aug1990

COMMUNICATION ARTS VOLUME 32, NUMBER 4, PHOTOGRAPHY ANNUAL 1990

Editor and designer Patrick Coyne Executive editor Jean A. Coyne Associate designer Stephanie Steyer Production manager Scott Perry Production RonNiewald Scott Teaford Advertising and circulation director Michael Krigel

4

ADVERTISING

33 INSTITUTIONAL 64

BooKs

64

EDITORIAL

102

FoRSALE

104

SELF-PROMOTION

133

UNPUBLISHED

Retail sales Sandra Foss-Alvarez

COLUMNS

Administrative assistants Deborah Donovan Judy McBride

150

EDITOR'S COLUMN

Subscription manager Vickie Perry

164

FREE-LANCE

173

OPINION COMMENTARY

Philip Meggs

Traffic manager Vernon Carter

176

DESIGN TECHNOLOGY

Wendy Richmond

Consulting editor Richard Coyne

181

BooK REviEws

Contributors Maxwell Arnold Tad Crawford Byron Ferris Mark Fulton Barbara Gordon Mike Hicks Jim Johnston Marty Neumeier Robert A. Parker Rhodes Patterson Wendy Richmond Mill Roseman Dugald Stermer

184

MATERIALS, AVAILABLE LITERATURE

190

CLUBS, CONFERENCES, SEMINARS

191

INDEX TO PHOTOGRAPHERS

194

INDEX TO ART DIRECTORS, DESIGN FIRMS, AGENCIES AND CLIENTS

Subscription Nina Bland Ronnie Brown

Barbara Gordon

Communication Arts Magazine (tSSN 0010-3519) is published eight times a year, January/February, March/April, May/June, July, August, September/October, November, December,

by Coyne & Blanchard, Inc., 410 Sherman Avenue, Palo Alto, California 94306.

Copyright 1990 by Coyne & Blanchard, Inc. Second class postage paid at Palo Alto, California and additional offices.

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

No responsibility will be assumed for unsolicited editorial contributions. Manuscripts or other material to be returned should be accompanied by a self-addressed stamped envelope adequate to return material.

Send change of address notification at least 45 days prior to effective date, include both old and new addresses.

Subscription rates : U.S.: one year-$50; two years-$96 Canada : one year-$55 (U.S.); two years-$101 (U.S.) Foreign : one year-$95 (U.S.); two years-$185 (U.S.).

Single issues: $7 except Illustration Annual (July) $14, Photography Annual (August) $14, Design Annual (November) $21 and Advertising Annual (December) $21 .

Postmaster : Send address changes to Communication Arts, P.O. Box 10300, 410 Sherman Ave., Palo Alto, CA 94303.

Outside North America, single copies of CA Annuals are distributed exclusively by RotoVision SA, Route Suisse 9, CH-1295 Mies, Switzerland ; phone (022) 755 30 55, Fax (022) 755 40 72, Telex 419 246 rovi ch.

1990

PHOTOGRAPHY ANNUAL The pieces reproduced in this Annual are under prior copyright by the creators or by contractual arrangements with their clients .

They are publ ished here under one-time publishing rights permission as stipulated in the call for entries . Nothing shown in the Annual may be reproduced in any form without obtaining the permission of the creators and any other person or company who may have copyright ownership .

ADVERTISING

Jay Maisel , photographer Rich Silverstein/Betsy Zimmermann , art d irectors Goodby, Berlin & Silverstein , ad agency Royal Viking Line , cl ient Ad headline : On the Road to Bermuda , a Limousine .

2 Myron , photographer Mike Toth, art director/designer Toth Des ign, design firm Countess Mara, client Ad headline : Old Gold Jacquards .

3 Robert Severi , photographer Mike Rafayko , art d irector Leo Burnett Company , Inc ., ad agency United Airl ines , client Still photograph used in television commercial .

Announcer : When most people are just getting up , one airli ne is off to over two hundred bus iness centers across the Un ited States .

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1990

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ADVERTISING

Lynn Sugarman, photographer Joanne Scanello, art director Larry Silberfein, writer TBWA Advertis ing, Inc ., ad agency Perry Ellis Cologne, client Ad headline : Maybe you 'd kiss it if it was wearing Perry Ellis cologne .

2 Steve Brady, photographer J. Michael Krause , art director/designer Hinckley & Slade , ad agency Oasis Cancun Hotel , client Travel poster headline : A Magnificent Monument to Parad ise.

3

Sheila Metzer , photographer JoAnn Bruce , art director/designer Elizabeth Arden , ad agency/design firm/client Introducing Fendi for men . Ad headline: The legend lives .

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Nadav Kander , photographer Dave George , art director Allen Brady & Marsh Limited , ad agency Superkings, .client Outdoor board .

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ARTS

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ADVERTISING

Patrick Bennett, photographer Michael Harlow, art director The Juhl Agency , ad agency Indiana Department of Tourism, client Still photograph used in a television commercial.

2

Brian Lanker , photographer Joe La Cascia, art director/designer Mandelbaum Mooney Ashley , ad agency Fisher Mountain Bikes , client Ad headline : One CEO who doesn 't drive a Mercedes .

Portrait of Gary Fisher who rides and tests Fishers every day .

3 (series) Guzman , photographer Carol Watts , art director/designer I. Magnin & Co ., ad agency/client

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ADVERTISING 1 (series) Raymond Meier, photographer Christoph Hitz, art director To Boot, client National ad campaign.

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ADVERTISING

Scott Morgan, photographer/designer Tommy Steele , art director Capitol Records , client John Andrew Parks Ill album cover.

2 Marshall Harrington , photographer Nancy Wahl , art director Kenneth C. Smith & Associates , ad agency San Diego Gas & Electric, client Ad headline: On your last vacation , did you forget something at home?

3 Eric Meola , photographer Andy Baltimore , art director GRP Records, client Dave Grusin album cover , Migration.

4 Joe Baraban , photographer Lori Howland , art director Leo Burnett Company , Inc ., ad a:gency Allstate Insurance , client

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Ad headline: We'll protect your boat from almost anything that comes up .

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ADVERTISING

Aaron Jones, photographer Mark Erwin , art director Ketchum Advertising , Los Angeles , ad agency Security Pacific Merchant Bank, client Ad headline : You 'd be amazed at what can be used to finance a company 's growth.

2 Per-Erik Berglund, photographer Gilles Pellagalli , art director Olin ABC Reklambyra , ad agency Cool Carriers Shipping Co ., client Ad headline : Yours sincerely.

3 (series) Craig Cutler, photographer Nik lves , art director Wells , Rich Greene , Inc ., ad agency IBM , client Ad headlines: Our old computer system made us very creative. We invented excuses for it every day. Every department says , 'Find us a solution .' The AS/400 lets me give them something better : A choice of solutions . After years of finding solutions for everyone else in th is company, I just found one for myself.

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ADVERTISING

Jim Erickson, photographer Gregg McGough, art director Terry Slaughter, creative director Slaughter Hanson & Associates, ad agency AmSouth Bank, client Ad headline: You give an arm and a leg for your business . It's rewarding to find a business banker who gives his heart and sole .

2

Jim Arndt, photographer Jud Smith, art director Carmichael Lynch , Inc ., ad agency Zebco , Corp ., client Ad headline: Fish with a Rhino .

3 Robert L. Grigg, photographer Mike Arola , art director/designer AC & R Advertising Inc., ad agency/design firm Pirelli-Armstrong Tire Corporation , client Ad headline : For tires as good as the cars they go on .

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4 Kevin Cruff, photographer John Zegowitz , ar·t" director Bozell , ad agency J.l. Case , client Ad headline : Teeth that stand up to the toughest work .

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ADVERTISING

Chuck Kuhn , photographer Warren Eakins, art director Mike Tiedy , designer Wieden & Kennedy , Inc ., ad agency Nike , Inc ., client Poster headline : I've always had those little goals that I've worked towards. They add up . Stacy Allison , first women to climb Mt . Everest.

2

Steve Hix , photographer Gary Otteson , art director Travis/Waltz & Associates , ad agency Allied Signal , client Ad headline : Innovations ahead of the train .

3 (series) Marshall Harrington , photographer Dan Wilson, art director Lloyd 's Furniture, client Environmental images: Irish Glade . Cottonwoods .

Badlands .

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ADVERTISING 1 (series) Steve Uzzell , photographer Bernie Papin , art director/designer Bernie Pap in Advertising , ad agency Yellow Freight System, client Ad headlines: Season's greetings from everyone at the Yellow Freight System . Thursday ... 8:00 p .m .. .. 500 miles to sunrise .

Monday ... 8:15 a.m .... A relay race .

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ADVERTISING 1 (series) Jay Maisel, photographer Steve Stone , art director/designer Goodby, Berlin & Silverstein , ad agency Royal Viking Line , client Four-page inserts . Ad headlines : This . Heaven. Paradise.

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ADVERTISING 1 (series) Dennis Manarchy , photographer David Jenkins , art director Wieden & Kennedy, Inc. , ad agency Nike , Inc ., client 12-page insert featuring Michael Jordan , Bo Jackson , Israel Paskowitz and Mark Allen discussing things they might have said but never did .

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ADVERTISING

Michele Clement, photographer Brooke Leatherman, designer One Design , design firm Windham Hill Jazz, client Tuck and Patti album cover , Love Warriors.

2 Jim Arndt, photographer Jud Smith , art director Carmichael Lynch, Inc ., ad agency Zebco , Corp ., client

Ad headline : Indestructible from tip to butt.

3 Bill Robbins , photographer Kieth Watling, art director Bader Rutter & Associates ., Inc ., design firm Dow Chemicals Company, client Ad headline : Overwhelming advantage .

4 Ed Zak, photographer Matt Hal igman , art director Hal Riney & Partners , ad agency Sandra Fenton & Associates , photo retoucher Poland Spring , client Outdoor board headline : Poland Spring .

World 's finest water & ju ice .

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ADVERTISING

Timothy Doty, photographer Mark Dellplain , art director Glenn Yonezawa , designer Yonezawa Des ign , design firm M'otto Red Dot, ad agency/c li ent Ad and poster for sportswear.

2 Terry Heffernan , photographer James Dearing , art director Ivan Horvath , creative director Ogilvy & Mather, ad agency Pan Pac ific Hotels & Resorts, cl ient

Ad headl ine : We blend the local culture into ours.

3 David Leach , photographer Bob Jensen/Gay Benson , art directors/designers Tracy-Locke , ad agency Tom Hansen , wr ite r Ben Hogan Company , c li ent Ad headline : Set your sights for straighter , longer shots wi th a revolutionary club design and shaft concept .

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ADVERTISING

Arthur Meyerson , photographer David Jenkins, art director/designer Wieden & Kennedy, Inc ., ad agency Nike, lnc.,client Ad headline : Mothers, there's a mad man running in the streets .

INSTITUTIONAL 2 Charly Franklin , photographer Stacy Rogers, art director/designer Rogers & Company, ad agency AT&T , client

Company announcement of improved 800 service .

3 Peter Arnell , photographer/art director/ designer Arnell/Bickford Associates , ad agency/ design firm Donna Karan ·New York Coverings/Hanes, clients Cover of press kit to hold new product information from Donna Karan .

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4 Alan Cook, photographer Gary Templin, art director/designer Richards, Brock, Miller, Mitchell , & Associates, ad agency/design firm Burlington Northern Railroad, client Brochure cover.

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INSTITUTIONAL 1 (series) Hans Neleman , photographer Carin Berger/Steve Mignogna, art directors Carin Berger, designer Belk Mignogna Associates , design firm Atochem North America Inc ., client Chemical company capabilities brochure.

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INSTITUTIONAL

Daniel Husted, photographer David Winigrad , art director Lori Stanzel, picture editor Hal Lewis Group , ad agency Diamond State Telephone, client A community interest insert for the telephone book illustrating various areas in the state of Delaware .

2 (series) Alan W. Abramowitz, photographer Karen Madsen, designer Karen Madsen Graphic Design , design firm Western Tugboat , Inc., client Capabilities brochure .

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INSTITUTIONAL 1 (series) Clint Clemens, photographer Vic Cevoli , art director Hill, Holiday, Connors, Cosmopolous, ad agency Nissan Motor Corp ., lnfiniti Division , client Dealer brochure .

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INSTITUTIONAL 1 (series) John Guider, photographer Susan Browne, art director/designer Perkins & Edwards, ad agency American Cancer Society, client Photographs used in an invitation for a special outdoor fund raiser at Amy Grant's farm .

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INSTITUTIONAL

Jeff Smith , photographer Don Ferber, art director/designer Bomzer Design , design firm Raytheon Company , client Annual report.

2 (series) Jim Arndt, photographer Susan Roepke , art director Carmichael Lynch , Inc. , ad agency Harley-Davidson , Inc ., client European fashion catalog .

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INSTITUTIONAL 1 (series) Russ Schleipman, photographer Margie Chin , art director/designer Allen +Ch in, design firm New England Electric, client Annual report.

COMMU

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INSTITUTIONAL 1 (s.eries) Peter Arnell , photographer/art director Peter Arneii/Shelley Benner, designers Arnell/Bickford Associates , ad agency/design firm Donna Karan New York , client Catalog .

2 Glenn Katz , photographer Warren Lett, creative director Lett Commun ications , ad agency Balcor Property Management, client Corporate brochure .

