aug1992

COMMUNICATION ARTS VOLUME 34, NUMBER 4, PHOTOGRAPHY ANNUAL 1992

Editor and designer Patrick Coyne

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ADVERTISING

Executive editor Jean A . Coyne

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BOOKS

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EDITORIAL

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FoR SALE

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INSTITUTIONAL

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SELF-PROMOTION

Associate designer Stephanie Steyer

Managing editor Anne Telford

Production manager Scott Perry

Production Ron Niewald Scott Teaford

Advertising and circulation director

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UNPUBLISHED

Michael Krigel

Retail sales Art Carbone

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Administrative assistant Nancy Hagemann

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EDITOR'S COLUMN

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TECHNOLOGY REVIEWS

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CONTRIBUTORS

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BOOK REVIEWS

Subscription

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FREE-LANCE

Barbara Gordon

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MATERIALS, AVAILABLE LITERATURE

Jason Jackson Kim Jones

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LEGAL AFFAIRS

Tad Crawford

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CLUBS, CONFERENCES, SEMINARS

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OPINION Cummings Walker

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INDEX TO PHOTOGRAPHERS

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ADVERTISING

Marty Cooke

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INDEX TO FIRMS, AGENCIES AND CLIENTS

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DESIGN TECHNOLOGY

Editorial assistant

Lisa Spiegelman

Sue Sprinkle

Subscription manager Vickie Perry

Traffic manager Vernon Carter

Founder Richard Coyne

Contributors Maxwell Arnold Byron Ferris Mark Fulton Mike Hicks Jim Johnston Marty Neumeier Robert A. Parker Rhodes Patter on Mill Roseman Dugald Stermer

Wendy Richmond

COVER: © 1992 John Huet

Communication Arts Magazine (ISSN 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 .

Subscription rates :

Copyright 1992 by Coyne & Blanchard , Inc .

Canada: one year- $67 (U .S.); two yea rs-$ 125 (U .S.) Includes GST tax. GST Number 127848620

Second class postage paid at Palo Alto , California and additional offices.

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Manuscripts or other material to be returned should be accompanied by a self-addressed stamped envelope adequate to return material.

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

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

Attenti on Re t ailer s: To carry Communication Arts in your store , call Art Carbone , reta il sales manager, at (415) 326-6040 .

Sing le issues: $7 except Illustration Annua l (July) $14 , Photography Annual (August) $14, Design Annual (November) $21 an d Advertising Annual (December) $21 . California residents add 8.25% sales tax.

Edi teur responsable (Belgique) : Christian Desmet , Vuu rgatstraat 92, 3090 Overijse, Belgique Outsi de Nort h America , single copies of CA Annuals are distri buted exclusively by RotoVision SA, Route Su1sse 9, CH -1295 Mies , Switzerland ; phone (022) 755 30 55, Fax (022) 755 40 72, Telex 419 246 rovi ch.

ANNUAL EXHIBITION

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

They are published here under one-time publishing rights permission as stipulated in the call for entries. Nothing shown in this 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.

ADVERTISI G

Patrick Barta . photographer/art director Sadhappy, client Promotional ad image for the Seattle band .

2 John Huet. photographer Rick McQu iston. art director Wieden & Kennedy, ad agency Nike. Inc .. client

Cover for the trade insert.

3 David Holt/Jeff Morgan. photographers Monica Garb. art director/designer Gross Townsend Frank Hoffman. ad agency Merck Sharp & Dohme. client Ad for a new hypertension drug . Headline: Vascular Selective .

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Nadav Kander, photographer John Doyle, art director/designer Doyle Advertising & Design Group, ad agency The Dunham Company, client Ad headline: There are feet that don't care what a Bentley Turbo is going for these days.

2 (series) Bud Lammers. photographer Vernon Hahn, art director Hillary Hope, designer Toyota Motor Sales Design & Graphics, design Lexus, client Showroom brochure.

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Brian Lanker, photographer Julian Ryder/Wilky Lau, art directors Muse Cordero Chen, Inc ., ad agency Nike, Inc ., client Ad headline: Here. Bird . Phooney. Deck . E-man . Cocoa .

Outlaw. When it came to sports, they had all the tools .

2 Phil Banko, photographer Peter Richards, art director Cole & Weber, ad agency The Boeing Co ., client Ad headline : "I think we can build a better airplane ."

William Boeing , 1914.

3 (series) Les Ward, photographer Meredith Lea Bailey, art director/designer Meredith Lea Bailey/Graphic Illustrator, design firm Warner Bros ., client Record jacket for "Earl Klugh Trio, Volume 1."

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Allison Leach, photographer Mark Cohen, art director/creative director Sachnowitz & Co., ad agency University of St. Thomas, client Ad headline: Facing the Future.

2 Michael Lavine, photographer Dorie Chang, art director Zoo Entertainment. client Matthew Sweet "Girlfriend" album cover.

3 Hugh Kretschmer, photographer Larry Vigon, designer Spindletop Records, client Sam Riney "Talk To Me" album cover.

4 Susan Ashukian, photographer Maryetta Martin, designer Martin/Maryetta Inc., design firm Finishing Touches, client Direct mail postcard for clothing store .

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Dennis Murphy, photographer Brent Ladd, art director/designer Brian Brooker, writer GSD&M , ad agency Texas Tourism, client Ad headline: Visit a country where you can experience a unique culture.

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1 (series) Nadav Kander, photographer John Doyle, art director/designer Doyle Advertising & Design Group, ad agency The Dunham Company, client Ad headlines: There are feet that have never seen a David Hackney. There are feet that have never gotten the corner office . There are feet that don't care what a Bentley Turbo is going for these days.

2 Pete McArthur, photographer Tommy Steele, art director Stephen Walker, designer Capitol Records, design/client Banner for Crowded House album, "Wood Face ."

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Lendon Flanagan, photographer Randy Dunbar. art director/designer Gay and Lesbian Media Coalition. client Poster for the film and video festival.

2 Jim Erickson. photographer Gregg McGough, art director SlaughterHanson, ad agency AmSouth Bank, client Newspaper ad headline: Quality Relationships . Phillip and his wife Ruth . Married 52 years.

3 John Huet, photographer Dann DeWitt. designer DeWitt Anthony, Inc., design firm Reebok. client Point of purchase display for blacktop basketball shoes .

4 Michele Clement, photographer Todd Riddle. art director Hill, Holliday, Connors, Cosmopulos. ad agency Polaroid Corp., client Trade ad promoting Polagraph Film .

5 Jimmy Williams, photographer David Crawford. art director GSD&M, ad agency Southwest Airlines. client

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Ad headline: Win a trip to play ball with Nolan Ryan.

6 Kurt Gerber. photographer/art director Kurt Gerber Films Inc., ad agency New York Department of Education. client Celebrity portrait of Spike Lee from the ad series urging students to stay in school, "Do The Right Thing ."

