.

StarLiner Special Permanent acrylic-based adhesive provides bonding to most hard-to-label surfaces such as recycled corrugated, fiberdrum, metal and plastic containers. The product is designed not to be UV and solvent resistant and will not degrade on plastic surfaces. To obtain a free copy write to MACtac, Printing Products Division, 4560 Darrow Road, Stow, Ohio 44224, or call 1 (800) 334-7310.

-P.C.

HICHTECH Low tech or no tech- Bettmann has 16 million images (2 million in colo r) waiti ng fo r yo u. We cover technology through the ages, like Leona rdo's helicopter fro m our fine art category (1); the development of science and medicine; wacky inventions, like the 18 85 fl ying machine (2); and

armaments, from the sling shot to the CH -53's in the Persia n Gulf (3).

Our pictures go back to the stone age, but our service incl udes stateof-the-art darkroo ms, a computerized index, and satell ite receptio n of international newsphotos. Call, write o r telex for your next pro ject.

THE BETTM.AMM .ARCHIVE 136 EAST 57TH STREET , NEW YORK , NEW YORK 10022 (212 ) 758 - 0362

BETTM.AMM MEWSPHOTOS UP I AND REUTERS PHOTO LIBRARIES , 48 EAST 21ST STREET , NEW YORK , NEW YORK 10010 (212 ) 7 77- 6200 TELEX 6720885

Communication Arts

183

INDEX TO PHOTOGRAPHERS

A Adams, Eddie

Bruant, Nicolas c/o Mitty Gain

53

40 W. 24th St. New York, NY 10010 Ainsworth, Helen

16 Rue Saint Sabin 75011 Paris, France

4

400 1st Ave. N. Minneapolis, MN 55401 Arruza, Tony 48 P.O. Box 6155 West Pa lm Beach, FL 33405

Baraban, Joe 14, 32,118 2426 Bartlett, #2

c Cag le, Bill 94 209 Ruth Street Pensacola, FL 32507 Claridge, John 14, 103 4 7 Frith St., Soho

Barker, Kent 45 2919 Canton

New York, NY 10013

221 North St. Hingham, MA 02043

12, 26, 89

345 Summer St. Boston, MA 02210

Diebold, George B. 112 416 Bloomfie ld Ave. Montclair, NJ 07042 118

1274 Folsom San Francisco, CA 94103

Cohen, Stewart Charles

Beebower, Hugh

Dallas, TX 75215

122, 124

89,103 2401 S. Ervay, Suite 206

Bensimon, Gilles 51 clo Linda Donaho 110 Greene St. New York, NY 10012 Blevins, Bu rgess 35 601 N. Eu taw, Su ite 713 Baltimore, MD 21201 Brady, Steve 83, 87 5250 Gulfton, Suite 2G Houston, TX 77081 Brandenburg, Jim 55,118 708 N. First St., Sui te 544 Minneapolis, MN 55401

Cooper, John F.

26

One Bank St. Summit, NJ 07901 Corwin, Jeff

92

Ph otography A nnua/1988

San Diego, CA 92110 Hathaway, Steve 173 Bluxome

110, 130

San Francisco, CA 94107 74

Howe, Christina 130 17202 N.E. 85th Place, J-119 Redmond, WA 98052

67

New York, NY 10007

El Cajon, CA 92019

25

1315A Granite Hills Dr.

Franklin, Charly

J Johns, Douglas 20 2535 25th Ave. N. St. Petersburg, FL 33713 Jones, Aaron 19 608 Folsom St.

F 104

3352 20th St. San Francisco, CA 94110

San Francisco, CA 94107 Jones, Peter 70 43 Charles St. Boston, MA 02114

Franz-Moore, Paul 98 421 Tehama St. San Francisco, CA 94103

K

Furman, Michael 115 Arch St.