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INSTITUTIONAL

Susumu Sato, photographer Joy Greene, art director Nancy Goldstein, designer Young & Rubicam/CYB Yasumura NYC. , ad agency Chiquita, client Brochure . Background by Barbara Plewinska.

2 Russ Schleipman , photographer Drew Allison, art director/designer Benes Doyle , Inc ., design firm Biotechnica International , client Annual report for Iowa seed producer.

3 Joe Baraban , photographer Mike Miller/Jim Adler, art directors Genesis , design firm Quaker Oats , client Annual report.

4 Joanna McCarthy , photographer Jorge Domeneck , art director/designer Penny Lane Graphics Inc ., design firm Nikon , Inc., client

October selection from calender .

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INSTITUTIONAL 1 (series) C.B. Hard ing , photog rapher Steve Sandstrom , art director/ designer Borders , Perrin & Norrander , Inc ., ad agency Sandstrom Des ign , design firm Avia Group International , client Catalog .

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INSTITUTIONAL

Alan David-Tu, photographer Stephen Hall, art director Tim Cronin, creative director John Q . Harrington, creative group manager Rumriii-Hoyt , Inc ., ad agency Eastman Kodak Company , client International Photography cover . Originally commissioned for a multinational advertising campaign for a manufacturer of fragrances , IFF.

2 (series) John Henley, photographer Charlie Clark, art director Clark & Clark , ad agency Kidwell Turf Farms Inc ., client Photographs used in collateral materials.

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INSTITUTIONAL

Bruce Peterson , photographer Adage Inc ., client Annual report.

2 (single, part of series) Will iam Huber, photograher Margie Chin , art director/designer Allen + Chin , design firm New England Electric, client Annual report.

3 (series includes 2) William Huber, photographer Margie Chin , art director/designer Allen + Ch in, design firm New England Electric, client Annual report.

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INSTITUTIONAL 1 (series) Terry Heffernan, photog rap her Steve Tolleson, designer Tolleson Design , design firm Society Expeditions Cruises, client Catalog.

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INSTITUTIONAL 1 (series) Lonnie Duka, photographer Tim Johnson , designer lmaginology/Artworks , design firm Enron Corp., client Annual report.

2 Ernest H. Brooks II, photographer Cousteau Society, client Shown at a convention discussing their New Guinea expedition .

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INSTITUTIONAL 1 (series) Bruce Wolf , photographer James Sebastian , art director Will iam Walter , designer Des ignframe , design firm Westpoint Pepperell , cl ient 1990 spring catalog .

2 Bruce Hands , photographer David Hoffman , art director lvey Seright Photographic Lab , client Trade show display.

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INSTITUTIONAL

Ralph Daniel , photographer Frank Laurino , designer 9th Wave Studio, design firm Facil ity Group, client Brochure .

2 Tom Levy , photographer Susan Novak Williams , designer Susan Williams Design, design firm San Francisco Foundation , client Annual report , child and her mother using a computer at the Disabled Children 's Computer Group .

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3 Terry Heffernan , photographer Pat Samata/Greg Samata , designers Samata Associates , design firm People 's Energy, client Annual report.

4 Tom Maday, photographer Sam Landers , art director Landers-Larson , design firm The Greater Chicago Food Depository, client

Poster for benefit party sponsored by the fashion industry .

5 Lonnie Duka, photographer Gary Hinsche, art director/designer Robert Miles Runyan & Associates , design firm Leisure Technology , client Annual report.

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BOOKS

Jay Dickman , photographer Jennifer Barry, art director/ designer Collins Pub lishers, client Photograph from A Day in the Life of China.

2 Stewart Charles Cohen , photographer Fabrizzio La Rocca , art director Random House, client

Cover of Fodor's Hungarian Travel Guide.

EDITORIAL

3 Lee Crum , photographer Doug Renfro , art director Whittle Communications, Special Report , client "States of Graceland," article on Paul Macleod , Elvis Presley's greatest fan .

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4 Laurie Rub in, photographer Amy Seissler, art director American Health , client Magazine article on fish preparation .

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EDITORIAL 1 (series) Will iam Wegman , photographer D.J. Stout, art director/designer Texas Monthly, client Magazine article , "Get Along Little Dogg ies ."

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EDITORIAL 1 (single and part of series) Tom Levy , photographer San Francisco Chronicle , client Portrait of Daniel Gardiner and his seeing eye dog , Amassa , from fund -raising series .

2 (series includes 1) Tom Levy , photographer San Francisco Chronicle , client Selections from "Season of Sharing ," newspaper 's fund-ra ising series .

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EDITORIAL

Tim Peters , photographer Jeanne Gray , art d irector Canadian Yachting , client Article , "The Buoys of Summer ."

2

Constance Hansen , photographer Sandra DiPasqua, art director Pame la Hassel l, picture editor Conno isseur , client Article , "Caviar Emptor ."

3 Mark W. Richards , photographer Rudolph C. Hoglund , art director Michele Stephenson , picture editor Time , cl ient Article , "Fun in the Sun. "

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1990

EDITORIAL 1 (single and part of series) Bob Krist , photographer Bob Ciano , art director Hazel Hammond, photo editor lla Stanger, editor Travel & Leisure , client Article, "The Cotswolds , Everyone 's Idea of Rural England."

2 (series includes 1) Bob Krist, photographer Bob Ciano, art director Hazel Hammond , photo editor lla Stanger, ed itor Travel & Leisure , client

COMMUNICATIO

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EDITORIAL 1 (series) Ke ith Carter, photographer D.J . Stout , art director/designer Texas Monthly , client Artic le, "The Soul of East Texas."

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EDITORIAL

Alan Briere, photographer Suez B. Kehl , art director Cinda Rose , designer/associate art director Glover S. Johns , Ill , illustrations editor National Geographic Traveler , client Article , "Into Africa ."

2 Brian Lockwood , photographer Adrienne Hopkins , art director Arete , client

Magazine article , "Mont St. Michel. "

3 David G. Toerge , photographer Lesher Communications Inc ., West County Times , cl ient Article on a proposed mural for a pedestrian walkway in Richmond , Cal ifornia .

4 Raymond Meier, photographer Maxine Davidowitz, editor Health, client Magazine article , "Bean Story."

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EDITORIAL 1 (single and part of series) Robert Caputo , photographer Suez B. Kehl, art director Cinda Rose , designer/associate art director GloverS . Johns, Ill , illustrations editor National Geographic Traveler, cl ient Article, "Into Africa ."

2 (single and part of series) Frans Lanting, photographer Suez B. Kehl, art director Cinda Rose , designer/associate art director GloverS . Johns, Ill, illustrations editor National Geographic Traveler, client 3 (series, includes 1 and 2) Robert Caputo/Frans Lanting/GOnter Ziesler, photographers Suez B. Kehl , art director Cinda Rose , designer/associate art director GloverS . Johns , Ill , illustrations editor National Geographic Traveler, client

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EDITORIAL

Mark W. Richards, photographer Malcolm Frouman, art director Business Week, client Article, "Communism in Turmoil."

2 Sheila Metzner, photographer Fabien Baron, art director/designer ltalia Vogue , client

Article about jewelry accessories, "Metalli."

3 Pete McArthur, photographer Rosemarie Turk, art director Stephen Doyle, creative director Drenttel Doyle Partners , design firm Spy, client Magazine article, "Best of Breed, Seventeen Splendid Sunglasses."

4 Farrell Grehan, photographer Suez B. Kehl, art director Cynthia B. Scudder, designer/assistant art director Winthrop D. Scudder, illustrations editor National Geographic Traveler, client Article , "Serenity on the Seine ," about Claude Monet's home in Giverny, France.

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EDITORIAL 1 (series) John Ch iasson , photographer Paolo Menon , art director Amica , client "Dressed to Kill ," an article on women becoming Marines on Parris Island , South Carolina.

COMMUNICATIO

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EDITORIAL

Lee Crum , photographer Rip Georges , art director Esqu ire , client Art icle on Morgan sports cars , "Road Scholars ."

2 Danny Turner, photographer Steve Connatser , art director Elizabeth Tindall , designer 'D' Magazine , cl ient Portrait of Bill Dear , private eye .

3 Eric Meola, photographer Swan Lian Kwee , art d irector Arete , client Magazine article , "Afr ica ."

4 Bruce Hands , photographer Shauna Wolf Narc iso , art director/designer Pacific Northwest, client Magazine article , "Soap Lake ."

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EDITORIAL 1 (series) Brian Lanker, photographer Steve Hoffman, art director Sports Illustrated, client Article , "You Can Count Them Out: Palookas, tomato cans , opponents, whatever they're called, these are the fighters who go down so that the hometown heros can go up ."

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EDITORIAL

Burt Jones/Maurine Shimlock, photographers Charlene deJori, art director/designer Cheryl Schorp/Charlene deJori , editors Ocean Realm , client Article , "Symbiosis : Living Together ."

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David G. Toerge, photographer Lesher Communications Inc ., West County Times , client Article , "Specialty Shop, " on a new special effects lab and its president.

3 Steve Marsel , photographer Gary Koepke , art director/designer Redgate Communications, ad agency Koepke Design Group, design firm Groupe Bull, client Cover photograph for the first issue of Global , sponsored by Bull HN Information Systems Inc .

4 Stephen Shames, photographer Bert Fox, art director/designer Philadelphia Inquirer Magazine , client Article , "Anc ient Therapy for a Modern Plague ," on acupuncture being used to combat cocaine addiciton .

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EDITORIAL 1 (series) Sally Gall, photographer D.J. Stout, art director/designer Texas Monthly, client Article , "Bathing Beauty ." The 1989 swimsuits look back to an age of classic design and sensuality .

2 Claudio Vazquez , photographer John Korpics , art director Julie Gerrity, art coordinator Regardie 's, client Portrait of Irwin Zazulia , president of the Hecht's Company .

3 Jeff Heger, photographer Bonnie Henson, designer Inside China, client Article , "Reform , more turtle than hare ."

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EDITORIAL

Diego Uch itel , photographer Marilyn Babcock, art director Michael Brock, design director L.A. Style , client Cover photograph for article, "Latin L.A. Beyond the Barrio ."

2 (series) Michael Regnier , photographer Steve Keetle, art director Steve Keetle/Michael Regnier , designers Kizer Group , design firm Kansas City Star Magazine , client Article , "The Power and Tragedy of Man ic Depression ."

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EDITORIAL 1 (series) Bob Sacha, photographer Suez B. Kehl, art director/designer National Geographic Traveler , client Article , "The Romance of Cornwall ," about a county in England .

2

Matt Mahurin, photographer Doug Renfro , art director/designer Wh ittle Commun ications , Special Report , client Article , "Fatal Attraction ," describing the attack on actress Theresa Saldana by Arthur Richard Jackson .

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EDITORIAL 1 (series) Raymond Meier , photographer Sheva Fru itman , styling New York Times Magazine , cl ient Article on women 's accessories .

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John Curtis , photographer Pamela Strauss , art director/hand colorist Carol Ross , designer Raban Pub lications, Walking Magazine , client Article , "Page Boy ."

2 Peter Menzel, photographer Caroline Despard , picture editor Smithsonian, client Article on a dinosaur factory in southern Cal ifornia.

3 Jeff Sedlik, photographer Michael Fagien/Lori Fagien , publishers Jazziz , client Magazine cover portrait of Miles Davis .

2

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EDITORIAL 1 (single and part of series) Bob Krist, photographer Carol Beall, photo editor Richard Busch, editor Tom Kennedy, director of photography National Geographic Traveler, client Article , "Festival in Munich ."

2 (series includes 1) Bob Krist, photographer Carol Beall, photo editor Richard Busch , editor Tom Kennedy , director of photography National Geographic Traveler, client

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Jamie Tanaka . photographer Jim Kiehle , art director Cal ifornia Magazine , cl ient Photograph for spec ial issue , "The Decade in Pictures ."

FOR SALE 2 (series) Pamela Hanson , photographer The Art Group , des ign firm Hamilton 's Mayfair, c li ent Posters .

2

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SELF-PROMOTION

Lon Clark, photographer/art director/client Promotional mailer.

2

Bruce Hands , photographer/client Promotional mai ler .

3 Rosanne Olson , photographer/art director/designer/cl ient Promotional ad .

4 Jim Marvy, photographer/art director Brooke Kenney , designer Marvy! Advertising Photography, client Poster .

2

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3

SELF-PROMOTION

Doane Gregory, photographer/ art director/cl ient Robin Cox/Marian Shellenberg , designers Promotional mailer.

2

Gregory Heisler , photographer Nora Magee , art director McCaffrey and McCall , Inc ., ad agency Westvaco , Corp ., client Adfur papercompany.

3 (ser ies) Richard Lee Kaylin , photographer/ art director/designer RLK Visual Commun icat ions , design firm Aud io Visual Laborator ies ; Bose Corporation ; Media Maker; RLK Visual Commun ications , cl ients Aud io-v isual promotion .

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SELF-PROMOTION 1 (series) Chuck Shotwell , photographer/client Steve Liska , art director Anne Schedler , designer Liska & Associates , design firm Mailer.

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SELF-PROMOTION

Jamey Stillings, photographer John Bade, art director/ designer Rumriii-Hoyt , Inc ., ad agency International Center of Photography, client Awards ceremony poster .