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ADVERTISING

1 (series) Robert Tardio. photographer Elizabeth Oaten/Tim Hanerhan, art directors Lawner Reingold Britton & Partners, ad agency Kinney Shoes. client

2 Nadav Kander. photographer Nigel Rose, art director Collett Dickenson Pearce. ad agency Benson & Hedges. client Well known ad campaign, dependent on package recognition .

3 Jim Arndt, photographer Bill Winchester. art director Campbell Mithun Esty, ad agency Texaco. Havoline Motor Oil. client

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Mark Rattin. photographer Francesca Restrepo, art director/designer Sony Music, design/client CD cover, "Would U Like 2 Touch My Sampler?"

2 (series) Gary Nolton. photographer Jeff Weithman. designer Nike Design, design Nike Germany, client Poster images for the Dormund Soccer Club .

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ADVERTISING

1 (series) Robert Mizono, photographer Matt Haligman, art director Atlas, Citron, Haligman & Bedecarre, ad agency Resort at Squaw Creek, client Headline for each ad : Unfortunately, our trout fishing stream, our golf course, our riding stables and our mountain bike trails will not be open this winter.

2 Hunter Freeman, photographer John Avery/Gabrielle Mayeur, art directors Gabrielle Mayeur, designer Hill Holliday, ad agency Nissan Motor Corp ., lnfiniti Div., client Advertising brochure cover photograph of the lnfiniti 045 hood emblem .

3 Michele Clement. photographer/art director Carillon Importers Ltd ., Absolut Vodka, client

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Lee Crum, photographer Stephen Hall, art director Rumriii-Hoyt, ad agency Eastman Kodak Company, client Ad headline: You couldn't pay me to use T-Max 400 film .

B ooKs 2 Arthur Grace, photographer Alex Castro, art director/designer Castro Arts, design firm Thomasson-Grant. client Cover of Comedians, showing Robin Williams and his baby.

3 David Freese, photographer Bill Marr, designer Kelsh Marr Studios, design firm American Society of Magazine Photographers, client Photograph selected for 70,000 Eyes.

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BooKs 1 (series) Jay Dickman, photographer Jody Bolt, art director/designer John Agnone , picture editor National Geographic, client Book showing remote places of the earth, Beyond the Horizon. This chapter was on the interior of Iceland .

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BooKs 1 (series) Laurie Rubin. photographer Fly Productions. art director/designer/design firm Viking Studio Books. Penguin Group. client

Food Tales. a literary menu of mouthwatering masterpieces.

2 Michael Malyszka. photographer Bill Marr. designer Kelsh Marr Studios. design firm American Society of Magazine Photographers. client Photograph selected for 10,000 Eyes.

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B ooKs 1 (series) Brian Lanker/David Peterson/Andy Levin/ Guglielmo de'Micheli/Rick Smolan, photographers Jennifer Barry, art director/designer Collins Publishers San Francisco, publisher Photographs from A Day in the Life of Ireland.

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BooKs Pete McArthur, photographer Stephen Doyle/Agnethe Glatved/Chris Johnson, designers Stephen Doyle, creative director Drenttel Doyle Partners. ad agency Harper Collins. client Book cover for college study guide, Introduction to Business Calculus.

2 Maureen France, photographer Bill Marr, designer Kelsh Marr Studios. design firm American Society of Magazine Photographers. client Photograph in 10,000 Eyes, "Muscle Men."

EDITORIAL

3 Robert Peak. photographer Michael Brock, art director/designer Michael Brock Design, design firm L.A. Style. client This season's stemware is witty and whimsical. romantic and sophisticated .

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EDITORIAL

1 (series) Matt Mahurin, photographer Fred Woodward, art director Gail Anderson, designer Laurie Kratochvil, photo editor Rolling Stone, client "Do or Die," living the gang life with the Bloods and the Crips, two young gang members fly their colors and throw the hand signs of their affiliations .

2 (series) Sergei Vassiliev, photographer Mirko IIi C. art director Time, International Edition, client Magazine article, "From Islands of Silence," a Russian prison riot.

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EDITORIAL

1 (series) Peter Menzel, photographer Christiana Breustedt. picture editor Geo. client Magazine assignment to document the oil well fires in Kuwait set by retreating Iraqi soldiers.

"The Curse of Black Gold."

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EDITORI AL

1 (series) Raymond Meier. photographer Janet Froelich . art director The New York Times Magazine. cl ient Home design section. "Going for the Gold ."

2 Robb Kendrick. photographer Bett Mclean. art director Whittle Communications. design/client Magazine article on Hutterites. a Mennonite sect in the northwestern Un ited States and Canada .

3 Albert Watson . photographer Fred Woodward . art director Ga il Anderson/ Debra Bishop. designers Laurie Kratochvil , photo editor Rolling Stone. client Does 22-0 mean you're ready for Tyson? Bowe knows .

4 Saul Bromberger. photographer Sandra Schneider, art director Eastside Week. client Magazine cover photograph of antique dealer. Richard Mattila. to illustrate an article on antique collecting .

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EDITORIAL

1 (series) Chris Hamilton, photographer Karen Mullarkey, director of photography George Washington, National Basketball Association, editor Sports Illustrated. client Article "A Zone of Their Own ."

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Thia Konig, photographer Pat Prather. art director Larry Evens, photography director Sue Smith, photography editor Outside. client Magazine "Exposure " section , Los Padres National Forest.

2 Matt Mahurin, photographer Alisann Marshall. art director/designer American Way, design American Airlines. client In-flight magazine article, "Water's Edge ."

Water is as much a mood as it is a place.

3 Herb Ritts, photographer Fred Woodward. art director Debra Bishop, designer Laurie Kratochv il, photo editor Rolling Stone, client

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Men are in crisis, whereas he is not. He does not know the meaning of "crisis ." Or perhaps he does, but he pretends otherwise . He is Austrian, after all and some Big Shot. (The inner tube Arnold Schwarzenegger sits in , forms the 0 in the word shot.)

4 Greg Holman, photographer Catherine Goard, art director Southam Business Publications. publisher Portrait of Steven Periard, president of the Insurance Brokers of Ontario . Canadian Underwriter article to try and put the auto insurance issue beh ind us once and for all . "Second Chance."

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EDITORIAL

1 (series) Christopher Morris, Black Star, photographer Michele Stephenson, picture editor Robert Stevens/Eleanor Taylor, associate picture editors Time/Time International, clients News article on the civil war in Yugoslavia .

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EDITORIAL

1 (series) Mark Seliger, photographer Fred Woodward, art director Fred Woodward/Catherine Gilmore-Barnes, designers Laurie Kratochvil, photo editor Rolling Stone, client Portfolio of Heavy Metal Nation.

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EDITORIAL

1 (series) Will van Overbeek, photographer O.J. Stout, art director Texas Monthly, client "Wet 'n Wacky." In a world awash with look-alike water parks, Texas's offbeat Schlitterbahn has river water, tube runs and plenty of thrills to chill the sweltering masses .