Karsh, Yousuf 60 Suite 660, Chateau Laurier Ottawa, Ontario

12

Philade lphia, PA 19106

184

Harrington, Marshall 7, 23 2775 Kurtz St., Studio 2

E

Epperson, Greg

Seattle, WA 98112

Dallas, TX 75208

113 South Jefferson St. Richmond, VA 23220

Coupon, William 31 69 Murray St., 8th Floor

Crum, Lee 98,106 1536 Terpsichore St. New Orleans, LA 70130

124

3808 Calle Barcelona Tucson, AZ 85716

The Holland/English Group 639 High Street Palo Alto, CA 94301

Curtis, MP 94 2400 East Lynn St.

H Hands, Bruce 48 P.O. Box 16186 Seattle, WA 98116

Hen ley &Savage Photography

58

1910 Weepah Way Los Ange les, CA 90046

Curtis, John 76 50 Melcher St.

Atlanta, GA 30313

Henley, John

English, Rick

Boston, MA 02210 Brittain, J. Grant 40 353 Airport Rd. Oceanside, CA 92054

Durrance, Dick II, 36 Dolphin Ledge Rockport, ME 04856 Dykinga, Jack

9995 Monroe, #209 Dallas, TX 75220

122

P.O. Box 1648 Arlington, VA 22210

32,

126

167 Mangum St.

1402 S. Montreal Ave.

919 Oriole Dr. Laguna Beach, CA 92651

80

79

Guggenheim, David

Harness, Brian

4719 Brisa del Norte Tucson, AZ 85718

Barta, Patrick 4 Creative Vision

Goodman, John

De Zitter, Harry 94, 101 De Zitter Photography 9 Hatton Street

Duka, Lonnie

Clifford, Geoffrey

116

337 Summer St. Boston, MA 02210

Duncan, Thom

Dallas, TX 75226

122

5316 Admiralty Ct. Alexandria, VA 22310

London NWS 8PR, England

London W1V 5TE Eng land

Clement, Michele 87 22111th St. San Francisco, CA 94103

Houston, TX 77098

G Getgen, Linda

Davidson, Cameron

Clemens, Clint

B

Cutler, Craig 12 39 Walker St.

D

124

65 Cervantes Blvd., #4 San Francisco, CA 94123 Arndt, Jim

58

Canada K1N 8S7

Asmooooth,

shimmering, sill(en tone ... . . . a supremely polished performance, harmonizing the meticulous, glowing reproduction of every nuance of color with text (even financial tables) that is always easy and comfortable to read ... on the incomparably level, incredibly white, satin-smooth surface of the authentic premium dull coated paper ...

Il(onorex Dull a leading member of the Zanders family of world-class premium coated papers.

Ikonorex Dull is available in White, Text Basis 90 and roo, Cover Basis 92.5 (this page); and in Ivory, Text Basis 90 and Cover Basis 92.5

~

£§!rces International, Inc. Box 368, Rutherford, NJ 07070

INDEX TO PHOTOGRAPHERS

Il<onorex Dull and the other members of the family of super-premium coated papers from ZANDERS are available from these leading fine paper merchants, who will be pleased to answer your inquiries and provide you with samples and printed specimens of extraordinary quality.