2 (single and part of series) Harry De Zitter , photographer/client Tom Simons , art director Dave Chr istensen , designer Promotional poster .

3 (series includes 2) Harry De Zitter/Joel Meyerowitz/Jim Dow, photog rap hers Tom Simons , art director Partners & Simons , ad agency Cape Light/Robert Korn , client Poster series for custom and fine art photographic printmaker.

2

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Geoffrey Clifford, photographer/client John Garre , art director Direct mail.

2

Mark MacLaren, photographer/client Will Miller , designer Will Miller Design , design firm Promotional mailer and ad .

3 Steve Sharp, photographer/art director/ designer/client Direct mail.

4

Elle Schuster, photographer/art director/ designer/client Promotional ad .

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SELF-PROMOTION 1 (series) Michael Furman, photographer Michael Gunselman, art director/ designer Gunselman + Polite Design, design firm Michael Furman Photographer , Ltd., client Calendar .

2 Nick Vedros , photographer/ art director Vedros & Associates, client Direct mail.

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SELF-PROMOTION

1 (series) Jamey Stillings , photographer/ art director/client Dona Bagley, designer Direct mail .

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Harry De Zitter , photographer Tom Simons , art director/designer Partners & Simons , ad agency The New England , client Poster for exhib ition of photographer's work .

2

Tim Bieber, photographer/client Mike Rizzo , designer Magazine ad .

3 Neal Brown , photographer/art director/designer/client Direct mail.

4 Wesley Wong , photographer/designer/cl ient

Promotional mailer.

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SELF-PROMOTION

1 (series) Roger Keating, photographer/ art director/client Direct mail .

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SELF-PROMOTION 1 (series) Marc Hauser, photographer/c li ent Liska & Assoc iates , designer Promoti onal posters .

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SELF-PROMOTION 1 (series) David Maisel , photographer/client Michael Bierut/Sheila Hart, designers Vignelli Associates , design firm Promotional booklet.

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SELF-PROMOTION 1 (series) Tom Pich, photographer/art director/designer/client Quarterly calendar .

2 David Buffington , photographer/art director/client Promotional ad .

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2

SELF-PROMOTION

RJ Muna , photographer/art director/ designer/client Direct mail .

2

Nick Vedros , photographer Craig Neuman , art director/designer Barkley & Evergreen , ad agency Kansas City Art Directors Club , client Call for entries poster.

3 Robert Stahl , photographer Wendy Price , art director Impression Northwest, client Postcard commemorates the centennial of the state of Washington .

3

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SELF-PROMOTION 1 (series) Arthur Meyerson , photographer Kevin B. Kuester , art director Bob Goebel , designer Madsen & Kuester , design firm Potlatch Corporation, cl ient Brochure for paper company .

2 Nadav Kander , photographer/client John Gorham , designer Promotional poster.

3 Christopher Hawker, photographer/client Jeff Barnes , designer Barnes Design Office , design firm Direct mail .

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Phil Banko , photographer/art director/client Direct mail.

UNPUBLISHED 2

Dennis Murphy, photographer © 1990 Denn is Mu rphy

3 Scott Witte , photographer © 1990 Scott Witte

4 Larry Maglott, photographer © 1990 Larry Maglott

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UNPUBLISHED

Andrea Sperling , photographer © 1990 Andrea Sperling

2 Scott Barrow , photographer © 1990 Scott Barrow

3 Ralph Daniel , photographer Jim Wise , art director © 1990 Ralph Dan iel

4 Steve M. Alden, photographer © 1990 Steve M. Alden

2

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UNPUBLISHED

Mark Seliger, photographer © 1990 Mark Seliger

2

James Dickens , photographer Lee StaGier, art director To be used in an upcoming AlGA/ San Diego brochure . © 1990 James Dickens

3 Alan Cook, photographer/art director © 1990 Alan Cook

4 Kindra Clineff, photographer © 1990 Kindra Clineff

2

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Kirk McGregor , photographer © 1990 Kirk McGregor

2 Dennis Murphy, photographer © 1990 Dennis Murphy

3 Philip Saltonstall , photographer © 1990 Philip Saltonstall

4

Rochelle Marmorek, photographer © 1990 Rochelle Marmorek

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UNPUBLISHED

Pierre-Yves Goavec, photographer © 1990 Pierre-Yves Goavec

2 (series) Scott C. Schulman , photographer © 1990 Scott C. Schu lman

2

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Neil R. Molinaro , photographer © 1990 Neil R. Molinaro

2

Cl int Clemens , photographer © 1990 Clint Clemens

3 James Dickens , photographe r © 1990 James Dickens

4

Van Miller, photographer © 1990 Van Miller

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UNPUBLISHED 1 (series) Dick Durrance II , photographer © 1990 Dick Durrance II

2

Larry Maglott, photographer © 1990 Larry Mag lott

3 Patric ia Sener, photographer © 1990 Patricia Sener

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UNPUBLISHED

Louis Bencze , photographer Paul Chilton , art director © 1990 Louis Bencze

2 Rocky Kneten, photographer © 1990 Rocky Kneten

2

146

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EDITOR'S

COLUMN

PATRICK COYNE

HIS IS OUR SEVENTH PHOTOGRAPHY Annual. Originally, photography was one of the 27 categories in the 1961 CA Annual. As each year's entries increased, the Annual kept growing until the decision was made to publish the photography and illustration categories in a separate issue, The Art Annual.

T

That was 1976. More than 3,000 illustrations and photographs were submitted that year. The number of entries continued to increase and in 1984, with 8,700 illustration and photography entries, the decision was made to split the Annuals again.

This year we had over 11,000 entries with 5,493 illustrations and 5,932 photographs.

The site for the jurying session was the same as it has been since 1961, Hyatt Rickeys in Palo Alto, an attractive and comfortable place for the jurors to live and work. In August, when the design and advertising juries are here, the weather is predictably warm but rarely hot. Fog from the ocean, burning off.by mid-morning, acts as a natural air conditioner. April in Palo Alto can be something else.

We experienced cool weather and even a few sprinkles, but nothing like last year's hail and thunder.

The jurors arrived on Saturday, April 21. They were met at the airport and driven to the hotel. The jurying wasn't scheduled to begin until the next morning, but we all met for a get-acquainted dinner that evening.

The jurying was done in two large conference halls. Each was set up with projection equipment and five rows of tables for prints, tear sheets, brochures; etc. Light boxes were available for viewing transparencies.

A large patio outside the halls served for rest breaks and

150

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the catered buffet luncheons. We met on the patio at nine o'clock Sunday morning for a brief explanation of how the jurying process would work. There was coffee, tea and roll for any of the jurors or our staff that hadn't had breakfast.

We divided the jurors into two groups of three with each group screening half of each category. Jean Coyne, CA's executive editor, acted as the sixth screening judge during the preliminary process.

All but the smallest categories had been split so each team saw half of the entries in every category. Print entries were spread out on the tables by category. Many categories required several set-ups. Any juror could place a piece in the final by handing it to a member of theCA crew, who would put the entry into the "in" container. After all three jurors were satisfied that they didn't wish to put any other pieces into the finals, they then sat down and viewed a carousel of slides. The jurors screened these by marking the "in" or "out" column on prepared scoring sheets.

After each carousel was screened, the scoring sheets were tabulated and final carousels were set up with new scoring sheets. Efforts were made to keep entries from the same photographer from appearing in sequence.

Screening was completed by the end of the day Sunday.

1,671 entries were put into the final voting.

The final voting began on Monday morning and all five jurors worked together. Print entries were again spread out on the tables by category. Two paper cups, one white for "in," the other red for "out," with slots cut in the bottom, were placed upside down next to each piece.

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EDITOR'S CoLUMN

Each juror voted by putting a colored tile into the bottom of the appropriate cup. Since each juror voted with a different colored tile, we were able to make sure that each entry was voted on by every judge.

The secret voting method insures that every entry is independently evaluated by all of the jurors. No one juror can influence the vote of another, or see how the other judges have voted.

After all the jurors had finished voting, they moved on to the second hall for a carousel of slides. As in the screening session, this was done by checking "in" or "out" on scoring sheets.

While the jurors were voting on the slide entries, the entries in the first hall were turned over and, as the cups were lifted, the "in" and "out" scores were recorded on the back of each entry. After this was done, the entries were put back into the container, the cups and tiles picked up and the room prepared for another voting session.

The colored tiles were constantly resorted and put in the appropriate containers.

Vitro

The voting was finished Monday afternoon.

Three or more votes put an entry into the Annual. The accepted photographs were treated as equals in the design of the Annual. Decisions on size and placement were geared to reproduction evaluations and pacing, and always subject to the ever present necessity of controlling press channels and ink usage for web printing.

I would like to express our appreciation to the jurors who gave their time and conscientious effort to making the selections for the 1990 Photography Annual.

Jeff Barnes is principal and founder of Barnes Design Office in Chicago. Before opening his studio in 1981, he spent five-and-a-half years at Container Corporation of America as a senior designer under John Massey. Jeff is (Continued on page 162 ) Tard iff

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IN THE GARDENS OF HIS MIND

CLAUDE MONET FOUND HIS INSPIRATION

THE INSPIRATION BEHIND THE CREATIVE MIND

It was a crisis in the middle of his life that led the master Impressionist Claude Monet to retreat into a quiet world of his own making. Here at his "Giverny" north of Paris, he designed the gardens that became his sole inspiration. For the next 40 years he painted the ephemeral play of light and color. And in the process, he enchanted the civilized world.

1he Artist's Garden at Giverny, oil on canvas, 31 7/B " X 36 114"

THE INSPIRATION BEHIND THE CREATIVE MIND

In the fleeting reflections of light on water, Claude Monet discovered a special magic. Twice each day, in early morning and late afternoon, he would visit his celebrated water garden just to watch the lily blossoms open and close. And it was in these quiet moments alone that he found the inspiration that guided his brush as it dashed from the palette to the canvas.

wtlter Lilies, oil on canvas, 63" x 71"

THE INSPIRATION BEHIND THE CREATIVE MIND

His studio was his garden. His canvas was his mind. Even as near blindness distorted the colors and stole the light he loved, Monet continued to paint. From memory. Only in his mind would he stroll into this verdant paradise gathering the inspiration for his final incandescent paintings. Paintings that dazzle us all with the unmistakable light of his genius.

Irises, oil on canvas, 79" x 59"

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EDITOR's CoLUMN

a member of the 27 Chicago Designers. He has taught visual communication at The School of The Art Institute of Chicago. A number of his designs are in permanent collections including the Library of Congress, the New York Museum of Modern Art and the Smithsonian Institution's, Cooper-Hewitt Museum of Design.

Mike Hicks is president of Hixo, Inc., with offices in Austin, Texas and Santa Monica, California. The founding president of the AlGA/Texas and a contributor to Communication Arts, he has authored two books, How To Be Texan and Yankees Made Simple/The South Made Simple, and has written articles for Texas Monthly and The New York Times. He has taught design at the senior/ graduate level for the University of Texas, and his work is represented in the permanent archives of the Smithsonian Institution.

Barnes

Anne Robinson is president and CEO of Windham Hill Productions, Inc., a Palo Alto-based record company specializing in alternative music. She is responsible for the management and art direction of Windham Hill Records and its subsidiary labels including Lost Lake Arts, Windham Hill Jazz, Open J\ir and Recordings for Children from Windham Hill. Robinson was educated in Switzerland and graduated from Stanford University with studies in history and fine arts. She worked in graphic design and book retailing before founding Windham Hill in 1976 with her partner, Will Ackerman.

Melissa Tardiff has held the position of art director of Town & Country since 1979. Originally from Holland, Michigan, Tardiff began undergraduate study at Ohio University and received her BFA from Parsons School of Design in 1976. She is on the board of directors of the Society of Publication Designers and was its president from 1984 to 1987. She is also a member of the New York Art Directors Club and the AlGA. Since 1984, Tardiff has taught magazine design courses at the School of Visual Arts.

Robinson

John Vitro is co-creative director of Franklin & Associates, a San Diego-based advertising agency. Although Vitro graduated from the Rochester Institute of Technology in 1978, with a degree in graphic design, his first job was in advertising and he's never left the field. He has only been a member of the Boy Scouts, never sat on any boards , never taught anywhere. Since moving to Southern California in 1980, John worked at Chiat/Day and as a partner in the free-lance creative team of Vitro/Robertson .

• Hicks

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FREE-LANCE

B ARB ARA GORDON

YOU'RE ALWAYS SELLING

Y

OU'VE GOT THE ASSIGNMENT. NOW YOU can rest easy, at least as far as the selling situation. Right? Wrong. The selling situation in today's competitive economy never really ends.

Usually, depending on the circumstances, after I've sold, priced and set the conditions for the job, the talent will start to work directly by phone, fax or in person with the art director. As the representative, I am constantly being informed by that AD on how the talent is doing.

It's music to a rep's ears when the AD calls to say that the talent is "A real pro." "Easy and a pleasure to work with." "Made great contributions to the job." "Made things so easy for me that I was free to do other projects with the full confidence that the assignment would be delivered perfectly."

Conversely, the blood pressure rises when one hears "Boy, he/she is difficult to talk to." "The artist seems to take every suggestion as a criticism." "The artist told me that he was really busy but ~ould squeeze my job in somewhere along the line. Is he going to be able to do a good job if he's in such a time crunch?"