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1 (series) Steven Meisel, photographer Fred Woodward, art director/designer Laurie Kratochvil, photo editor Rolling Stone, client "Flesh and Fantasy." Madonna describes her collaboration effort with Meisel. "For me, it was a great chance to re-create ·an era that I feel I would have really flourished in, that nothing I would have done would have been censored."

2 Audrey Berg, Lightscapes/Mark Fronk, Lightscapes, photographers/designers Loupe, client Cover photograph for the first issue of the trade magazine.

3 Jody Dole, photographer Kirby Rodriguez. art director Dennis Freedman, creative director Fairchild Publications, client Image produced to illustrate article on beauty soaps for W magazine, "Come Clean."

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EDITORIAL

1 (series) Mark Richards. photographer Nancy Duckworth, art director Lisa Thackberry, photo editor Los Angeles Times Magazine, client Article on Haiti , "From Horror to Hope."

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EDITORIAL

1 (series) Leong Ka Tai, photographer Richard Jost, art director Percy Chung, designer Emphasis (Hong Kong) Ltd ., design firm Cathay Pacific Airways Ltd ., client In-flight magazine Discovery.

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1 (series) Michael S. Wirtz, photographer Bert Fox, art director/designer Jessica Helfand, design director Philadelphia Inquirer Magazine, client Newspaper article, "Delta Blues ."

On the rich bottom land of the Mississippi, you can raise a crop, but not a family.

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EDITORIAL

1 (series) Keith Carter. photographer D.J. Stout, art director/designer Texas Monthly, design/client Magazine article . "Dog Ghosts and Bottle Trees," about photographing Mojo, an African term meaning spirit or soul . Bottle trees are like dog ghosts. Both are vessels for spirits.

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Paul Franz-Moore, photographer Michaela Thunen. floral stylist Akagi Design, design firm De Young Museum, client

TripTych magazine article illustrating the Armory floral arrangement show.

2 Shephard Sherbeii-Saba. photographer Rudolph C. Hoglund. art director Michele Stephenson , picture editor Time, cli ent "Images '91. Pictures of the Year."

Soviet tanks mass near the Kremlin as the coup attempt begins .

3 L.L. Griffin, photographer Rocky Mountain News. client Article about composer Donald Keats, "Composer's written off fame. but music commands notice."

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Fran Collin. photographer Mary Dunn. picture editor George Pitts, assistant picture editor Entertainment Weekly, client Magazine article on the cosmopolitan style of Gay Talese. "Say Ciao. Baby."

5 Matt Mahurin. photographer David Carson, art director David Carson Design, design firm Beach Culture , client Cover on Japanese beach culture .

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EDITORIAL

1 (series) John Chiasson, photographer Karen Mullarkey, photo ed itor Sports Illustrated, client Article about the lives of horse racing grooms, "Nobody Knows Their Names."

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EDITORIAL

Lauren Sorokin, photographer Sara Feldmann, art director Young Fashions, client Children's wear trade-publication, "All the Trimmings ."

2 Ka-Sing Lee, photographer Richard Jost/Percy Chung, art directors/designers Emphasis (Hong Kong) Ltd ., design firm Cathay Pacific Airways, client In-flight magazine Discovery, cover for a special issue on Asian photographers .

3 (series) Timothy Greenfield-Sanders, photographer Holly Caporale, art director Michael Brock, designer L.A. Style, client "Italian-American Renaissance," article on ItalianAmerican actors Joe Pesci, Laura San Giacomo, John Turturro, Joe Mantegna and Valeria Golino.

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EDITORIAL

1 P.F. Bentley, photographer Rudolph C. Hogland, art director Miche le Stephenson, picture ed itor Time , client Profile of Robin Williams .

2 Toni Hafkenscheid, photographer Martha Weaver, art director Audrey Goto, designer Greer Lord, photo coordinator En Route, client Magazine photograph of a magician , "Exposures: Stewart James."

3 Jon Gipe, photographer Kim Klein, art director New Times, client Two German tourists pose by the pool at the Space Age Lodge, located in Gila Bend, the hottest town in Arizona. "The water in the pool was about 120 degrees," Gipe recalled .

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EDITORIAL

1 Albert Watson, photographer Fred Woodward. art director/des igner Laurie Kratochvil. photo editor Rolling Stone. client

Canadian film maker David Cronenberg .

2 Gregory Heisler, photographer Nancy Duckworth, art director Los Angeles Times Magazine. client For George Bush , "The Clutch President," the only thing that counts is a crisis- the farther away the better.

3 Igor Gavrilov. photographer Rudolph C. Hogland, art director Michele Stephenson. picture editor Time, client "Crisis of Personality."

4 Michael Melford. photographer Lou Dilorenzo. art director Bill Black. director of photography Travel Holiday, client

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Magazine article on Bangkok. traveling in a long stem boat on the Chao River. "How To Love Bangkok."

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EDITORIAL

1 Chip Simons, photographer Jane Palecek, art director/designer Health, client "TV or Not," if you hate American television, if you believe that it withers all who tumble into its dead blue light, you would have loved Family Pizza Night at Andover Elementary School.

2 Jeff Sedlik, photographer/concept Timothy Pedersen, designer Michael Fagien/Lori Fagien , publishers Jazziz, client Magazine cover portrait of Rickie Lee Jones.

3 Layne Kennedy, photographer Greg Breining, designer Kathleen Weflen, editor Minnesota Volunteer, Department of Natural Resources, client Magazine cover photograph of a hot air balloon over the frozen St. Croix River, intended to educate residents on the status of the state's natural resources.

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4 Peter Murphy, photographer David Schonauer, editor Susan Christenson, assistant editor American Photo, client Magazine article on new talent in photography, "Bald," in lxtapa, Mexico, hotel lobby.

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EDITORIAL

Lynn Johnson, Black Star, photographer Tom Kennedy, director of photography David Griffin, designer National Geographic, client Genetic erosion: a threat to the world's food and medicine supply. Photograph shows a headache healing leaf.

2 (series) Geof Kern, photographer Fred Woodward, art director/designer Laurie Kratochvil , photo editor Rolling Stone, client Yearbook.

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EDITORIAL

1 Earl Ripling , photographer Mark Danzig, art director Kate Sullivan, photo editor American Health, client Magazine article, "Fighting Cancer with 0. J. and Java."

FoR SALE

2 Ed Nielsen, photographer/art director/designer Palm Press, client Christmas card .

3 (series) Deborah Roundtree. photographer Nancy Montgomery, art director Yee Ping Cho, designer Yee Ping Cho Design, design firm Teleflora. Flowers, client Floral trade magazine posters .

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FoR SALE 1 Michael Melford. photographer Michael Quackenbush, creative director Avanti Press, client

Greeting card .

2 (series) Ted Stefanski, photographer/art director/designer Images shot through glass.