Alabama Sloan Paper Birmingham, Huntsville, Montgomery Alaska Zellerbach Paper CompanyAnchorage Arizona Zellerbach Paper Company Phoenix California Kirk Paper Company, Inc. LosAngeles Zellerbach Paper Company Bakersfield, Eureka, Premo, LosAngeles, Sacramento, San Diego, San Francisco, SantaMaria, Stockton Colorado Zellerbach Paper Company Denver Connecticut Lindenmeyr Paper Company Hartford, New Haven Florida Virginia Paper CompanyJacksonville, Miami, Orlando, Tampa Georgia Sloan Paper Atlanta, Columbus Hawaii Zellerbach Paper Company Honolulu Idaho Zellerbach Paper Company Boise, Pocatello Illinois Seaman-Patrick Paper Company Chicago Indiana Carpenter Paper oflndiana Fort Wayne Mead Merchants Indianapolis Iowa Field Paper Company Des Moines Kansas Midwestern Paper Company Topeka Western Paper Company Wichita Kentucky Mead Merchants Louisville Louisiana Marks Paper Company New Orleans Maryland Virginia Paper Company Landover Massachusetts Lindenmeyr Paper Company Boston Michigan Carpenter Paper Company Grand Rapids Seaman-Patrick Paper Company Detroit Minnesota Wilcox Paper Company Minneapolis Mississippi Sloan PaperJackson Missouri Beacon Paper Company St. Louis Midwestern Paper Company Kansas City, Springfield Montana Zellerbach Paper Company Great Falls Nebraska Field Paper Company Omaha Nevada Zellerbach Paper Company Las Vegas, Reno New Jersey Lindenmeyr Paper Company Rutherford New York Lindenmeyr Paper Company New York North Carolina Virginia Paper Company Charlotte, Greemboro, Raleigh Ohio Mead Merchants Akron, Cincinnati, Cleveland, Columbus, Dayton, Findlay Oregon Zellerbach Paper Company Eugene, Portland Pennsylvania Lindenmeyr Paper Company Lancaster, Philadelphia Mead Merchants Pittsbut;!Jh South Carolina Virginia Paper Company Columbia Tennessee Sloan Paper Chattanooga, Knoxville, Nashville Western Paper Company Memphis Texas Clampitt Paper Company Austin, Dallas, Fort Worth, Houston, San Antonio Utah Zellerbach Paper Company Salt Lake City Virginia Virginia Paper Company Richmond, Vit;!Jinia Beach Washington Zellerbach Paper Company Seattle, Spokane Wisconsin Reliable Paper Company Inc. Milwaukee

Kearl, Stan 76 1106 Claire Ave. Austin, TX 78703 Keeven, Marty 73 Obata Photography Obata Design, Inc. 1610 Menard St. Louis, MO 63104 Kremer, Dan 122 Image Source, Inc. 2212 Glenview Dr. Evansville, IN 47712 Krist, Bob 39, 51 228 Overlook Ave. Leonia, NJ 07605 Kuhn, Chuck

9

Chuck Kuhn Photography, Inc. 206 3rd St. Seattle, WA 98104 Kuntz, Bryan 104 7320 Ashcroft, Suite 213

M Maas, Rita

115

119 W. 23rd St. New York, NY 10011 Maclaren, Mark 430 E. 20th St.

39

New York, NY 10009 Maisel, Jay 121 190 the Bowery New York, NY 10012 Manarchy, Dennis 7, 9, 23, 29,91 Dennis Manarchy Ltd .

229 W. Illinois St. Chicago, IL 60610 Markus, Kurt

67

9555 Bennison Colorado Springs, CO 80908 Marse!, Steve 70 215 First St. Cambridge, MA 02142

Houston, TX 77081

L Langley, Daniel 80 Langley-Penoyar Photography 911 E. Pike St., #211 Seattle, WA 98122 LaTona, Kevin

Martin, Butch 40 715 Hussa St. Linden, NJ 07036 McCain, Edward

46

756 N. Palo Verde Ave. Tucson, AZ 85716

109

LaTona Productions 159 Western Ave .

Seattle, WA 98112

Meier, Raymond 48 532 Broadway, 8th Fir. New York, NY 10012

Lautman, Robert 60 c/o Pat Forbes 11459 Waterview Cluster Reston, VA 22090

Meola, Eric 9, 32 535 Greenwich St. New York, NY 10013

David Leach

26

75 Spring St. New York, NY 10012 Leibovitz. Annie 23 101 18th New York, NY 10011

w.

Levy, Tom 39, 56 2715 Cabrillo, #108 San Francisco, CA 94121

Meyerson, Arthur 69 4215 Bellaire Blvd.