In today's business climate, where servicing and selling the client often can be the deciding factor, free-lancers should be aware that they are always in a selling situation.

They are constantly being judged on their attitude and performance. Harsh as this may sound, the successful freelancer can't ever afford to forget this. It's a small world of business. One lapse can cause a long-term problem.

I'm not saying that one should be a doormat, or not fight for rights and principles. That's another issue. But, on the regular assignment, the free-lancer is "on" and repeat business with that client will depend on how you deliver.

If you want to keep on selling the job and yourself to the

client, you should know what clients want from free-lancers in the execution of an assignment.

For instance, art directors would like to feel that their job is the only, or most important job you are doing. It is the most important job to them. They don't want to hear about your crowded schedule, or the problems you're having with other projects, or how this job is the most difficult.

They only want your keen and undivided attention being given to their job.

In the same vein, the ADs don't want to hear about any of your problems. If you're late or delayed because your child kept you up all night, or the heat went off in your studio, or several of your deadlines were changed at the last minute, they really don't want to know that. They 164

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expect you to deal with your own problems, privately, and get their jobs done, well and on schedule.

After you've taken the assignment, they don't like to hear complaints about the fee you're getting. If you thought the fee was too low, you shouldn't have taken it.

A sure way to lose clients is to accept a project that you think is priced too low and then badger the AD with tales of how you did a similar assignment for "so-and-so" at twice the fee .

Some of the ultimate mistakes, of course, are to take an assignment and either not do it at all, get halfway through and abandon it, or deliver it two weeks late. Whenever we are called in to salvage one of these situations, the AD can't wait to tell anyone who will listen about the freelancer who royally messed them up. As I said, free-lancing is a small business and negative public relations can spread far and wide in a hurry.

One of the major annoyances that ADs complain to me about, and this one applies to reps, is a lack of consistency on the handling of the assignment. What happens is that one person comes up to price the job, another person comes to deliver the sketches or contact sheets, then the people who answer the phones in the office get involved in the assignment. The ADs tell me that the more people handling an assignment, the greater the possibility of an error or misunderstanding. Most ADs prefer one person to handle the business and logistical aspects of the job.

In any selling situation, certain actions are always a given.

Clients want their phone calls returned promptly. They want to be notified immediately of any new expenses, or unexpected problems, or changes in schedule or procedure. Clients like to be treated with courtesy and they like people to respect their time.

The wisest course of action in most client-talent relationships is to keep your business and private life separate. Mixing the two seems to cause the loss of a client more often than the gaining of a long-term meaningful relationship.

As I said previously, getting the assignment does not mean the end of the selling situation. One could view this as a negative because of the stress it puts on the successful completion of an assignment. Or one could view this as a positive, an opportunity to further sell the client on your talents and abilities and thereby insure more repeat business.

In free-lancing , as in so much of life, attitude is just about everything

•

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Potlatch Corporation Potli\tch Northwest Paper Division Cloquet, Minnesota 55720 ©1990 Potlatch Corporation

C Eastman Kodak Company, 1989

Clint Clemens He could have used some~ else.

He chose Kodachrome professioilal ffim.

PROFESSIONAL PHOTOGRAPHY DIVISION

C /:'astman Kodak Company, 19H9

PROFESSIONAL PHOTOGRAPHY DIVISION

Dennis Manarchy He could have used som~~else.

He chose Kodachrome professioi1al fllm.

C Eastman Kodak Company, 1989

Eric Meola He could have used some~ else.

He chose Kodachrome profssioilal fllm.

PROFESSIONAL PHOTOGRAPHY DIVISION

Here ARE only ABOUT

THREE q ./

GOOD REASONS ,/''

./

~--

1--------- not TO USE Champion's NEW Q

RECYCLED PAP R.______ 2

Benefit : 0~ 3

STRAIGHT TALK ABOUT 1. Hardwood trees (the ones with leaves) and softwood trees (the ones with needles) are harvested and hauled to pulp mills. The logs are debarked, then chipped to postage stamp size. Then the chips are screened, cooked, washed, and dried into pulp. This accounts for 50 percent of the pulp used in Benefit.

The Benefits of Benefit: 1. Benefit meets the 50 percent recycled content guideline set by the EPA and reuses post-consumer waste.

2. Benefit achieves maximum quality appearance and performance with post-consumer content.

3. The seven colors, two finishes, and three basis weights of Benefit offer extremely broad options for end uses.

2. Paper otherwise destined for the dump (post-consumer waste) is collected and shipped to a deinking plant.

The paper is washed and screened to remove ink and any other impurities. This deinked fiber accounts for 10 percent of the pulp used in Benefit.

3. Paper collected from trimmers, sheeters, and envelope converters is combined with unused stock and other unprinted paper waste.

This industrial waste is sorted by color and

BENEFIT COLORS: (all weights) White, Ice, Ivory, Powder, Rose, Sky, and Softwhite

BENEFIT FINISHES:

used in Benefit.

4. These three types of pulp are mixed with water and starch and

Vellum, Linen * *Available in White and Ivory only

BENEFIT SAMPLES: Call 1-800-442-3463 or contact your local Champion distributor.

This is Benefit Text, White/70 lb. © 1990 Champion International Corporation.

Design: Drenttel Doyle Partners.

Illustration: Brian Cronin.

uniform, watery pulp.

The pulp is poured onto a large moving wire screen. The water drains off and the fibers cohere. A web of this paper is conveyed through pressing and drying rollers. Benefit recycled paper is made.

RECYCLING A

SK MOST PEOPLE

TO DESCRIBE RECYCLED PAPER AND YOU'LL PROBABLY HEAR: "GRAY, DIRTY. NICE IDEA, BUT

not right for my project! Besides, isn't it more expensive?" A few years ago, those seemed good enough reasons to err on the safe side and stick with a premium sheet.

TODAY, THOUGH, THE LANDFILL SITUATION IN

this country is approaching a crisis point. With 35 percent of our solid waste made up of paper and paperboard, recycling has become an integral part of all our lives, entailing all sorts of little sacrifices. For paper buyers, however, the sacrifices are going to be little indeed. A tiny speck here, a little fleck there.

NOW, WITH THE INTRODUCTION OF BENEFIT BY

Champion, recycled paper has the strength and performance of a premium sheet, and the range of weights, colors, and finishes of a premium sheet. And, chances are, the price is competitive with the grades you currently use. In fact, the only telltale of its recycled origin is the occasional fleck of colored fiber. (One might consider those specks to be little badges of honor: it's your guarantee that Benefit is a recycled sheet that contains postconsumer waste.)

THE FACT IS THAT IT'S TIME TOTAKE RECYCLING

very seriously. And the truth is that recycled paper may not be the right paper for every job, yet. (Some may still find those random little specks intolerable.) But Benefit has been engineered to provide a serious alternative to a very serious problem.

PRooueriON N oT£: We cannot predict when, and where,

those recycled specks of dirt are going to show up on any given sheet of Benefit. In order to make our point, however, we printed the little flecks which are circled on the front of this insert.

G ~!:o~~al

Corporation

One Champion Plaza Stamford, Connecticut 06921

OPINION/COMMENTARY

PHILIP B. MEGGS

THE DESIGNER, PAPER AND THE ENVIRONMENT E ' RE TREE KILLERS," NEW YORK graphic designer Eric Baker exclaimed to me on the telephone recently. "I just designed a CD box for a music group and it turned out well. But I realized, people are just going to throw this box away. It will become part of the waste in a landfill."

Many graphic designers share Baker's concern. Renewed emphasis on the environment has led many graphic designers to worry about being a prime source of environmental degradation. These fears are well-founded. Over 37 percent of the typical American household's garbage is paper, and it ends up in landfills. 500,000 trees are required to produce the 88 percent of each Sunday 's newspapers that are not recycled. Estimates of the size of America's solid-waste stream vary widely , ranging from about three to eight pounds per person each day ; therefore, each man, woman and child in America discards from one to three pounds of paper each day! Currently, only about ten percent of our solid waste is recycled. Since Long Island is exhausting its landfill sites, over 220 tractor trailers of garbage a day, or 80,300 a year, leave the island loaded with solid waste destined for landfills elsewhere.

W

When the University of Arizona Garbage Project applied archaeological techniques to the systematic exhuming of eight tons of garbage from seven landfills, they discovered that paper accounted for 40 to 50 percent of the contents both by weight and volume. What happens to all this paper? We have long assumed that since paper is biodegradable, it decays and returns to the earth. The Garbage Project, however, found readable 40-year-old newspapers whose level of preservation enabled them to be read. In a sense, materials in landfills are mummified, because pressure and the lack of oxygen and moisture inside a landfill prevent degrading from occurring. (It's sobering to realize that one's unsuccessful graphic designs, discarded income tax records and old love letters survive intact in a landfill, potential research data for future archaeologists.) Perhaps the failure of paper to degrade is fortunate, because if it did , it could release toxic chemicals from its inks into the groundwater.

Ten percent of our garbage now goes to incinerators, and this amount is expected to triple in a few years.

Incineration is a horrible alternative: It pollutes the air with toxic metals , toxic organic chemicals and acid gases.

Incineration operates on a simple principle: Garbage in, toxic ash out. For every ton of solid waste incinerated, about 113 ton of toxic ash is produced and must be

dumped in a landfill where it becomes a potential pollutant of groundwater.

Clearly, a massive recycling effort is needed. In Japanese municipalities, there is a systematic program to separate household waste including metal, glass, paper, plastic and food wastes. Designer and educator Victor Papanek tells that after his daughter set up household in Germany, a municipal official brought two 10 x 30 inch screw top canisters, similar in appearance to thermos jugs, for their weekly garbage. It took about a month to learn how to run their household to reduce their garbage to two small canisters each week. Many other industrial countries reduce their solid waste to a fraction of ours by taking reusable string bags to the market, using returnable containers, implementing recycling programs, composting and avoiding overpackaged products.

Recycling, reusable containers and making more sensible use of resources are the solutions to the back end of the problem. One aspect of the front end of the problem should also be a deep concern to graphic designers: destroying hundreds of thousands of trees each week to make paper. Trees can be a renewable crop. The American Forest Council points out that in 1920, the depletion of forest land led to predictions that we would exhaust our supply of wood in just 25 years. Fortunately, improved forest management averted this disaster. Today, six million trees a day are planted in America, we have 730 million acres of forest land and we have more trees than we had in the 1920s.

But, there is a downside to this success story. Many native virgin forests have been turned into high yield tree farms, with a loss of hardwoods and the extinction of many plant, bird and animal species. Massive amounts of toxic pesticides and herbicides have been applied to the tree farms. The forest-products industry wants to harvest many of the ancient native forests not currently protected by park and wilderness areas , and Federal restrictions expire this year.

An associate administrator of the Environmental Protection Agency recently observed that a big obstacle to paper recycling is ownership of huge forest lands by giant paper companies. For example, International Paper, whose paper lines include Hammermill, Beckett and Strathmore, controls 6.2 million acres of forests through its IP Timberlands, Ltd. partnership. The partnership supplies about a third of IP's fiber requirements and sells timber to other producers.

COMMU

!CATION

ARTS

173

OPINION/COMMENTARY

If you ran a paper company and had invested millions of dollars into forests, paid property taxes on the land for thirty or more years, and now stand to recoup expenses and reap large profits by selling the trees to yourself, would you be interested in buying your raw materials from recycled paper dealers?

Paper industry resistance to recycling is further compounded by overcapacity. Pulp producers are expected to expand worldwide capacity by about 23 percent in the next three years , according to Salomon Brothers analyst Sherman Chao, while demand is only expected to rise 9 percent.

The overcapacity problem extends to recycled paper, too. With more and more American municipalities and citizens recycling, the supply of paper for recycling now exceeds demand.

For instance, New Jersey recently passed a law mandating separation of garbage into three categories of recyclable material. As a result, ~?e ability of recycled paper dealers and their clients to process used paper has been overwhelmed. Newspapers were fetching $40 per ton, but in parts of New Jersey one now has to pay $25 per ton for someone to take used newsprint off your hands. Clearly, an expanded use of recycled paper instead of trees is needed, but this flies head on into the interconnection of the tree-growing and paper-manufacturing industries.

In past years, paper merchant representatives calling upon me have denigrated recycled paper, alleging poor quality and printing problems. Whether this was sales hype passed on from paper companies or a reflection of problems, I don ' t know . I do know, however, that the reclamation and manufacturing processes have been dramatically improved, resulting in excellent recycled papers today.

There is evidence of a surge of interest due to environmental concerns and market demand. Recycled papers now available span the range of uses , including bond papers , book papers, copier and duplicator papers , cover and text papers , forms bond, writing papers and envelopes.

Co-op America in Washington , D.C., offers recycled toilet paper in its catalog. Other uses include soundproofing and insulation , the padding in automobiles (each automobile contains about 60 pounds of recycled paper) and paperboard packaging. If your cereal box is cold grey inside , it is made of recycled paper, but if it is a warm tan , it is made from freshly cut trees.

On June 22, 1989, the Federal government implemented a program requiring all Federal agencies and state and local governments receiving $10,000 or more in appropriated Federal funds to have a preference program favoring recycled papers. Clearly, the tide is slowly shifting toward 174

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recycled paper and other environmental initiatives as citizens, businesses and government all begin to feel their environmental responsibilities more keenly.