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FoR SALE 1 (series) Frans Lanting, photographer Paul Probst, art director Geo, client Oversized wall calendar showing images from the African wilderness .

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FoR SALE 1 (series) Vic Huber, photographer Tim Meraz, designer Tim Meraz Design, design firm Alta Romeo of North America, client The 1992 calendar printed by Dot Printer.

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FoR SALE

1 Rob Badger. photographer Part of a project on trees, sold as fine art.

2 Larry F. Levenson. photographer/ art director/designer

3 Jason Sma Iley, photographer Michael Quackenbush, creative director Avanti Press. client Greeting card, "Can't live with 'em. can't live without 'em ."

INSTITUTIONAL

4 Jim Krantz, photographer Linda Karnish. designer Union Pacific Railroad, client Cook House Museum brochure photograph .

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INSTITUTIONAL

David Magnusson, photographer Chuck Routhier, art director/designer Earl Office, design firm The Pacific Vision Foundation. client Announcement of the ninth annual meeting of the eye surgeon's conference.

2 Tom Levy, photographer Jessie McAnulty, art director/designer Cahan & Associates Design, design firm Project Open Hand. client Fund-raising brochure. Client Doris Butler. HIV positive, and her son. Jared. who has AIDS. 3 (series) Ka-Sing Lee, photographer Clement Yick. art director/designer Kan Tai-keung Design & Associates Ltd .. design firm Eton Properties Ltd .. client Property brochure. The images illustrate four characters in the Chinese proverb: Wind, Mountain, Water, Happiness.

The center of the photograph was printed on a PVC sheet. when this was turned over a perspective drawing appeared.

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INSTITUTIONAL

1 (series) Arch A. Cheney, photographer/designer O.C. Tanner Co., client The photographs were taken at the Lagoon Amusement Park in Farmington, Utah, and used in a multi-image presentation .

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1 (series) Kenji Toma. photographer Kyoji Kawai, art director/designer Via Bo, Rink, design firm Ginza Diana, Robert Clergerie, client Shoe catalog .

2 Charly Franklin, photographer/art director Michael Vanderbyl, art director/designer Vanderbyl Design, design firm Rucker Fuller Co ., client Capabilities brochure for the distributor of office furniture.

3 Robert Barker, photographer Fred Murrell, art director Craig Keefer, designer Corning Corporate Design, design Corning Incorporated, client Annual report image shows Corning's Japanese facility .

3

C 0 M M U N I C A T I 0 N

A R T S

87

2

88

P H 0 T 0 G R A PH Y

A N N U A L

I 9 9 2

INSTITUTIONAL

Pierre-Yves Goavec, photographer Gregg Glaviano/Ciaire Wolfman, art directors Jennifer Johnson. designer Judy Kirpich. creative director Grafik Communications, Ltd ., design firm Fairchild Corporation. client Annual report photograph.

2 (series) Robb Kendrick, photographer/art director Operation Rainbow. client The images of polio in China were used for fund-raising slide presentations and also in the newsletter.

C 0 M M U N I C A T I 0 N

A R T S

89

90

P H 0 T 0 G R A P H Y

A N N U A L

I 9 9 2

INSTITUTIONAL

1 (series) Rodney Smith, photographer J.P. Williams, art director/designer Bergdorf Goodman, design/client Three month calendar-booklet showing the men's clothing collection .

2 Robin Bartholick, photographer Mary Macenka, art director Robin Bartholick/Pennie Pickering, designers Seattle Symphony, client Photograph for the season brochure.

2

C 0 M M U N I C A T I 0 N

A R T S

91

92

P H 0 T 0 G R A P H Y

A N N U A L

I 9 9 2

INSTITUTIONAL

1 (series) Patricia Heal, photographer Jean McCartney, art director Keith Johnston. designer Martex. WestPoint Pepperell , Inc ., design/client Fall ensembles, bed and bath .

C 0 M M U N I C A T I 0 N

A R T S

93

INSTITUTIONAL

1 Alexander, Glass, Ingersoll, Inc., photographer Visual Marketing Associates, Inc., design firm Huffy Corporation, client Corporate art.

2 Chris Shinn , photographer Lana Rigsby, designer · Rigsby Design, design firm Serv-Tech, client Annual report photograph .

3 Jim Judkis, photographer Kristina Martinez, designer BD&E, design firm Chambers Development Company, Inc., client Annual report photograph showing a surveyor's mark.

2

94

P H 0 T 0 G R A P H Y

A N N U A L

1 9 9 2

3

C 0 M M U N I C A T I 0 N

A R T S

95

INSTITUTIONAL

Karen Holzberg, photographer Gregg Glaviano/Ciaire Wolfman. art directors Jennifer Johnson. designer Judy Kirpich. creative director Grafik Communications. Ltd .. design firm Fairchild Corporation, client From the Fairchild annual report. Rexnord Corporation, one .of five divisions. manufactures machinery and belts for assembly factories .

2 Richard Hamilton Smith, photographer Duane Johnson. designer Kenyon Consortium. design firm United States Golf Association/United States Open Golf Tournament/Hazeltine National Golf Course. clients Program.

3 Philip Rostron. Instil Productions. photographer Jon Vopni. designer Vopni & Parsons Design Limited, design firm The Coca-Cola Company, client Annual report.

S ELF- PROMOTION

4 Chris Coli ins. photographer/client Richard Manzo. designer MFA Creative Services. design firm

Mailer.

2

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P H 0 T 0 G R A P H Y

A N N U A L

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C 0 M M U N I C A T I 0 N

A R T S

97

SELF-PROMOTION

1 (series) Nick Pavloff. photographer/art director/ designer/client The images were used as postcards and in a promotional portfolio.

98

P H 0 T 0 G R A P H Y

A N N U A L

1 9 9 2

C 0 M M U N I C A T I 0 N

A R T S

99

100

PH 0 T 0 G R A PH Y

A N N U A L

I 9 9 2

2

SELF-PROMOTIO

1 (series) Lewis Mulatero, photographer/client lan Hutchings, art director David Hurren, designer 2 (Two), design firm Promotional postcards .

2 Russell Porcas, photographer/art director/client Mailer.

3 Russell Kaye, photographer/art director/client Mailer.

4 Alexander, Glass, Ingersoll, Inc., photographer/client Mailer.

3

4

C 0 M M U N I C A T I 0 N

A R T S

101

2

SELF-PROMOTIO

Victor Schrager. photographer/client Corsair Studio, designer/design firm Promotional booklet.

2 Carlos Alejandro. photographer/art director Carlos Alejandro Photography, client Source book ad, reprints for mailer/leave behind.

3 (series) Ron Baxter Smith. photographer Todd Richards. designer The Society of Graphic Designers of Canada, client Folded invitation to a fund-raising party.