Houston, TX 77025 Miller, Buck 115 P.O. Box 33 Milwaukee, WI 53201 Mizono, Robert 25 650 Alabama St. San Francisco, CA 94110 Morgan, Scott 83, 89 2210 Wilshire Blvd ., #433 Santa Monica, CA 90403

Communication Arts

187

INDEX TO PHOTOGRAPHERS

Murphy, Dennis

32

101 Howell St. Dallas, TX 75207

A

Smith , Richard Hamilton

Robbins, Bill 29 7016 Santa Monica Blvd.

1021 West Montana Ave. St. Paul, MN 55117

Los Angeles, CA 90038 Myron 29,65 127 Dorrance St. Providence, Rl 02903

Rusing, Rick 73, 85 1555 W. University, #106

Sullivan , Richard 56 1746 Griffith Park Blvd.

Los Angeles, CA 90026

Tempe, AZ 85281

s

129

15235 Manzanares Rd .

La Mirada, CA 90638 Naples, Elizabeth

56

210 Fifth Ave .

New York, NY 10003 Neleman, Hans 101 348 W. 14th St. New York, NY 10014 Niedorf, Steve

91,129

Savage, Chuck 67 , 74 Henley & Savage Photography 113 South Jefferson St. Richmond, VA 23220 Savins, Matthew

104

101 Howell St. Dallas, TX 75207 Schleipman , Russ 110 298A Columbus Ave. Boston, MA 02116

700 Washington Ave. N., #304 Minneapolis, MN 55401

0 O'Dell, Dale 74 2040 Bissonnet

Pease , Greg

Shinn , Chris

129

23 E. 22nd St. Baltimore, MD 21218 Penoyar, Barbara 80 Langley-Penoyar Photography 911 East Pike St., #211 Seattle, WA 98122 Peterson, Bryan F.

12

Rt.1, Box 63 Gaston, OR 97119 Peterson, Darrell

65

Darrell Peterson Studios 84 University St., Suite 306 Seattle, WA 98101 Pumphrey, Steven 42 1309 Richcreek Rd .

Austin, TX 78757

188 Photography Annual 1988

70

w.

w

T

732 North Highland Ave. Hollywood, CA 90038

Thompson, William

115

Shotwell , Charles

106

2111 N. Clifton Ave. Chicago, IL 60614 Simhoni , George Westside Stud io

19

42

P.O. Box 4460 206 3rd Ave. S., #400

White , Timothy 448 37th

58

Seattle, WA 98104

New York, NY 10018

Tighe , Michael 42 110 E. 1st St. , Apt. 12 New York, NY 10009

Wilhelm, Dave 91 2565 Third St. , Suite 303 P.O. Box 77285 San Francisco, CA 94107

w.

73

1925 College Ave. Atlanta, GA 30317

Wilkes, Stephen 97 48 E. 13th St. New York, NY 10003

Toerge, David G. 51 , 53 3972 Folsom St. San Fran c isco, CA 94110

Williams, Steven Burr

67 8306 Wilshire Blvd ., Su ite #444 Beverly Hills, CA 90211

4215 Bellaire Blvd .

Houston , TX 77025

Toscani, Oliviero 46 Casalle Maritima Pisa 56040, Italy

Witte, Scott 76 3025 W. Highland Blvd.

Milwaukee, Wl53208

Tracy, Janis

Wolf, Bruce

124

Janis Tra cy Photography 213 W. Institute Pl. 80

33 Jefferson Ave .

Turbeville, Deborah

c/o Marek Milevich 160 Fifth Ave. , Room 600 New York, NY 10010

Sims, Jim 85,126 2412 South Blvd .

Houston, TX 77098

Tyen 62 30 Avenue Hoche 75008 Paris ,

Smale, Brian 53, 60 Sharpshooter Studios 287 Richmond St. E. Toronto, Ontario

74

123 W. 28th St. New York, NY 10001

Suite 402 Chicago, IL 60610

Toronto, Ontario Canada M6K 1Y3

Canada M5A 1P6

Vedros, Nick 215 19th

55, 58

Werts, Bill

New York, NY 10011

p

van Overbeek, Will 305 E. Sky View Austin , TX 78752

Seattle , WA 98116

Tilley, Arthur Schnepf, James 62 4518 W. Dean Rd .