From fast-food chains to chemical companies such as DuPont and manufacturers including General Motors, a sense of environmental responsibility is growing. But there is also a lot of hype and profiteering involved as well. The recent surge of biodegradable plastic garbage bags is a case in point. Mixing a corn starch additive into the plastic produces a garbage bag that will break down into many small pieces instead of one large piece of plastic in the landfill. However, more plastic is needed since the cornstarch weakens the material. The result of these "environmental" products is increased plastic waste.

In addition to actions required of all citizens , such as conserving energy , using energy-efficient transportation, recycling , voting for environmental candidates and supporting environmental organizations, what actions can graphic designers take? Collectively, designers exercise tremendous power over the paper industry through their specifications. This was brought home to me dramatically when I was an art director in the pharmaceutical industry and casually mentioned to our primary printer that we had been talking about changing the coated text and cover line we were using for all of our full-color projects.

"For God 's sake, give me three month s notice ," he exclaimed. "We buy that paper for your work by the fourboxcar order, saving you and us a lot of money. We can ' t afford to be stuck with three or four boxcars of paper you don ' t want to use. " Every designer has an environmental duty to maximize his or her specification of recycled papers to spur its production. By specifying recycled papers , including those now on the market which are 50 percent recycled fibers, designers increase demand and spur the expansion of the recycling industry . Designers can urge their clients to use recycled business, copier and duplicator papers and implement company-wide recycling programs. The big paper companies will rapidly increase their interest in recycled products if the graphic design profession pulls paper sales toward recycled products.

National organizations such as the Graphic Arti sts Guild, American Center for Design and AlGA should set up environmental committees on their boards of directors.

These organizations could go directly to the paper, printing and ink-manufacturing industries to advocate recycling and a reduction of toxic materials in manufacturing and end products. If ink swatches were required to carry a toxicity rating, designers could select colors that do not contain cadmium or other toxic heavy metals. Each local

art director's club and AlGA chapter should implement environmental programs as well, focussing upon professional responsibility and public awareness projects.

Perhaps a new design ethic will emerge if graphic designers seriously become concerned about the environment. In recent prestigious shows such as AlGA Communications Graphics and the ST A 100, one senses an aesthetic of technological perfection and conspicuous extravagance. One sees corporate publications with text pages printed on cover-weight stock with eight press impressions: four color process; two PMS match colors; and both dull and gloss varnish. Such excess is wasteful of resources. Ironically, the content of these graphic extravaganzas is often vacuous. An environmental aesthetic might signal a shift of emphasis from style, surface and decoration to content, and from lavish to environment-friendly production. If major design exhibitions added categories such as "printed on recycled paper," "non-profit public sector design," and "one-and-

two color," environmentally responsive design could be recognized and encouraged.

In this era of acid rain, global warming and toxic hazards, our current environmental situation isn't necessarily hopeless. As Buckminster Fuller pointed out, we don't have an energy and environmental crises, we have a "brain power" crisis. Industrial society must develop saner lifestyles, seeking a new harmony between the human family and this fragile spaceship earth. Individually and collectively, graphic designers can be part of the problem or part of the solution. We have had our head in the sand during the environmentally oblivious Reagan era; the time to act is now.

PHILIP B. MEGGS teaches design, typography, and design

history at Virginia Commonwealth University in Richmond. His latest book is Type and Image: The Language of Graphic Design.

FACE VALUE First glance, first chance for a strong impression. Faces have value at Bettmann.

Call, write or fax to choose from our millions of personalities and expressions. Looks aren't deceiving.

THE BETTMAMM ARCHIVE I BETTMAMM MEWSPHOTOS

UP/ and Reuter Photo Libraries

902 Broadway, New York, New York 10010 Telephone (212) 777-6200

Fax (212 ) 533-4034 C 0 M M U N I C A T I 0 N

A R T S

175

DESIGN

TECHNOLOGY

W ENDY R ICHMOND

THE PHOTOGRAPHER'S ROLE IN MULTIMEDIA

I

RECENTLY SAW A TELEVISION SHOW about culture and technology, hosted by Ted Koppel.

One of the panelists was Nicholas Negroponte, director of MIT's Media Lab , who said that the future TV set will be able to search for information relevant to its owner. Because it's a medium of mass communication, today's television must appeal to the widest audience possible and a wealth of material gets omitted.

Negroponte used this example: "Ted, how much of your show ends up on the cutting room floor?" Koppel said roughly 70%. Negroponte replied that he forsees a day when he can view the stuff from the floor that is "high in quality and relevant to me personally." What Negroponte wants is a remote control button labelled: "Tell me more."

While some of the other panelists looked on in surprise, he and John Sculley (CEO of Apple Computer) smiled.

They know that the TV set of the future is today called interactive multimedia: the combination of sound, animated graphics, still photography and full motion video, all on a computer, controlled by the user.

The big selling point of interactive multimedia is user control. When you add a computer to all that media, the audience is involved not only in the choice of material, but also in its further use. So, the user can "personalize" the material by selecting only the information he or she finds interesting. Then, the user can use that material to create his or her own report, business presentation, database, recipe, whatever.

The need for photographs Multimedia products, by nature, have a huge volume of material. And multimedia producers have a problem.

They need a lot of images, and they need them cheap.

CD-ROM, the storage medium of choice for multimedia, can hold thousands of full-color digital images, accessible by the user in seconds. Videodiscs can store over 50,000 pictures. How big is the market for these pictures? Will it be largely educational, or will it appeal to the consumer?

How many consumers have (or will have) the equipment to play it on? Most publishers believe this will be a big market, but there are so many unknowns that they can't risk spending a lot of money up front.

And many publishers are also wary of the time and legal fees required for negotiating ownership and licensing of content. For instance, Time Inc.'s 1988 annual report stated: "In the JT}edia and entertainment business of the future , the winners will own the copyright to creative products , as well as the avenues of distribution. We intend to increase our ownership of both."

In my last column, "Ethics on the Desktop," I referred 176

P H 0 T 0 G R A P H Y

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to Nathan Benn, a contract photographer at National Geographic, and I mentioned that he and Cary Wolinsky are looking into the feasibility of creating a licensing entity for the small rights licensing of photographs. One of the more interesting models for such an entity is the American Society of Composers, Authors and Publishers (ASCAP). ASCAP provides the collective administration of the licensing, policing, collection and distribution of fees for music. They return to their members hundreds of millions of dollars each year, all the result of transactions over which the members have little or no control.

Nathan said he first became aware of the ownership and electronic distribution problem when National Geographic asked Cary and him for the electronic rights of their photographs . National Geographic's rates were astonishingly low. The magazine said that was because there were so many photos involved and because this was such an experimental project. So Nathan and Cary investigated this new area to see how electronic rights were being handled and found that there was no real protocol. They came up with a compromise that was mutually unsatisfactory. The agreement didn't address long term issues of copy and control for the photographers and most of the photographs were too expensive for National Geographic. They used only one of Nathan's photos; they would have used many if Nathan had agreed to a lower price.

"We couldn't give them away," Nathan said. " It would erode our income and damage our professional colleagues. " I interjected, "Photographers have such a strong position regaring copyrights. Why screw it up now?"

Nathan continued, "It may seem like electronic media is just another market to sell to, with a one-time payment and a low price. But in the very near future, there will be a great expansion of multimedia, and a diminution of print. So you must begin to think of multimedia, rather than print, as your continuing revenue stream. Otherwise, you'll be eroding your future income. " This is not a case of the creative photographer vs. the monolithic publisher. As a matter of fact, many design professionals will be producers of multimedia, and therefore purchasers of huge volumes of photography. It is in our collective best interest to develop a reasonable strategy for the acquisition of, and compensation for, high quality photographs.

Negroponte's remote control button could just as well be labelled "Show me more." Show me more photographs.

Lots of them. © 1990 W. Richmond

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BooK REVIEWS PHOTOGRAPHER'S DIALOGUE

By Steven Carothers and Gail Roberts Published by SIRS Publishing and Boca Raton Museum of Art P.O. Box 2348 Boca Raton, Florida 33427 $19.00 Paperbound

Published as the accompanying catalog to an exhibit of the same title, the premise of the book and exhibition is that there are two sides to a photographer's work: the personal and the public. The personal work, or "preferred," as it is referred to in the book, represents the photographer's true passion for self-expression. The public image is the one, by frequency of reproduction, that becomes the image most associated with the photographer, and therefore the public's perception of the photographer's work.

The majority of the book shows side-by-side reproductions of the most popular and preferred images from 30 different photographers.

A short essay discusses the terms popular and preferred.

Since the majority of the photographers produce fine art rather than commercial art, the term "popular" is difficult to define. For some it means the most requested image for exhibition, its frequency of publication or the number of sales. For others it is a signature image that represents a body of work.

BRIEFLY NoTED: AERIAL PHOTOGRAPHY, Professional Techniques and

Commercial Applications by Harvey Lloyd (published

by American Photographic Book Publishing Co., Inc., a division of Watson Guptill Publications, 1515 Broadway, New York, New York 10036, $22.50). Readers may remember CA's 1985 article on Voyages of the Royal Vikings, featuring Harvey Lloyd's photographs. Lloyd, an accomplished travel and adventure photographer, is also a specialist on aerial photography, and this is the first book I've heard of on the aesthetics, techniques and professional practices associated with this specialty. Even without any information, this would be an impressive collection of photographs from Lloyd's million-plus miles of travel. The book covers the complex practical problems of photographing from helicopters and airplanes. Lloyd discusses directing pilots, different types of aircraft, gyrostabilizers, lenses, cameras, films and safety procedures.

He also covers color, mood and composition, and he offers some practical travel tips. Among them: "Dress

For many of the photographers, I found the distinctions between the two images to be minimal. But for several, the public image is very different.

In the case of Elliott Erwitt's famous image of Nixon pointing a finger at Krushchev, the image had a life of its own. A copy of the photograph got into the hands of Nixon's campaigners and was used extensively in Nixon's 1960 attempt at the presidency, without Erwitt's permission. The "Kitchen Debate," was presented to the public as an impromptu debate on global issues and that Nixon was able to stand up to the Soviets, when in reality the world leaders were merely trading insults.

Most of the photographers explain their inclusions, and many of their discussions are more valuable than the actual photographs in providing insight into their thought process.

In addition, a selection of interview questions and answers by the represented group provides some personal views about photography and how it relates to the artists' lives.

On the definition of photography, Ralph Gibson says, "We still have no acceptable definition for photography.

I've said many times that it's like electricity; we know how to use it, but we don't really know what it is."

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1 I I I II I I

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A R T S

181

BooK REviEws

neatly. Dirty clothes, shaggy hair, unkempt beards, or other general sloppiness mark you as a suspect, especially at customs. You'd be surprised at what can prompt an inspection."

STEPHEN D EUTCH, PHOTOGRAPHER From Paris to Chicago, 1932-1989, foreword by Studs Terkel, essay by Abigail Foerstner (published by Another Chicago Press, P.O. Box 11223, Chicago, Illinois 60611, $45) . Deutch is one of the few photographers to receive recognition for both his commercial and artistic photography. Beautiful lighting and a rich sense of depth characterize his black and white work for advertising, photojournalism, documentary, travel, portraiture and art. Born in Budapest, Hungary, in 1908, Deutch studied sculpture at the Royal Academy of Fine Arts in 1926. Beginning in the early 1930s, he applied his three-dimensional training to photography.

His wife, Helene, an accomplished photographer in her own right, ran a successful studio in Paris and taught him to take pictures to help with the multitude of assignments.

They moved to Chicago in 1936 to be close to his brother and parents. Assignments and recognition were slow in coming because Deutch's work didn't look like the shadowless precision .and textbook detailing of most advertising photography at the time. His mood-laden

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lighting and stress on form would become popular years later. This collection of images represents an exhibition of his work sponsored by the Chicago Office of Fine Arts, the Chicago Historical Society and the Department of Cultural Affairs. Although many of the images were commercial assignments, they also reveal much about Chicago's development over the past 50 years.

B AUHAUS SouRCE B ooK Bauhaus Style and its Worldwide Infl uence by Anna Rowland (published by Van Nostrand Reinhold, 115 Fifth Avenue, New York, New York 10003, $32.95). Few can doubt the influence by the Bauhaus on 20th-century design. Though bitterly attacked at the time, founder Walter Gropius and the other designers, artists and craftsmen set new standards in art, craft and design, which they felt should be re-integrated into a multi-disciplinary profession. Most of the ideas and ideals of the Bauhaus have been widely praised and critized, and the work has been highly imitated. While there were many other schools in Europe and the Soviet Union, the fact that the National Socialists closed the school in 1933, probably guaranteed the movement would have greater influence. This would be particularly true in the United States, where a great many students and teachers resettled after fleeing Germany.

The publisher claims that this is a complete visual record. I find this highly unlikely since Hans M. Wingler's 680-page book from the MIT Press has over three-anda-half times more pages. What makes this book work so well, though, is the condensation of all the available information. I think Rowland has done a good job of briefly overviewing the key themes in architecture, interior and industrial design, ceramics, graphics, painting and sculpture.