3

] 02

P H 0 T 0 G R A P H Y

A

UAL

1992

C 0 M M U N I C A T I 0 N

A R T S

103

104

P H 0 T 0 G R A P H Y

A N N U A L

I 9 9 2

SELF- PROMOTION

1 (series) Mark Ferri, photographer/client Jane M. Hewson/Amy Mullins, designers Hewson Berlin Associates, Inc., design firm Booklet, "The Boxer."

2 Stuart Dee, photographer/art director/client Mailer, portfolio piece .

2

C 0 M M U

I C A T I 0 N

A R T S

105

106

PH 0 T 0 G R A PH Y

A N N U A L

l 9 9 2

SELF- PROMOTION

1 (series) John Sexton/Marilyn Bridges/Michael Kenna, photographers Lou Fiorentino, art director Helen Fiorentino, designer Fiorentino Leibe Associates. design firm KBA-Pianeta Inc., client Booklet to demonstrate the quality of the printing presses.

C 0 M M U N I C A T I 0 N

A R T S

] 07

J08

P H 0 T 0 G R A P H Y

A N N U A L

1 9 9 2

SELF-PROMOTION

1 (series) Paul Hoffman, photographer/art director Nina Bookbinder, designer Nina Bookbinder Design, design firm Paul Hoffman Photography, client Booklet.

2 Rosanne Olson, photographer/art director/client Ad in a source book.

2

C 0 M M U N I C A T I 0 N

A R T S

] 09

110

P H 0 T 0 G R A P H Y

A N N U A L

I 9 9 2

SELF- PROMOTION

1 (series) Anthony Artiaga, photographer/client Robin Rose, art director Promotional folder.

COMMUNICATION

ARTS

Ill

SELF-PROMOTION

1 (series) Holly Stewart, photographer Jennifer Moria, art director Jennifer Morla/Sharrie Brooks, designers Moria Design, design firm Hol ly Stewart Photography, client Calendar.

112

P H 0 T 0 G R A P H Y

A N N U A L

1 9 9 2

COMMUNICATION

ARTS

113

SELF-PROMOTIO

1 (series) Stephen Black, photographer Stephen Black Design, Inc., design firm/client Chronicle of a trip with the photographer's mother to the place of her birth, Kuling, China . It was there before the war that she spent her first years, the daughter of American missionaries. These images are of China today, nearly 50 years later.

114

P H 0 T 0 G R A P H Y

A N

U A L

I 9 9 2

C 0 M M U N I C A T I 0 N

A R T S

115

SELF- PROMOTION

1 Greg Booth , photographer/client Dick Mitchell, art director/designer RBMM/The Richards Group, design firm

Canyon de Chelly poster.

2 Steve Niedorf, photographer Steve Niedorf/Barbara Redmond, designers Barbara Redmond Design, design firm Niedorf Photography, client Mailer.

3 Harry De Zitter, photographer/art director Tom Simons, designer Partners and Simons, design firm De Zitter Photography, client Poster.

4 Cameron Davidson, photographer/client Lana Rigsby, art director Troy Ford, designer Rigsby Design , design firm Studio Christmas card .

116

P H 0 T 0 G R A P H Y

A

N U A L

I 9 9 2

3

4

C 0 M M U

I C AT I 0 N

A R T S

11 7

S ELF-P ROMOTIO

Raymond Meeks, photographer/art director/client John Doyle , designer Doyle Advertising & Graphic Design, ad agency Hand-pulled gravure of a Soviet peasant in Donetsk, Ukra ine, presented as a gift to clients .

2 Ani I Kapahi, photographer/art director/designer/client Mailer.

3 (series) S. Peter Lopez, photographer Russell Holmes, designer Holmes & Assoc iates, design firm Leave behinds .

4 Peter Chou, photographer/art director/client Promotional ad .

2

118

P H 0 T 0 G R A P H Y

A N N U A L

I 9 9 2

3

4

C 0 M M U N I C A T I 0 N

A R T S

119

120

P H 0 T 0 G R A P H Y

A N N U A L

I 9 9 2

SELF- PROMOTION

1 (series) Stephen Collector, photographer/art director Mark Hanger, designer Graphein Design, design firm Stephen Collector Photographer, client Folder with cards inside, "The Road to Jellystone, an Interstate Guide to Wildlife ."

2 Lon Clark, photographer/art director Lon Clark Photography, client Promotional ad.

2

C 0 M M U N I C A T I 0 N

A R T S

J2]

2

3

122

P H 0 T 0 G R A P H Y

A N N U A L

4

SELF-PROMOTION

Kurt Stier. photographer/art director Diane Wasserman. designer Outtake from work in process for Polaroid. used as a mailer.

2 Renzo G. Cattani, photographer Nathalie Houde. art director Communique. design firm/client

Used in a promotional brochure .

3 Gill Orsman. photographer Paul Morgan, art director/designer Material used for an exhibition mailer.

4 Erik Leigh Simmons. photographer Kip Haggett, designer Weber Temple Magruder. ad agency Mailer.

5 5

John Payne. photographer Anette Arnesen. designer Anisdahi/Christensen . design firm Carl Emil, client Promotional brochure for a Norwegian paper company.

COMMUNICATIO

A R T S

123

124

P H 0 T 0 G R A P H Y

A N N U A L

I 9 9 2

SELF- PR OMOTION

1 (series) Marc Norberg, photographer Michael Skjei , designer Shay, Shea, Hseih & Skjei, design firm Marc Norberg Studio, client Direct mail piece .

2 Carl VanderSchuit. photographer VanderSchuit Studio Inc., client Ad .

2

C 0 M M U

I C A T I 0 N

A R T S

125

SELF-PROMOTIO

Christian Belpaire, photographer/art director/client Direct mail .

2 Dom inique Malaterre, Tilt Inc ., photographer Lucie Gagnon/Pierre Leonard , designers Grapheme, design firm/client Corporate brochure. ·

3 Dave Siegel, photographer Dave Page, art director/designer Siegel Photographic/Woods Lithographics, clients Poster.

U PUBLISHED 4 Doane Gregory, photographer © 1992 Doane Gregory

2

126

P H 0 T 0 G R A P H Y

A

N U A L

I 9 9 2

3

4

C 0 M M U N l C A T I 0 N

A R T S

127

UNPUBLISHED

Hans Neleman, photographer © 1992 Hans Neleman

2 William Campbell, photographer Outtake from Time article on country music's new mecca , Branson, Missouri. © 1992 William Campbell

3 (series) Masatomo Kuriya, photographer © 1992 Masatomo Kuriya

2

128

P H 0 T 0 G R A P H Y

A

N U A L

I 9 9 2

3

C 0 M M U N I C A T I 0 N

A R T S

129

UNPUBLISHED

1 Jila Nikpay, photographer © 1992 Jila Nikpay

2 Scott C. Schulman, photographer © 1992 Scott C. Schulman

3 Kim Ducote, photographer Etched photograph "Sugar Cane Farmer," Australia . © 1992 Kim Ducote

4 Richard H. Strode, photographer © 1992 Richard H. Strode. Strode Eckert

2

]30

P H 0 T 0 G R A P H Y

A

N U A L

I 9 9 2

3

4

C 0 M M U N I C A T I 0 N

A R T S

131

2

3

132

P H 0 T 0 G R A P H Y

A N N U A L

I 9 9 2

UNPUBLISHED

Grace Knott. photographer MCA Records. Energy Orchard. © 1992 Grace Knott.