Milwaukee, WI 53223 Seliger, Mark 39, 51 251 W. 19th St., Apt. #1C

Houston, TX 77005

v

Kansas City, MO 64108 Sund , Harald 40, 69 P.O. Box 16466

N Nakata, Keith

35

France

u Uzzell, Steve

10

2505 N. Custis Rd. Arl ington , VA 22201

17

EDITOR'S NOTE Every effort has been made to ensure that credits accurately comply with information supplied to us. If, for any reason, a misspelling , omission or other error has occurred , notify us within thirty days and we will be able to issue corrected award certificates.

Communication Arts is making available an excellent opportunity to expand your library by packaging combinations of past Annuals at special prices.

Featuring the best work in design, advertising, photography and illustration, the Communication Arts Annuals are an important reference tool for anyone involved with visual communication.

Every issue has high quality reproduction and utilizes special production techniques developed to reproduce work done with special colors, colored papers, etc.

Everything that was originally in color is reproduced in color.

DESIGN ANNUALS November 1983, 1984 and 1985

$36

ADVERTISING ANNUALS December 1983, 1984 and 1985

$36

DESIGN AND ADVERTISING November /December 1980, 1981 and 1982 $38

ILLUSTRATION ANNUALS

Because some combinations have only several hundred copies remaining, we must reserve the right to refund your money on any that have sold out on a firstcome, first-served basis.

July 1984 and 1985

PHOTOGRAPHY ANNUALS August 1984 and 1985

$20

ART ANNUALS July/ August 1981, 1982 and 1983

Postage is included. Please allow up to three weeks to receive the magazines. Foreign orders will take longer.

To order circle the combinations you wish to receive, fill out the information below and send this page or a facsimile with a check or money order to:

Communication Arts P.O. Box 10300, Palo Alto, CA 94303

Name

Address

City

$20

State

No Annuals will be sent until payment is received.

Zip

$26

INDEX TO ART DIRECTORS, DESIGN FIRMS, AGENCIES AND CLIENTS

c

A Adams Mark Hotel

Cagle , Bill

73

Advanced B1osearch

Carlson, Kathi

87

Cato , Bob

14

Albert Frank-Guenther Law Allen, William

7

Products

Anesh, Jack

Apple Computers

12

Arizona Highways

58

Cranor

9, 19, 26

Ciano, Bob

80

48

56

Claridge, John

Artinian, Vartus

70

Casey, Clark

Audi of America

73, 85

ClarkeGowardFitts

89

Austopchuk, C.

53, 58

Cohoe, John Tom

39

Cole & Weber, Inc.

32

51

Avia Athletic Shoes N W Ayer Inc.

80

Connaster, Steve

45

B

Contra Costa Times

Kimberly Baer Design

Cooper, John F.

92

Baetjer, Walter

73

Group

Baltimore , Andy

9

Corridori, Bill

32

Bennett, Gary

58

Berdy, James

20

Berish, Bonnie

112

55

The Bloom Agency-Dallas

Bradley, Paul Brown, Rae

83

94

29

Emphasis Limited

40, 69

Heller, Cheryl

29

Ensenberger, Peter

58

Herring, Jerry

85

Hoffman Browne Marketing

42, 48

32

F Faia, Don

House & Garden , Conde

4

51

73

Leo Burnett Company

32

83

Discovery

Flejtuch, Greg

91

Ford Motor Co.

14

83

Designers

112

Karnes, Beth

106

Kay, Bob 39

29

Ketchum Advertising/ 23

San Franc isco

104

Kidwell , Tim

98

36 80 74

Gangi, Christin

40

L

Gardner, Althea

7

Laidlaw, Tom

112

9

LaTona Product ions

Goldstein, Marty

97

Lauper, Cyndi

58, 60

Leo , Rozanne

12

Bank

23

Griglak, Jim 74 112

56

Guest Informant

39 110

32

Lewis, Dennis Linder!, Er ic

Gunn Associates

40

Levenson , Levenson & Hill , Inc.