THE GRAPHIC D ESIGNER 'S BAsrc GumE TO THE MAci TOSH

by Michael Meyerowitz and Sam Sanchez (published by Allworth Press, distributed by North Light Books, 1507 Dana Avenue, Cincinnati, Ohio 45207, $19.95). For those designers trying to decide if computers are for them, this book provides an excellent discussion on the pros and cons of computer design. Detailed information includes how to determine the best Mac system for your studio, what to expect from software for layouts, type manipulation and image retouching, the differences between drawing and paint programs and hints on how to use the Mac for studio management. Appendices include suggested reading, a glossary, a vendor list and an index.

You can expect some of this information to already be incomplete, given how fast the technology changes, but the frank, simple text makes this a good book to read before making the investment in equipment.

-Patrick Coyne

182

P H 0 T 0 G R A P H Y

A

UAL

1990

MATERIALS WooD CABINET LIGHT Box

S cHEDULING BoARDS

For those who enjoy that natural look, the Leedal Matrix Models 2049 and 1825 light boxes are enclosed in a hand-made cabinet of solid 3/4" hardwood , in your choice of walnut, light oak or ro ewood. The Model 2049 has a 17112." x 47" viewing area and the capacity to display 200 slides or ten 8" x 10" transparencies. The Model 1825 is half the size and displays, as you guessed, half the number of transparencies. Optional wooden or metal legs can turn this woodworker's masterpiece into a table. For more information contact Leedal Inc. , 1918 South Prairie Avenue, Chicago, Illinoi 60616, or call (312) 842-6588.

Caddylak Systems, Inc., the company with the clever spelling, announces a new line of performance charts.

Easy to use, you simply list the stage or steps a job or project passes through across the top of the board and the job or project number down the left side. Place a magnetic card holder next to each job and move it from stage to stage to show the job's current status. The only problem is somebody has to move the magnetic card holder from stage to stage. The chart come in several izes. For more information, contact Caddylak Systems, Inc. , 131 Heartland Boulevard, P.O. Box W, Brentwood, New York 11717, or call (516) 254-2000.

M uLn LI E WIDTH M ARKER P ENS

Chartpak's new AD Marker has three distinct line widths available from the same uniquely shaped nib. By changing the angle of the pen you can draw a fine, medium or broad line. You may want to practice your wrist technique before trying these on that important comp. The pens are available in 200 different colors and are available in five different sets each containing 25 markers: basic set, pastel set, architectural set, g·ray set and art director et. For more information, like what c.onstitute an art director set, contact Chartpak, One River Road , Leeds, Massachusetts 01053, or call (800) 628-1910.

CHARCOAL/PASTEL p APER

In celebration of its 80th anniversary, Borden & Riley Paper Co. has introduced a new line of charcoal/pastel paper. The heavy-duty, acid-free stock has a 50% rag content and a medium tooth. Available in cloth or piralbound 25-sheet pads , in sizes 9" x 12", 12" x 18" and 18" x 24", it' al o available in 36" wide rolls, in fiveand ten-yard lengths. Colors are Speckled White, Portrait Charcoal and Creamy Black. For further information or to wish them happy anniversary, contact the customer ervice department of Borden & Riley Paper Co., 184-10 Jamaica Avenue, Hollis, New York 11423, or call (718) 454-9494.

CoLORED FoAM BoARD

Fome-Cor, quickly becoming a generic term for extruded polystyrene foam bonded between two layer of claycoated paper, ha introduced six new colors: black, gray, red, blue, yellow and green. Available in 3/16 inch thicknesses, all colors are available in 32" x 40" and 40" x 60" sizes. A 48" x 96" board is available in black only. "We want to make using Fome-Cor board easier, colorful and more fun than ever for designers ," says Michael F. Bruton, market manager for Fome-Cor Graphic Arts. If big fun is what your looking for, contact Fome-Cor Graphic Art Boards, Monsanto Company, Department 198, 800 North Lindbergh Boulevard, St. Louis , Missouri 63167.

HIGH D E SITY vIDEO STORAGE

For those of you who store your video tapes, compact discs and floppy disks , Can-Am Storage Cabinets may have an answer. The stackable two- and three-drawer lockable storage cabinets can accommodate up to 720 tapes per three-foot section. Made of solid steel, Can-Am claims it has a complete range of de igner color to coordinate with any decor. To see if they have your color, contact Can-Am Merchandising System , 900 Hertel Avenue, Buffalo, New York 14216, or call (800) 387-9790.

ARTWORK MANAGEMENT SYSTEM

PoRTABLE DRAFTING D EvicE

Michael Anthony & Company claims their Parallel Rolling Ruler performs the same functions as a full-size drafting machine and eliminates the need for several drafting and design tools, including T -Square and drafting board.

Essentially a 12" ruler with rollers, the manufacturer says the device can draw parallel , perpendicular, angular, radial and perspective lines, as well as circles, arcs and curves.

All this fits in your briefcase and costs only $12.95 plus $3.00 shipping and handling. Satisfaction guaranteed.

Sounds too good to be true? You be the judge by contacting Michael Anthony & Company, 581 Black Walnut Way, La Habra, California 90631, or call (714) 680-8315.

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Letrafile, by Letraset, is a modular system incorporating two types of stackable torage cabinets and four types of hanging storage pocket . The two storage cabinets handle 20" x 30" and 30" x 40" artwork. The hanging torage pockets include a 20" x 30" x 2" corrugated pla tic portfolio, a 20" x 30" kraft board job wallet, 20" x 30" and 30" x 40" clear polypropylene pockets. You can also get drawer units, door and casters. The cabinet cost begin at $400 and the hanging storage pockets range from $6 to $30. Letraset calls the pricing structure attractive.

I gue s beauty is in the eyes of the beholder. For more information, contact Letraset USA, 40 Eisenhower Drive, Paramus , New Jersey 07653, or call (800) 526-9073.

House Call.

Captured on Centura Dullthe color balanced white No. 1 dull from Consolidated.

From one little boo-boo to a room full of bandages, count on Centura Dull to capture it all, faithfully.

Centura is available in dull, gloss and two embossed finishes with matching cover.

Contact your printer or your Consolidated Paper Merchant for more samples of Centura Dull.

Paper: Centura Dull 100 lb.

~

the Specialist in enamel printing papers

CONSOUDATED PAPERS, INC. 200 WEST MADISON STREET CHICAGO, ILUNOIS 60606 Photography: Eileen Glenn Animals courtesy if F.A.O. Schwartz

MATERIALS

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

Graphic and Plotter Media Swatchbook ... from Alvin & Company, is a 51;2" x 81;2" booklet containing 20 samples of stocks available for engineers, draftspeople and graphic artists. Each sample provides a description, technical specifications and ordering information. A glossary of paper terminology is included as well as a listing of plotter pens and accessories available from Alvin & Company.

To stock up on your stocks, write to Alvin & Company, P.O. Box 188, Windsor, Connecticut 06095, or call (203) 243-8991.

Classic Fine Paper Collection ... from Neenah Paper demonstrates the design possibilities using the Classic line of papers, including Classic Laid, Classic Linen, and Classic Text and Cover. A handsome, albeit complex, folder and tissue wrap contains a wide range of commercially designed and printed samples including invitations, brochures and posters. To get yours, get in touch with your local Neenah Paper merchant, or call Neenah-Link at (800) 338-6077.

Alkaline Papermaking-The Wave of the Future .. .is a 12-page booklet explaining the difference between acid and alkaline papers , a description of the alkaline papermaking process and an assessment of past and present alkaline paper performance. One of the chief benefits is longer paper life. Alkaline longevity is rated at over 200 hundred years instead of the 50 or so for an acid sheet. For your copy of this informative booklet, contact your local Hammermill merchant or write to Hammermill Papers, 6400 Poplar Avenue, Memphis, Tennessee 38197.

I thought the subject was a bit odd until, reading the text, I saw what an opportunity it was for "clever" writing.

"Chambray lends weight to any communications statement..." "In the paper arena, Chambray always stands on its own." You get the idea. The brochure is handsomely designed by Samata Associates and does provide some interesting background on this ancient sport and art form.

For more information, contact your local Hopper Paper merchant, or write to Hopper Paper Company, 133 Peachtree Street, N.E., 24th floor, Atlanta, Georgia 30303.

Sensations .. .from Hammermill Papers, demonstrates the color range and printability of Hammermill Offset Opaque and Cover. The portfolio's five inserts " ... show how the use of appropriate paper colors and textures can intensify reader perception." I found the scratch-and-sniff varnish on one of the inserts to be quite intense. An insert contains swatches of all 25 colors and the 6 finishes available. For your copy, contact your local Hammermill merchant or Hammermill Papers, 6400 Poplar A venue, Memphis, Tennessee 38197.

-P.C.

A FINE PAPER

MAKEs ANY WRIITEN MAlTER MAlTER MORE. Nothing gives a corporate identity program greater impact than cotton fiber paper. Its crisp texture and elegant finish enhance everything

The PaperDirect PaperKit .. .is a collection of papers available for laser printing and office copying from PaperDirect, a mail order company dedicated to office, laser printer and desktop publishing needs. The kit contains over 150 81;2" x 11" sheets you can test on your office equipment including bright whites, textured, flourescents and printed patterned papers. Also included is a paper selector swatch book with complete specifications of every paper available. All this for $14.95 plus $2.50 shipping and handling by writing to PaperDirect Inc., 57 Romanelli Avenue, South Hackensack, New Jersey 07606, or by calling (800) A-PAPERS. Sumo ... Hopper Paper Company's newest promotional piece, uses the subject of Sumo wrestling to demonstrate the characteristics that make its Chambray line of papers a good choice for high quality communications work.

No other paper gives your clients' correspondence a more commanding presence. And no other paper is so inherently strong that it can perform under the most demanding production techniques and printing processes.

For presence, performance and prestige that lasts, always specify cotton fiber paper.

COTTON FIBER PAPER MANUFACIURERS For DISCOVERY, our Guide to Cotton Fiber Paper, write on your firm 's letterhead to Discovery, API. Dept. C. 260 Madison Avenue, New York, NY 10016. Or call (2 12) 340-0798.

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MATERIALS

NEW TECHNOLOGY DEVELOPMENTS Information on hardware, sof tware, and electronic services f or graphic designers, art directors, photographers and illustrators.

CoMPUTER PRr TERS

If you ' re in the market for a new printer, now may be the time to shop around. Because, within the past few months at least four new printers have hit the streets. Facit Inc. has a new and very inexpensive dot matrix printer called the Facit B 1200. This $269 printer is not designed for printing high-quality graphics, but would probably work great for basic text printing such as mailing labels. Its 11-pound weight and handle make it a good little printer to carry around. For more information, contact Facit Inc. at University Center, 400 Commercial Street, P.O. Box 9540, Manchester, New Hampshire 03108 , or call (603) 647-2700.

While Facit ' s printer is light, a new $499 printer from Canon U.S.A. Inc. is even lighter, weighing only 4.6 pounds! Two interesting features of Canon ' s new BJ-10e Bubble Jet printer is that it can fit in your briefcase and it

is battery operated. This is great if you ' re traveling and need some letters printed, but again it ' s not so great for printing artwork. In a high-resolution mode (meaning it prints the best it can print) the Bubble Jet prints 83 characters per second. So, if you want additional information or a free sample of the print quality (it never hurts to ask for a free sample) , contact Canon U.S.A. Inc., Printer Division, One Canon Plaza, Lake Success, New York 11042, or call (516) 488-6700.

And now for the real printers with real prices. We ' re talking about two new laser printers from Panasonic Communications & Systems Company that you're not going to stick in a briefcase. With their eleven pages per minute fast printing speed, these new printers should be too busy to travel. Both the Panasonic KX-P4450 Laser printer ($2,059) and KX-P4455 Laser Partner Postscript compatible printer ($3,495) are good printer for highvolume text and good quality graphic printing. They have a 300 dots per inch (DPI) print resolution. Another good feature is that additional fonts can be added to each printer. The least expensive printer has 28 built-in fonts while the more expensive model comes with 39 fonts.

Panasonic can be reached at Two Panasonic Way, Secaucus, New Jersey 07094 , or call (201) 348-7000.

TINT ScREEN SoFTWARE

A little software firm called Sparkle Company , hope to make a name for itself by selling desktop programs that give you that "special feeling of excitement. " Their new one, called Ghoster EPS Tint Screens , is a software program that allows you to add gray scale tinting to graphic art produced in Macintosh and PC-DOS layout programs such as Aldus Corp. 's Pagemaker program.

Using the program has the same effect on artwork as using regular tint screens that are cut and peeled from paper. Ghoster EPS can add gray tints in dot, line or circle fashion. Once a tint is added to a computer graphic, it can be viewed and edited in the page layout program.

The finished graphic artwork can be printed on any Postscript compatible printer. For $29 you can buy a version that does either dot and line tints or circle tints.

Or, you can buy one version that has it all for $49. To see if Sparkle can shine, write to them at P.O. Box 22869 , San Diego, California 92121 , or call (619) 455-7048.

-Lisa Spiegelman

LISA SPJEGLEMA has written extensively on computer technology. She has worked as a senior staff writer for PC Week and as a staff reporter for lnfoworld.