2 Thomas Hicks. photographer © 1992 Thomas Hicks

3 (series) Jerry Stebbins. photographer Sand ra Eisert. art director John Bull. designer The Book Design Co .. design firm Weldon Owen . Inc .. client

Over Minnesota, aerial views of the state.

Scheduled for publication in August of 1992. © 1992 Jerry Stebbins

COMMUNICATIO

A R T S

133

U PUBLISH ED 1 (series) Charles Ford , photographer © 1992 Charles Ford

2 Lonnie Duka, photographer © 1992 Lonnie Duka

3 J. Dale Swenarton, photographer © 1992 J. Dale Swenarton

134

P H 0 T 0 G R A P H Y

A

U AL

199 2

2

3

C 0 M M U N I C A T I 0 N

A R T S

135

2

UNPUBLISHED

Daniel Drollette Jr .. photographer © 1992 Daniel Drollette Jr.

2 (series) Steve M. Alden. photographer © 1992 Steve M. Alden

136

PH 0 T 0 G R A PH Y

A N

U A L

l 9 9 2

C 0 M M U N I C A T I 0 N

A R T S

137

2

138

P H 0 T 0 G R A P H Y

A N N U A L

19 9 2

3

UNPUBLISHED

1 Jim Arndt, photographer Carol Henderson, art director Fallon McElligott, ad agency Children's Defense Fund, client © 1992 Jim Arndt

2 David R. Stoecklein, photographer/designer Tinka Raymond, art director Future book, Idaho Cowboy. © 1992 David R. Stoecklein

3 Nancy R. Cohen, photographer © 1992 Nancy R. Cohen

4 Frank W. Ockenfels 3, photographer Heather Horne. art director/designer Unused publicity photograph of Steve Wiggins for Sparrow Records. © 1992 Frank W. Dckenfels 3

4

C 0 M M U N I C A T I 0 N

A R T S

139

U NPUBLISHED

Louis Bencze, photographer © 1992 Louis Bencze

2 Jamey Stillings, photographer Ray Bethea. art director Rumriii-Hoyt. ad agency This image is from location photog raphy for Intermountain Canola . © 1992 Jamey Stillings

3 Pete Turner. photographer © 1992 Pete Turner

4 Steve Hix. photographer © 1992 Steve Hix

2

140

P H 0 T 0 G R A P H Y

A

N U A L

I 9 9 2

3

4

C 0 M M U N I C A T I 0 N

A R T S

141

U PUBLISHED Dennis O'Ciair, photographer © 1992 Dennis O'Cia ir

2 (series) John Huet, photographer Susan Nappi, art director/designer For a book on street basketball, Hoops, tentatively scheduled for late fall . © 1992 John Huet

2

142

P H 0 T 0 G R A P H Y

A

N U A L

I 9 9 2

C 0 M M U N I C A T I 0 N

A R T S

143

2

144

P H 0 T 0 G R A P H Y

A N N U A L

I 9 9 2

3

U PUBLISHED Charles Mason, Black Star, photographer Reindeer herding in Alaska . © 1992 Charles Mason

2 Arthur Meyerson, photographer © 1992 Arthur Meyerson

3 I. Wilson Baker, photographer © 19921. Wilson Baker

4 James Dickens, photographer © 1992 James Dickens

4

C 0 M M U N I C A T I 0 N

A R T S

145

UNPUBLISHED

1 Phil Bekker, photographer © 1992 Phil Bekker

2 John Derryberry, photographer Carol Black. art director © 1992 John Derryberry

2

146

P H 0 T 0 G R A P H Y

A N N U A L

I 9 9 2

WHY

Because the

DOES

THE MooN

SHINE?

brightness of Eloquence yields

)

intense color and sharp contrast between ink and paper.

And, the glossy Eloquence surface permits thin ink films , virtually eliminating dot gain. The result is crisp, delicate details for a subtle interplay of light and shadow that shines like the moon.

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B

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The answer is easy if you understand color and paper basics. Very fine halftone screens allow subtle tonal gradation, from the blacks of deep shadows to the sparkling whites of highlights. B A s 1 c •

bright and smooth, refined, tight and even.

Like Eloquence.

The exceptionally glossy Eloquence surface permits reproduction of the finest delicate detail. And, the remarkably bright and uniform Eloquence surface evenly reflects a maximum of light. And that peaks contrast and color intensity, so colors are crisp and clean and highlights sparkle.

Eloquence, you know it will work right every time.

THE

Eloquence®

Potli\tch

QuALITY

Is

Potlatch Corporation Northwest Paper Division Cloquet. Minnesota 55720 For the name of your local merchant. call 1-800-447-2133 .

BASIC

Printed in the U.S.A. on Eloquence 110 lb. text. a recyclable paper made from a renewable resource.

0 1992 Potlatch Corporation

we·u have it on v.our desk tomorrow morning!

The world's largest selection of stock photography, film, and illustration.

Over SO offices worldwide, including: Atlanta 404 233 9920, Bo ton 6 17 267 8866, C h icago 3 12 329 18 17, Da llas 2 14 528 3888, Detroit 313524 18SO, Hou ton 7136680066,LosAngeles 2 139300797,Mi nneapolis 6 123328935, aple FL 8135663444, an Franci co 415 788 2208, eanle 206 343 93 19. Headquarte r : Ill Fifth Avenue NYC 10003 Tel: 212 529 6700 Fax: 212 529 8886 THE IM AG E BA K. TIB. ,m,l TIB THE IMAG E BANK "'c ""dc mo~rk, <>f Thc lmo~c B.1pk, Inc. New Y<>rk , NY

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•

Harry DE

ZITTER •

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Fax: (508) 945 4548

•

Client: Si.Jley I Benetton~ Italy.

EDITOR'S

COLUMN

PATRICK COYNE ESIDES THE NEW COVER, YOU MAY have noticed the significant number of new photographers featured thi s year. Out of 175 photographers , 103 have never appeared in our Photography Annual before. This may be for economic reasons. With fewer paid projects , we saw decreases in the advertising and in stitutional categorie , but increases in the self-promotion and unpublished categories, where we frequently see the work of new photographers.

B

With the inclusion of several calendars and posters, along with cards and prints, the For Sale category rebounded strongly this year. Editorial was up by only a single page but the work in this category continues to be impressive, especially the diverse approaches, from heavily manipulated images to the photojournalistic reality of conflicts in the Middle East and Eastern Europe.

The site for the jurying session was the same as it ha been since our first show in 1960, Hyatt Rickeys in Palo Alto.