80

109

23 12

Lemon , Ann

Great Northern Annu ities

40

79

Geer, DuBois Inc.

Great Amer ican First Savings

9

29

89 104

Kuntz, Bryan

Grant, Karen Lee 94 , 101

55

Kolesar & Hartwell

9

Gose in, Frank

103

25

129

Kobersteen , Kent 83

G

40

Dolan/Wohlers Company

17

K 35

55

GRP Records

Dix & Eaton Corporate

190 Photography Annua/1988

51

Kaminsky, Tom

129

Communications

Islands

Johnson & Simpson Graph ic

32

Diebold, George B.

87 40

Jay, John C.

60

Fu ller, Dyal & Stamper, Inc.

Christian Dior

4

lanziti , John In Fash ion

J 32

Franz -Moore , Paul

De Ziller, Harry

26

74

Frankl in & Assoc iates

Design House Consultants

Burklein-Arnold , Karin

36

Dallas Convent io n &

Limited

58, 60

4

32

D

Bowles

39

85

Franco, James

Designframe Incorporated

Tobacco Corp.9

Nasi

4

Foremost Publishers

53

Visitor's Bureau

80

Hoffman, Steve

Fortune

Design Force Inc.

89

Brown & Williamson

Bussman, Paul

Curtis, Mel

deLesseps, GM

9

Burnham, Pat

Heller Breene

Fleishman Hillard Inc.

98, 106

42 , 48

110

89

Fisher, Kevin

91

Davis, Garry

32

67

Brockbank,Lorne

46, 51, 62

Employers Insurance

Corporation

D'Arcy Masius Benton &

17

Blue Cross of Missouri The Boeing Co.

Hathaway, Steve

Franklin, Charly

89

60

Fender Musical Instruments

118

Crum, Lee

39

Butler

Farmer, David

92

Cuyler, Joel

23

Harrington , Wendall

Fina Oil & Chemical Co.

Curtis, Suzette

Benziger, Maureen

Motorcycles

Fallon McElligott

10

Design

14

83

7

Figgie International

4

Bloomingdale's

Dyal, Herman

Faith Ranch

51, 53

Sue Crolick Advertis ing &

Beckwith , Jim

Berte, Jim

Harley-Davidson

Don Faia Design

26

Corwin , Jeff

Bartle Bogie Hegarty Limited

Frank B. Hall & Co.

60

Farrar Straus & Giroux

51

Barta, Patrick

23

Corporate Communications

Associates

Barile, Carlo

Drummond, Stacy Duckworth, Nancy

Inc.

106

Public Relations

80

76

103

Cole & Weber, Ogilvy Mather

25

Hajec, Greg

Esquire

Publications

Avenue

73

12

Elle

25

Christie, Jacqueline

Art & Antiques, Allison

H.B.E. Corp.

Doyle Graf Mabley

E

Chouinard Equipment, Maria

12

56

East/West Network

Chiat/Day, Inc.

45

25

Dorrance, Denise

Harmony House Publishers, B ill

23

70

H

Donaghue,John

80

CBS Records, Epic Records

74

American Cancer Society American Way

23

60

CBS Records Canada Special

65

Amendola, Denny

25

Carmichael Lynch, Inc.

After Dark Collection by Pretty Polly Hosiery

94

14 12

Liane, Christopher 56

Liska & Associates Lizotte, Dave

0

106

110

Obata Design , Inc.