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CLUBS, CONFERENCES , SEMINARS CoLoR The Color Marketing Group announced the fall national meeting "Color Futures-Marketing Excellence" will be held in San Antonio, Texas, at the Hyatt Regency on September 23-25. The meeting will focus on the forecasting of Contract Color Directions for the years 1993/94.

CMG members will be participating in extensive workshops , plus attending design workshops and a computer exhibit show. The Sunday program begins with opening remarks by CMG president Merritt Whitman Seymour.

Keynote speaker for the afternoon session is author Ray Bradbury. For information, call (703) 528-7666 or write to CMG, 4001 N. Ninth Street, Suite 102, Arlington, Virginia 22203.

PDC The Package Design Council International's annual conference will take place Wednesday, September 26, in New York at the Meridian Hotel. The conference, "Prospectives: Package Design 1990 to 2000," will concentrate on issues critical to the survival and prosperity

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CATALOGUE

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Name _______________________________ Title ------------------------------Company ____________________________ Street ----------------------------City State __ Zip _ __ Phone Fax - - - - - - 0 also send other West/ight tools

Westlight 2223 S. Carme/ina Avenue Los Angeles, CA 90064 - 100 1 (BOO) 622-2028 • (2 13) 820-7077 FAX (213) 820-2687

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of designers and design firms during the next decade.

Executives from a variety of fields concerned with package design will focus on a decade of changes, challenges and opportunities. Among them are Herb Baum, executive vice president Campbell Soup Company; Laurel Cutler, vice chairman FCB/Leber Katz Partners; Mona Doyle, president Consumer Network and columnist for Food & Drug Packaging magazine; and William Pflaum, executive director Institute of Packaging Professionals . A panel of executives representing retailers in food , department store, toys and discount, will be moderated by a package designer. A presentation and demonstration of the latest software for packaging will be given by Simon James, president Laser Comb; Dan McConnell, director of marketing Scitex Creative Systems; and Owen Coleman, president Coleman LiPuma Segal & Morrill. This conference is for package designers , structural designers, industrial designers, corporate marketing managers, packaging material suppliers, converters and others concerned about the business of package design. For information , contact PDC, P.O. Box 3753 , Grand Central Station, New York, New York 10017 or call (212) 682-1980.

UCDA The University & College Designers Association will hold its 20th annual national design conference September 30-0ctober 3, 1990, in Nashville , Tennessee , at the Vanderbilt Plaza Hotel. Topics to be explored during seminar sessions and major speaker presentations include developments in computer hardware and software; technology and creative problem solving; environmental issues and responsibilities; and professional development.

Major speakers include: McRay Magleby , Brigham Young University; Seymour Chwast, Pushpin Group; Paula Scher, Koppel & Scher; and Alexander Isley, Alexander Isley Design , Inc. For information, contact UCDA National Office, 2811 Mishawaka Avenue , South Bend, Indiana 46615 or call (219) 288-UCDA.

POP AI The Point-of-Purchase Advertising Industry ' s 44th annual trade show and exhibition, Marketplace ' 90, will take place October 2-4 at McCormick Place North in Chicago, Illinois. The three-day event will feature an exhibit of more than 5,000 innovative display and design system s; the outstanding merchandising awards competition; twenty seminars and workshop sessions; award dinner and international breakfast. For information , call (201 ) 894-8899 or write POP AI, 66 North Van Brunt Street, Englewood, New Jersey 07631.

INDEX TO PHOTOGRAPHERS

A Abramow itz , Alan W. 37 P.O. Box 45121 Seattle , WA 98145 Alde n, Steve M. 134 68 Holl ins Drive Santa Cruz , CA 95060 Arn dt, Jim 17 , 28 , 42 400 First Avenue N. Su ite 510 Min neapol is, MN 55401 Arne ll , Peter 33 , 46 100 Grand Street New York , NY 10013

B Banko , Phil 133 1249 1st Avenue S. Seattle, WA 98134 Baraban , Joe 12, 48 2426 Bartlett, #2 Houston, TX 77098 Barrow , Scott 134 44 Market Street Co ld Spring , NY 10516 Bencze , Louis 146 2442 N.W. Market, #86 Seattle, WA 98109 Ben nett , Patrick 8 330 E. 47th Street Ind ianapoli s, IN 46205 Berg lund , Per-Erik 14 Znapshot 9B Luntmakarg 56 S- 11 3 58 Stockholm Sweden Bieber , Tim 119 3312 W. Belle Plaine Chi cago , IL 60618 Brady, Steve 7 292 Lafayette Street, #5E New Yo rk, NY 10012 Briere , Alan 77 P.O. Box 273 48 Day StreetS .

West Granby, CT 06090

Brooks II , Ernest H. 58 Brooks Institute of Photography 801 Alston Road Santa Barbara , CA 931 08 Brown , Neal 119 4727 W. Washington Boulevard Los Angeles , CA 90016 Buffington , David 126 2401 S. Ervay , #105 Dal las , TX 75215

c Caputo , Robert 78 1744 Church Street, N.W. Washington , D.C. 20036 Carter , Keith 7 4 2615 Liberty Beaumont , TX 77702 Chiasson , John 83 Gamma-Liaison 11 E. 26th Street 17th Floor New York , NY 10010 Clark, Lon 104 2501 Gough Street, #1 San Francisco , CA 94123 Clemens , Clint 38 , 143 567 Marginal Street East Boston , MA 02128 Clement , Michele 28 221 11th Street San Francisco , CA 94103 Cl ifford , Geoffrey 113 4719 Brisa del Norte Tucson , AZ 85718 Clineff , Kindra 136 16 Hillsdale Avenue Winchester , MA 01890 Cohen , Stewart Charles 65 2401 S. Ervay Suite 206 Dallas , TX 75215

Cook , Alan 33 , 136 4501 Swiss Avenue Dallas , TX 75204

Duka , Lonn ie 58 , 62 919 Oriole Drive Laguna Beach , CA 92651

Cruff, Kev in 17 2328 E. Van Buren , #1 03 Phoenix , AZ 85006

Durrance II , Dick 144 Dolphin Ledge Rockport , ME 04856

Crum , Lee 65 , 84 1536 Terps ichore Street New Orleans , LA 70130

E Erickson , Jim 17 117 S. West Street Raleigh , NC 27603

Curtis , John 98 50 Melcher Street Boston , MA 0221 0

F Frankl in, Charly 33 3352 20th Street San Francisco , CA 94110

Cutler , Craig 14 628-30 Broadway 4th Floor , Rear New York, NY 10012

Furman , Michael 114 115 Arch Street Philadelph ia, PA 19106

D Dan iel , Ralph 62 , 134 1305 University Drive Atlanta , GA 30306

G Gall , Sally 91 266 W. 11th Street, #4EF New York , NY 10014

David-Tu , Alan 52 c/o Sandee Ashton and Associates 10 Conlan Street London W10 England

Goavec , Pierre-Yves 140 2325 Third Street, #201 San Franc isco , CA 94107

De Zitter , Harry 22 , 110, 119 Studio One 9 Hatton Street London NW8 8PR England Dickens , James 136, 143 6992 El Camino Real Suite 104-253 Carlsbad , CA 92009 Dickman , Jay 65 5650 Blue Sage Drive Littleton , CO 80123 Doty, Timothy 31 12001 N.E. 12th Street, #43 Bellevue , WA 98005 Dow , Jim 110 95 Clifton Street Belmont , MA 02178

Gregory , Doane 107 1810 Pine Street Vancouver , B.C. V6J 3C9 Canada Grehan , Farrell 80 5 E. 22nd Street, #22L New York , NY 10010 Grigg , Robert L. 17 1050 N. Wilcox Avenue Hollywood , CA 90038 Guider, John 40 517 Fairground Court Nashville , TN 37211 Guzman 8 31 W. 31st Street New York , NY 10001 H Hands , Bruce 60 , 84 , 104 P.O. Box 16186 Seattle , WA 98116

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iNDEX TO PHOTOGRAPHERS

Hansen , Constance 71 31 W. 31st Street 9th Floor New York , NY 10001

J Jones , Aaron 14 P.O. Box 5799 Santa Fe , NM 87502

Hanson , Pamela 102 270 Lafayette Street New York , NY 10012

Jones , Burt 89 P.O. Box 162931 Austin , TX 78716

Harding , C.B. 51 660 N. Thompson Street Portland , OR 97227

K Kander , Nadav 7, 130 1-7 Britannia Row London N 1 SOH England

Harrington , Marshall 12, 19 2775 Kurtz Street, Studio 2 San Diego , CA 92110 Hauser, Marc 123 1810 W. Cortland Chicago , IL 60622 Hawker, Christopher 131 1025 W. Madison Chicago , IL 60607 Heffernan , Terry 31 , 57 , 62 352 Sixth Street San Francisco , CA 94103 Heger , Jeff 91 2406 Nemeth Court Alexandria , VA 22306 Heisler, Gregory 107 568 Broadway Suite 800 New York , NY 10012 Henley, John 52 1322 W. Broad Street Richmond , VA 23220 Hix , Steve 19 517 Southwest Boulevard Kansas City , MO 64108 Huber , William 54 49 Melcher Street Boston , MA 0221 0 Husted , Daniel 37 143 Sagamore Road Millburn , NJ 07041

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Katz , Glenn 46 1350 Manufacturing Street Suite 211 Dallas , TX 75207 Kaylin , Richard Lee 107 350 Glenview Drive , #11 San Francisco , CA 94131 Keating , Roger 120 102 Manatee Road Hingham , MA 02043

Levy , Tom 62 , 69 5319 Dover Street Oakland, CA 94609

McCarthy, Joanna 48 535 Greenwich Street New York, NY 10013

Lockwood , Brian 77 336 N. Isabel , #9 Glendale , CA 91206

McGregor , Kirk 139 443 King Street W. 3rd Floor Toronto , Ontario M5V 1K4 Canada

M MacLaren , Mark 113 430 E. 20th Street New York , NY 10009 Maday , Tom 62 621 W. Randolph Chicago , IL 60606 Maglott, Larry 133, 144 249 A Street Boston , MA 02210 Mahurin , Matt 94 666 Greenwich Street New York , NY 10014 Maisel , David 124 16 E. 23rd Street New York , NY 10010

Kneten, Rocky 146 P.O. Box 270124 2425 Bartlett Houston , TX 77277

Maisel , Jay 4, 24 190 The Bowery New York , NY 10012

Krist , Bob 73 , 101 333 S. Irving Street Ridgewood, NJ 07450

Manarchy , Dennis 27 229 W. Illinois Chicago , IL 60610

Kuhn , Chuck 19 206 Third Avenue S. Seattle , WA 98104

Marmorek, Rochelle 139 301 E. 63rd Street New York , NY 10021

L Lanker , Brian 8, 86 1993 Kimberly Drive Eugene , OR 97 405

Marse I, Steve 89 215 First Street Cambridge , MA 02142

Lanting , Frans 78 714-A Riverside Avenue Santa Cruz , CA 95060 Leach , David 31 75 Spring Street 9th Floor New York , NY 10012

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Marvy, Jim 104 Marvy! Advertising Photography 41-12th Avenue N. Hopkins , MN 55343 McArthur , Pete 80 1000 Cahuenga Boulevard Hollywood , CA 90038

Meier, Raymond 10, 77 , 97 532 Broadway New York , NY 10012 Menzel , Peter 98 199 Kreuzer Lane Napa, CA 94559 Meola, Eric 12, 84 535 Greenwich Street New York , NY 10013 Metzner , Sheila 7, 80 310 Rivers ide Drive Suite 200 New York , NY 10025 Meyerson , Arthur 33 , 130 4215 Bellaire Boulevard Houston , TX 77025 Meyerwitz , Joel 110 151 W. 19th Street New York , NY 10011 Miller , Van 143 4406 17th Street San Francisco , CA 94114 Molinaro, Neil R. 143 15 Walnut Avenue Clark , NJ 07066 Morgan , Scott 12 612 C Hampton Drive Venice , CA 90291 Muna, RJ 129 225 Industrial Street San Franc isco , CA 94124 Murphy, Denn is 133, 139 101 Howell Street Dallas , TX 75207

Myron 4 127 Dorrance Street Providence , Rl 02903

Sato, Susumu 48 109 W. 27th Street New York , NY 10001

Sperling , Andrea 134 304 E. 90th Street, #2B New York , NY 10128

Witte , Scott 133 219 N. Milwaukee Street Milwaukee , WI 53202

N Neleman , Hans 34 348 W. 14th Street New York , NY 10014

Schleipman , Russ 45 , 48 298 A Columbus Avenue Boston , MA 02116

Stahl , Robert 129 16719 4th Drive S.E. Bothell, WA 98012

Wolf, Bruce 60 136 W. 21st Street 8th Floor New York, NY 10011

Schulman , Scott C. 140 4311 Lyceum Avenue Los Angeles , CA 90066

Stillings , Jamey 110, 116 87 N. Clinton Avenue , #516 Rochester , NY 14604

0 Olson , Rosanne 104 5200 Latona Avenue N.E. Seattle , WA 98105

p Peters , Tim 71 P.O. Box 404 Buffalo , NY 14205 Peterson , Bruce 54 465 Medford Street Boston , MA 02129 Pich , Tom 126 310 E. 65th Street New York , NY 10021 R Regn ier , Michael 92 905 Broadway Kansas City, MO 64105 Richards , Mark. W. 71, 80 477 S. Euclid Avenue , #5 Pasadena , CA 91101