While this sprawling collection of attached bungalow-style cottages has become somewhat of an anomaly in hightech Silicon Valley, it is still an attractive and comfortable place for the jurors to live and work, with its numerous pathways and sculpture-dotted courtyards.

The jurors arrived at the hotel Saturday, April 11. The photography judging wasn't scheduled to begin until the next morning, but we all met for a get-acquainted dinner that evening.

The jurying took place 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.

Our plan was to serve coffee, tea, breakfast rolls and lunch on the patio outside the halls , but when we met at nine o'clock Sunday morning for a brief explanation on the

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jurying process, it became obvious that we were going to have some wet weather. Fortunately, the next day ' weather was sunny so we could enjoy our traditional outdoor buffet.

During the first part of the two-part judging proce , the jurors worked in two groups of three with each group screening half of each category. I acted as the sixth screening judge during this process.

All but the smallest categorie had been divided o each team saw half of the entries in every category. Print entries were spread out on the table by category with many categories requiring several set-ups. Effort were made to keep entries by the same photographer from appearing in sequence. Any juror could place a piece in the final s by handing it to a member of the CA crew , who would put the entry into the "in" container. After all three juror were satisfied that they didn ' t wish to put any additional pieces into the finals , they sat down and viewed a carou el of slides. Jurors screened these by marking the "in" or "out" column on prepared scoring sheets.

With 20 carousel s of slides in just the unpublished category, we didn ' t complete the creening proce until Monday morning. 1,211 entries were put into the final s.

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

The jurors 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 every entry was voted on by every judge.

After all the jurors had fini shed voting , they moved to the second hall [ C 0 N T I N U E D 0 N P A G E I 5 8 ]

Over 100 years ago we talked to our cust~mers about the uart of papermaking." One hundred years from now that term will still be part of our lexicon. People who can detect flaws in a watermarl~ traveling more than a thousand feet a minute will still be umachine tend_ers." Human vision and instinct will still be fail -safe devices for the most precise electronic color analyzer. And no matter how sophisticated and automated processes beco~e, people will still be .the most important part of papermal~ing at Strathmore. It's pure, plain craftsmanship. You'll find it in every sheet of recycled paper we produce, such as Strathmore Renewal in coordi- nating solid and fiber enhanced colors. Strathmore Text and Cover Papers. A world of innovation and tradition for all the world to notice. ·~

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For samples, call your local Strathmore merchant or the Strathmore Designer Hotline: 1-800-423-7313.

Lithographed on Strathmore Renewal, Chamois, Text Basis 80 {118 g/m2). © 1992 International Paper Company. All Rights Reserved.

JNTERNATIONAL@PAPER

All

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train

on

were

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He sat by the

window reading his

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to himself .

pages ,

with

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surreal red and blue spiral .

His

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around

fluttered .

him

ln

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photo

Stock

Before he

Dan's body left

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As

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People started a few years ago with the graphic, point-and-click simplicity of an Apple®Macintosh® personal computer and they never stopped.

The Apple Macintosh Quadra.

They've gone from producing black-and-white layouts, all-type ads and departmental newsletters to producing four-color separations, color comps and entire magazines right at their desks.

They're not just moving mountains. They're editing, separating, retouching and storing them.

With that in mind,Apple developed the Macintosh Quadrt 700 and 950 personal computers. .._._ _ _ _,. Both models combine Macintosh Quadra runs atl the most th .

1 powerfuldesignandpublishingsoftware. esnnp e, commonsense virtues of every Macintosh with awhole new level of speed, storage, expansion and networking powers.

The 700 and 950 are also powered by Motorola5 68040 running at 25 and 33 MHz respectively.

The 040 integrates aprocessor, math coprocessor and stunning, photographic-quality color to your QuarkXPress documents, or use the power of Adobe Photoshop RAM cache onto one chip. So you can do all to redefine fine-tuning. the things you do now faster than you've ever Inside,you'll find room to store mountains of done them before. Faster retrieving, faster information. Both the 700 and 950 can accomredrawing,faster everything. modate a400MB internal hard drive. And the 950 You don't have to worry about buying an extra video card because 24-bit video* with 24-bit video buitt in, even lets you add aCD-ROM drive or aremovable support is built in. This makes it easy to add photo;~;:::m~;%; ~~tg~~ded to cartridge drive, and adisk arrayor more than a "24-bil villeo support for up kJ a 16' monitor- al.ro availablefor 21' monilon ulilb oplionaltbirrJ-party video card Menlilm oftbirrl-party producls is for iriformmitmal ptJr{XISI!S only and ('.(mslitules neither an erulorserrumt nor a recommerulalior1. Ail producJ specificatioriS and deM;rip/iorlS u:ere supplied by tbe respro Motoroil1 is a registered tratkmaril of Motorola Corp. FreeHand and PageAiaier are registered lrademarils of Aldus Corp. Painter is a tratkmari of Fractal Design. OtiSis is a trademari of Time Arts, Inc. Illustrator is a registered trademari a

Of course,networking and ~~~ file sharing are built in. And Macintosh Quadra also incorporates Ethernet as standard equipment for working on high-performance networks.

The power of distributed There are two Macintosh Quadra . even allows pro- models.

The 950 sits next toyour processmg desk; the 700 fits on top of it. grams like DreamNet to borrow power from other Macintosh computers on the same network,reducing rendering time from hours to mere minutes.

All this power will inevitably inspire you to try new things. Like importing and modifying images direct from aScitex. Or taking advantage of QuickTime to capture real-time video directly on your Macintosh

With programs like QuarkXPress and Aldus PrePrint, Macintosh Quadra makes it more practical to takejobs like color retouching and separating in-house.

gigabyte of internal hard disk storage. (Combined with Apple's new QuickTime"' image compression technology, Macintosh Quadra reduces your Himalayan-sized storage problems to molehills.)

You can increase the memory of the 950 to up to 64MB of RAM for handling compute-intensive tasks such as color separating and photo retouching. And virtual memory even lets you work with several large files at the same time.

and then editing presentations at your desk using programs like Adobe Premier. (With sound built in as well, the 950 may be the ultimate multimedia machine.)

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The power to move mountains, valleys, rivers, ,..., streams and careers.The power to be your bese

t'l!luior or SU{¥llter. \l'ben scanning co{Jyrigbled malerio/s, p/ttJSe ensure that you have rompliwl uilb applicable /au<. @1992 Apple Computer, !riC. Apple, /be Apple logo. Macintosh and "Tbe JX»Loer kJ be your best" are registered trademaris and Macintosh Quadra and Quid'lfme are lrademarlts ofApple Computer, Inc. l'f1olcsho(J a1ul Prtlmer are trademarlts ofAllcbe Syslems Jru;, Qua'*XPress Is a reglslertKI trademark ofQuark, Inc. Sci/ex Is a rt.'l(istered trademaril ofSci/ex Corp. DrmmNells a trru/emaril ofRay Drmm. 'Jbls ad UVJS crt!Oied using Macitllosh per><mal rompulers.