Los Angeles Magazine

56

73

Oceanic Poster Company O'Dell, Dale

Los Angeles Times 60

Magazine

Lost Arrow Design Team

25

p

103

Lower, Chris

Page, David

23 46, 51, 62

Pagniez, Regis

M

19

Pallas Advertising

Madsen, Eric

87

Madsen and Kuester

87

91

Manarchy, Dennis 69

Martex/West Point Pepperell Martin, Ken

Pallas, Kristine

19

Papin, Bernie

10

Parade

Mandarin Oriental Hotel Group

73

74

53, 58

Passberger, Herb

14

Patrick, James B.

35

Paulhus, Donald G.

35

Pennebaker, Ward

116

Masch, James

76

Perspectives

Mayumi, Junko

74

Peterson, Darrell

76 65

McMacken, Steve

32

The Phelps Group

McMillen, Nancy E.

42, 58

Po laroid Corporation

31

McQuiston, Rick

Prochnow, Bill

Meyer, Jackie Merri Microsoft

65

74

26

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70

48

35

67

A 101

Miller, Jeffrey

RDA, Inc.

12

Miller, Jim

26

Ragland, Kenny

Milwaukee

62

Ralston Purina Company

Modesitt, Joy

12

Modugno, Lori

40

69 29

Raphaele/Digital 74

Transparencies

Mooney Aircraft

Reebok

79

Corporation

83

Regard ie's

Moore, Brian

80

Reilly, Micheal

Morey, John

12

Riaro/Dombrowski Inc. Hair

Mountain Bell Myron

67

Salon

65

53 122

74

Richards, Peter

80

Rickards, Larry

67 19

N

Robaire, Jean

Narada, Inc. 12

Robertson, John

23

Nathan, Amy

Robinson, Anne

26

98

National Car Rental

26

Robinson, Debbie

National Geographic

42, 55

Rolling Stone

Neleman, Hans

101

Nelson, Sharon

62

Nichols College

76

Nichols Institute

89

Nike, Inc.

Associates

SHR Communications Planning 110

and Design

19

Noble, Dean

89

s

91

San Diego Padres

Northeastern University Northwest Airlines

29

89

Savage Design+ Baxt 69

76

7

San Francisco Chronicle Graphics

Highgate Cross & Cathey 130 W. Liberty Drive Wheaton, IL 60187 Toll-free: 800-426-0265 or in IL: 312-653-2700

73, 85

St. Mary's Medical Center 76

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129 76

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12 87

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51

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67

101

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42, 58

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51, 53

20

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70

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91

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EDITOR'S NOTE

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Photography Annua/1988

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192

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48

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69

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Four are Annual Reviews of the best work being done in Design, Advertising, Illustration and Photography, selected by national juries of top professionals in the field. 875 pieces of the 36,577 entries submitted in 1987 were chosen, making the CA Annuals the largest in entries, the most difficult for acceptance and the most prestigious in the industry.

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NOV1984

$18

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$18

CA-84 Advertising Annual JAN/ FEB 1985

$6

Deborah Sussman; Arthur Meyerson; Wilson McLean; Weymouth Design; Art Posters; Index to Volume 26 MAR/ APR 1985

$6

A Day in the Life of... ; Carlos Llerena Aguirre; Samata Associates, Inc.; Dave Davidson; Marvin Mattelson; The Martin Agency; Candid Photographs of Arthur Fiedler MAY/ JUN 1985

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CA-77 Advertising & De ign Annual JU L/AUG 1978

$12

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$6

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Japanese Design; Richard Saul Wurman: Access Press; Sharleen Pederson; Graphic Designer's Production Handbook; Clint Clemens; Index to Volume 24 MAR/ APR 1983

JUL/ AUG 1983

$12

SEP/ OCT 1983

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Short-Run Printing; Jack Summerford; Teresa Fasolino; Primo Angeli; Light Language; Consensus on Type; Corning Glass Works; Annals of Design (I); Forecast of Ad Billings NOV1983

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CA-83 Design Annual DEC1983

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CA-83 Advertising Annual JAN/ FEB 1984

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Designing the L.A. Olympics; Gary Kelley; Johnson & Simpson; Annals of Design (2); Lance Hidy; Index to Volume 25 $6