Schuster, Elle 113 3719 Gilbert Dallas , TX 75219 Sedlik , Jeff 98 940 E. 2nd Street Studio 8 Los Angeles , CA 90012 Seliger , Mark 136 251 W. 19th Street, #1C New York , NY 10011 Sener , Patricia 144 203 W. 23rd Street, #4 New York , NY 10011 Severi , Robert 4 813 Richmond Avenue Silver Spring , MD 20910 Shames , Stephen 89 P.O. Box 77 Wynnewood , PA 19096

Robbins , Bill 28 7016 Santa Monica Boulevard Los Angeles , CA 90038

Sharp , Steve 113 153 N. 3rd Street Philadelphia , PA 19106

Rubin , Laurie 64 1113 W. Armitage Chicago , IL 60614

Shimlock, Maurine 89 P.O. Box 162931 Austin , TX 78716

s

Shotwell , Chuck 108 2111 N. Clifton Chicago , IL 60614

Sacha , Bob 94 370 Central Park W. New York , NY Saltonstall , Philip 139 6750 Mulholland Drive Los Angeles , CA 90068

Simhoni , George 22 33 Jefferson Avenue Toronto , Ontario M6K 1Y3 Canada

Salzano , James 22 29 W. 15th Street New York , NY 10011

Smith , Jeff 42 30 E. 21st Street New York, NY 10010

Wong , Wesley 119 667 4th Avenue San Francisco , CA 94118

z

Sugarman, Lynn 7 40 W. 22nd Street New York , NY 10010

Zak , Ed 28 80 Tehama Street San Francisco , CA 94105

Sylvestro, Anthony 22 223 N. First Richmond , VA 23219 T Tanaka, Jamie 102 1301 Waller Street San Francisco, CA 94117

Ziesler, Gunter 78 Spitalgasse 12 D-8958 Fussen West Germany

Toerge , David G. 77 , 89 3972 Folsom Street San Franc isco , CA 94110 Turner , Danny 84 4228 Main Street Dallas, TX 75226

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 occured, notify us within thirty days and we will be able to issue corrected award certificates.

u Uchitel , Diego 92 1007 S. Alfred Street Los Angeles , CA 90035 Uzzell, Steve 20 1419 Trap Road Vienna , VA 22182

v Vazquez , Claudio 91 528 F Street, Terrace S.E .

Washington, D.C. 20003 Vedros, Nick 114, 129 215 W. 19th Street Kansas City , MO 64108

w Wegman , William 67 431 E. 6th Street New York , NY 10009

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INDEX TO ART DIRECTORS, DESIGN FIRMS, AGENCIES AND CLIENTS A AC & R Advertising Inc .

17 AT&T 33 Adage Inc . 54 Adler , Jim 48 Allen Brady & Marsh Limited 7 Allen + Chin 45, 54 Allied Signal 19 Allison , Drew 48 Allstate Insurance 12 American Cancer Society 40 American Health 65 Amica 83 · AmSouth Bank 17 Elizabeth Arden 7 Arete 77 , 84 Arnell/Bickford Associates 33 , 46 Arnell, Peter 33 , 46 Arola , Mike 17 The Art Group , 102 Atochem North America Inc ., 34 Audio Visual Laboratories 107 Avia Group International 51

B Babcock , Marilyn 92 Bade , John 110 Bader Rutter & Associates ., Inc . 28 Bagley , Dona 116 Balcor Property Management 46 Baltimore , Andy 12 Banko , Phil 133 Barkley & Evergreen 129 Barnes Design Office 130 Barnes , Jeff 130 Baron , Fabien 80 Barry, Jennifer 65 Beall , Carol 101 Belk Mignogna Associates , 34 Benes Doyle , Inc. 48 Benner , Shelley 46 Benson , Gay 31 Berger, Carin 34 Bieber , Tim 119

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P H 0 T 0 G R A P H Y

Bierut, Michael 124 Biotechnica International 48 Bomzer Design 42 Borders , Perrin & Norrander, Inc. 51 Bose Corporation 107 Bozell 17 Brock , Michael 92 Brown , Neal 119 Browne , Susan 40 Bruce , JoAnn 7 Buffington, David 126 Burlington Northern Railroad 33 Leo Burnett Company , Inc . 4, 12 Busch, Richard 101 Business Week 80

c California Magazine 102 Canadian Yachting 71 Cape Light/Robert Korn 110 Capitol Records 12 Carmichael Lynch , Inc .

17, 28 , 42 J .l. Case 17 Cevoli , Vic 38 Chiat/Day/Mojo 22 The Greater Chicago Food Depository 62 Chilton , Paul 146 Chin , Margie 45 , 54 Chiquita 48 Christensen, Dave 110 Ciano , Bob 73 Clark , Charlie 52 Clark & Clark 52 Clark , Lon 104 Clifford , Geoffrey 113 Collins Publishers 65 Connatser , Steve 84 Connoisseur 71 Cook , Alan 136 Cool Carriers Shipping Co. 14 Countess Ma'ra 4 Cousteau Society 58 Cox , Robin 107 Cronin , Tim 52

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D 'D' Magazine 84 Davidowitz , Maxine 77 Dearing , James 31 deJori , Charlene 89 Dellplain, Mark 31 Designframe 60 Despard , Carol ine 98 De Zitter , Harry 110 Diamond State Telephone 37 DiPasqua , Sandra 71 Domeneck , Jorge 48 Dow Chemicals Company 28 Doyle, Stephen 80 Drenttel Doyle Partners 80 E Eakins , Warren 19 Eastman Kodak Company 52 Perry Ellis Cologne 7 Enron Corp . 58 Erwin , Mark 14 Esquire 84

F Facility Group 62 Fagien , Lori 98 Fagien , Michael 98 Sandra Fenton & Associates 28 Ferber , Don 42 Fesenmaier , Ray 22 Fisher Mountain Bikes 8 Fox , Bert 89 Fox , David 22 Frouman , Malcolm 80 Fruitman , Sheva 97 Michael Furman Photographer , Ltd . 114

G GRP Records 12 Garre , John 113 Genesis 48 George, Dave 7 Georges , Rip 84 Gerrity , Julie 91 Goebel , Bob 130 Goldstein , Nancy 48 Goodby , Berlin & Silverstein 4, 24

Gorham , John 130 Gray , Jeanne 71 Greene , Joy 48 Gregory, Doane 107 Groupe Bull 89 Gunselman + Polite Design , 114 Gunselman , Michael 114

H Haligman , Matt 28 Hall , Stephen 52 Hamilton 's Mayfair 102 Hammond , Hazel 73 Hands , Bruce 104 Hansen , Tom 31 Harley-Davidson , Inc. 42 Harlow, Michael 8 Harrington , John Q . 52 Hart, Sheila 124 Hassell , Pamela 71 Hauser, Marc 123 Hawker, Christopher 130 Health 77 Henderson & Company 22 Henderson , Dale 22 Henson , Bonnie 91 Hill , Holiday, Connors , Cosmopolous 38 Hinckley & Slade 7 Hinsche , Gary 62 Hitz, Christoph 10 Hoffman , David 60 Hoffman , Steve 86 Ben Hogan Company 3 1 Hopkins , Adrienne 77 Horvath , Ivan 31 Howland , Lori 12 I IBM 14 lmaginology/Artworks 58 Impression Northwest 129 Indiana Department of Tourism 8 Inside China 91 International Center of Photography 110 ltalia Vogue 80 lves , Nik 14 lvey Seright Photograph ic Lab 60

J Jazziz 98 Jenkins , David 27 , 33 Jensen , Bob 31 Johns Ill , GloverS . 77 , 78 Johnson , Tim 58 The Juhl Agency 8

K Kander , Nadav 130 Kansas City Art Directors Club 129 Kansas City Star Magazine 92 Donna Karan New York 46 Donna Karan New York Coverings/Hanes 33 Kaylin , Richard Lee 107 Keating , Roger 120 Keetle , Steve 92 Kehl , Suez B. 77 , 78 , 80, 94 Kennedy , Tom 101 Kenney , Brooke 104 Ketchum Advertising, Los Angeles 14 Kidwell Turf Farms Inc . 52 Kiehle , J im 102 Kizer Group 92 Koepke Design Group 89 Koepke, Gary 89 Korpics , John 91 Krause , J. Michael 7 Krist , Bob 101 Kuester , Kevin B. 130 L L.A. Style 92 La Cascia , Joe 8 Landers-Larson 62 Landers , Sam 62 La Rocca , Fabrizzio 65 Laurino , Frank 62 Leatherman , Brooke 28 Le isure Technology 62 Lesher Communications Inc ., West County Times 77 , 89 Lett Communications 46 Lett , Warren 46 Hal Lewis Group 37

Lian Kwee , Swan 84 Liska & Associates 108, 123 Liska, Steve 108 Lloyd's Furniture 19 Lowe Netherlands 22

M Mac Laren , Mark 113 Madsen & Kuester , 130 Madsen , Karen 37 Karen Madsen Graphic Design 37 Magee , Nora 107 I. Magnin & Co. 8 Maisel , David 124 Mandelbaum Mooney Ashley 8 Marvy! Advertising Photography 104 Marvy, Jim 104 McCaffrey and McCall, Inc . 107 McCarthy, Joanna 48 McGough , Gregg 17 Media Maker 107 Menon , Paolo 83 Mignogna, Steve 34 Miller, Mike 48 Miller, Will 113 Will Miller Design , 113 Morgan, Scott 12 M'otto Red Dot 31 Muna, RJ 129 N NYNEX 22 Narciso , Shauna Wolf 84 National Geographic Traveler 77, 78, 80 , 94 , 101 Neuman, Craig 129 The New England 119 New England Electric 45, 54 New York Times Magazine 97 Nike , Inc . 19, 27, 33 Nikon , Inc. 48 Nissan Motor Corp., lnfiniti Division 38 9th Wave Studio 62

0 Oasis Cancun Hotel 7 Ocean Realm 89 Ogilvy & Mather 31 Olin ABC Reklambyra 14 Olson , Rosanne 104 One Design 28 Otteson, Gary 19

Roepke , Susan 42 Rogers & Company 33 Rogers , Stacy 33 Rose , Cinda 77 , 78 Ross, Carol 98 Royal Viking Line 4, 24 Rumriii-Hoyt , Inc . 52 , 110 Robert Miles Runyan & Associates 62

p Pacific Northwest 84 Pan Pacific Hotels & Resorts 31 Papin , Bernie 20 Bernie Papin Advertising 20 Pellagalli , Gilles 14 Penny Lane Graphics Inc. 48 People's Energy 62 Perkins & Edwards 40 Philadelphia Inquirer Magazine 89 Pich , Tom 126 Pirelli-Armstrong Tire Corporation 17 Plewinska, Barbara 48 Poland Spring 28 Poon , Marie 22 Potlatch Corporation 130 Price, Wendy 129 Q

Quaker Oats

48

R RLK Visual Communications 107 Raban Publications, Walking Magazine 98 Rafayko, Mike 4 Random House 65 Raytheon Company 42 Redgate Communications 89 Regardie's 91 Regnier, Michael 92 Renfro , Doug 65 , 94 Richards, Brock, Miller, Mitchell , & Associates 33 Richmond Ballet 22 Hal Riney & Partners 28 Rizzo, Mike 119

s Samata Associates 62 Samata, Greg 62 Samata , Pat 62 San Diego Gas & Electric 12 San Francisco Chronicle 69 San Francisco Foundation 62 Sandstrom Design 51 Sandstrom , Steve 51 Scanello, Joanne 7 Schedler, Anne 108 Schorp , Cheryl 89 Schuster, Elle 113 Scudder , Cynthia B. 80 ScOdder , Winthrop D. 80 Sebastian , James 60 Security Pacific Merchant Bank 14 Seissler, Amy 65 Sharp, Steve 113 Shellenberg , Marian 107 Sherry Federation of Spain 22 Shotwell, Chuck 108 Siddall , Matus & Coughter, Inc. 22 Silberfein, Larry 7 Silverstein , Rich 4 Simons , Tom 110, 119 Slaughter Hanson & Associates 17 Slaughter, Terry 17 Smith, Jud 17, 28 Kenneth C. Smith & Associates 12 Smithsonian 98 Society Expeditions Cruises 57 Sports Illustrated 86 Spy 80 Stacier, Lee 136

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Illustration Annual

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AUG1985

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CA-81 Advertising & Design Annual

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Photography Annual

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CA-84 Design Annual

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Barry Moser; Chronicle Books; Stan Mack; Paul Davis/Faces; Voyages of the Royal Vikings; John Waters Associates; Lester Beall: A Look Back; ADAC/Sacramento

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A Day in the Life of... ; Carlos Llerena Aguirre; Samata Associates, Inc.; Dave Davidson; Marvin Mattelson; The Martin Agency; Candid Photographs of Arthur Fiedler $7

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Photography Annual

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

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CA-86 Design Annual

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$21

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$7

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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 $7

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International Posters; Deutsch; Joyce Kitchell; Tim Bieber; Skolos, Wedell + Raynor; AlGA Conference III; Earthquake; Exhibit; Index to Volume31

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Deborah Sussman; Arthur Meyerson; Wilson McLean; Weymouth Design; Art Posters; Index to Volume 26

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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

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