25th Anniversary Issue: TheCA Annual Judges: Judging Process $6

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Illustration Annual AUG1984

$6

The Gap Between Designers and Top Management; Borders, Perrin & Norrander; Bill Nelson; The Coys; Robert Llewellyn; Posters; Why a Computer

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Photography Annual $6

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CA-85 Design Annual DEC1985

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JAN/ FEB 1986

$6

$12

$6

Anita Kunz; R/Greenberg Associates; Gregory Heisler; Bill Robles; Larry Bender; Computer Graphics for Design and Production

$6

Steinhilber & Deutsch; Per Arnoldi's Posters; The Californias; Sue Crolick; Casa Lupita Menu; Burson-Marsteller Design Group, Ed Soyka; ASMP MAY/ JUNE 1986

$6

Koppel & Scher; Skip Liepke; WPA Posters; Rusty Kay; Jean Moss; The College Marketing Game $12

$12

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Statue of Liberty Exhibit; Douglas Smith; Colossal Pictures; Louise FiJi; James Sebastian; Frankenberry, Laughlin & Constable; The American Advertising Museum; Next

CA-86 Design Annual

MAY/ JUN 1987

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John Van Dyke; GSD&M; Kathryn Kleinman; Alan Cober Sends His Best; Esprit Bed & Bath; Color Predictions; Michael Mabry; San Francisco Design Discussion; Ardeshir Mohasses JUL1987

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$12

SEP/ OCT 1987

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CSU Poster Competition; United Way Campaign; Carbone Smolan Associates; William Cone; Willie Moy; Armando Testa; Aspen; Creative Greeting Cards; Roger Black on Staying Alive; Ed McCabe and Backwater Advertising NOV 1987

DEC1987

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$18

$18

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Smart Yellow Pages; William Neill; Art Chantry; "Design Jobs: Fact and Fiction"; Kunio Hagio; Heller Breene; Gene Hoffman; AlGA Conference II ; Index to Volume 29 MAR/ APR 1988

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Robert Appleton; Vint Lawrence; Museum of Flight, Seattle; Martin/ Williams; Simpson's "An American Reader"; Yuri Dojc; Jack Roberts; Exhibit; Marget Larsen MAY/ JUN 1988

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NOV1986

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Museum Design Competition; Levine, Huntley, Schmidt and Beaver; Jeffrey J. Smith; Barbara Bordnick; Sibley/Peteet; Car Emblems

JAN/ FEB 1988

MAR/ APR 1986

SEP/ OCT 1986

MAR/ APR 1987

Advertising Annual

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AUG1986

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Heinz Centennial Annual Report; Richard Hamilton Smith; Dyer/Kahn; Wieden & Kennedy; Charleen Kinser Designs; Twenty-seven Chicago Designers; Magazine on Wheels; " Hold the Red Ink, Merger on the Right"; Index to Volume 28

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JAN/ FEB 1987

Photography Annual

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Photography Annual SEP/ OCT 1984

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The Art Annua11983 Illustration & Photography

MAY/ JUNE 1984

Stromberg; Tyler Smith; Richard Nodine; Marshall Arisman; Phillip Snyder's Christmas Cards; The Designer and the Technology Explosion; Aspen '82

$6

Ken White; Leo & Diane Dillon; North Charles Street Design Organization ; Lanny Sommese; Phillips Photographers; Abercrombie & Bastiansen; Alvin Lustig Remembered; Computer-Aided Graphic Design

MAR/ APR 1984

Mi~hael Manwaring; Bruce

NOV/ DEC 1982

MAY/ JUN 1983

DEC1986 CA-86 Advertising Annual

CA-84 Design Annual

$6

Taylor & Browning; Thomas Blackshear; Livingston & Company; Omni Magazine; Sex in Advertising; Michael Going; Exhibit; Heather Cooper's Carnaval Perpetuel; Nine Ways to Improve an Ad JUL 1988 Illustration Annual

$12