EDITOR's CoLUMN

for a carousel of slides. As in the screening ession, 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.

The voting was finished Monday afternoon. 181 entries out of the 5,826 originally entered were accepted into the Annual.

Accepted entries 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 1992 Photography Annual.

DAVID CARSON is a free-lance graphic designer and art

director living in Del Mar, California. He has done various print and broadcast work for such clients as MTV, Suzuki Motorcycles and Kentucky Fried Chicken. Carson was also the designer of Beach Culture magazine and recently completed a redesign of Surfer magazine. In the past year, he has been a guest speaker at design groups in Europe, Canada, Australia and across the United States.

PAT HA SEN is principal and design director of Seattle-

based Hansen Design Company. The firm provides design services in the areas of corporate identity and communication management. Hansen received her Bachelor of Fine Arts Degree in Graphic Design from the University of

] 58

P H 0 T 0 G R A P H Y

A N

U A L

I 9 9 2

Washington and completed Kent State University's Graphic Design program at the Kunst Gewerbeschule in Basel, Switzerland. Pat was founding president of the Seattle chapter of the American Institute of Graphic Arts, has recently completed two years on the National Board and is currently vice president of memberships and chapters.

ScoTT M1 ISTER is art director and graphic de igner for the Columbus Dispatch, in Columbus, Ohio. He supervises a staff which produces daily feature section fronts, special sections and informational graphics. Originally from New York City, he studied at the Columbus College of Art & Design. Prior to joining the Dispatch in 1985, Scott worked at the Center of Science and Industry and the Ohio Department of Development.

KATHY RYA is the photo editor of The New York Times Magazine, a position she has held since October 1987.

Previously, she was the newspaper's deputy photo editor.

Ryan came to the Times from Sygma Photo Agency, where she worked for six years. She has a BA degree from Douglass College/Rutgers University in Art/Art History.

In 1991, The New York Times Magazine won a number of awards for photography excellence from the New York Art Directors Club; Society of Publication Designers; University of Missouri; Overseas Press Club and the Society of Newspaper Designers.

ARTY TAN joined Fallon McElligott, the Minneapolis-based advertising agency, three years ago. As an art director, he has worked on Wolverine Boots, Jim Beam Brands, Amoco Oil, Penn Racquet Sports, Walker Art Center and Lee Jeans.

Work on these accounts has led to awards from the New York Art Directors Club, the One Show, Clios and Communication Arts. Born in Berkeley, California, Arty holds degrees from the Art Center College of Design in advertising and the University of Wisconsin in communication.

Ryan

Carson

Minister

Hansen

Tan

C 0 M M U N I C A T I 0 N

A R T S

159

CONGRATULATIONS FROM MORE THAN A THOUSAND ENTRIES IN THE

1992

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CONTRIBUTORS COLUMNS CUMMINGS J. WALKER

MARTY CooKE is a

is an award-winning art director and copywriter who has contributed to a number of publications including Communication Arts. He taught graphic and advertising design for many years at San Jose State University and the University of California Extension Program, and as director of the Advertising Design Department at the Academy of Art College, San Francisco. He is a principal in the Palo Alto-based design firm, Walker & Hale.

New York copywriter best known for his award-winning work for Reebok, NYNEX, Nissan and Nikon. A veteran of Scali, McCabe, Sloves and DDB Needham, he has been with Chiat/ Day/Mojo for the last four and one half years. During Cooke's 1991 stint as Creative Director of Chiat/Day in Toronto, the office was named Canada' s Agency of the Year. He wrote thi s issue's Advertising column.

LISA SPIEGELMAN has

BARBARA GoRDON, an artist and photographer representative since 1969, is a past president of the Society of Photographers and Artists Representatives and member of the Society of Illustrators and the Graphic Artists Guild. She is also the author of two books, How to Sell Your Photographs and Illustrations (All worth Press) and Careers and Opportunities in the Graphic Arts Field (National Textbook Co.).

Ms. Gordon has been a guest speaker and seminar participant at many professional organizations and colleges , including the art directors clubs of New York, New Jersey and Connecticut; AlGA; ASMP; Advertising Photographers of America; Fashion Institute of Technology; School of Visual Arts; Pratt and Portfolio Center. She heads her own firm, Barbara Gordon Associates, based in New York City and has written on free-lance issues for CA since 1982.

seen literally thousands of new products , press releases and trade shows during her seven years of experience writing about computer technology. She is currently senior editor for Computer Reseller News, a weekly national computer business magazine that provides technology news and analysis for computer resellers. She has a B.S. degree in journalism from the University of Oregon. She has written the Technology Reviews column since July 1990.

TAD CRAWFORD is an

attorney, author and publisher for New York-based Allworth Press. A specialist in legal issues pertaining to the arts, he has served as chairman of the board of the Foundation for the Community of Artists , general counsel for the Graphic Artists Guild and legislative counsel for the Copyright Justice Coalition. Author of Legal Guide for the Visual Artist, Business and Legal Forms for Graphic Designers, Business and Legal Forms for Illustrators and Business and Legal Forms for Photographers, he has been a CA columnist since 1983.

162

P H 0 T 0 G R A P H Y

A N N U A L

WENDY RICHMOND is

co-director of the WGBH Design Lab in Boston. She works with a team to produce computer-based multimedia projects and to develop design guidelines for interactive multimedia.

Ms. Richmond started designing with and for computers in 1978 as a graduate student at MIT. Since then, she has led teams to develop computerbased tools for the graphic arts, and was a participant in the formation of Bitstream and Lightspeed Computers.

She is a recipient of many design awards, has taught design at the School of the Museum of Fine Arts, Boston and is on the national board of directors of AlGA. Author of Design & Technology: Erasing the Boundaries (Van Nostrand Reinhold), she has written a Design Technology column for CA -since 1984.

BOOK

REVIEWS

BYRON FERRIS worked as a creative director at McCann Erickson, as a partner in his own advertising agency and as head of Design Council studio.

He helped found the American Advertising Museum in Portland, Oregon, where he served as director of archival collections. Mr. Ferris reviews books in nearly every issue of CA. CYNTHIA VERDOW has a B.S. in soft-

ware engineering and is presently responsible for all electronic layout and text production at the Development Division of the United States Olympic Committee. She began reviewing computer related books for CA last year.

AMY HERNDON is a San Francisco-

based free-lance writer, publicist and marketing strategist for designers, photographers, film makers and creative service companies. She began reviewing books on design-related topics for CA in 1991.

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THE PHOTOG RAPHE~ S PORTFOLIO HAT GOES INTO THE SUCCESSFUL selling photography portfolio? I've asked many prospective clients through the years, but since art buyers are so involved in gathering and evaluating portfolios for agency art directors these days, here's some advice from them that provides relevant information on setting up a successful portfolioone that will get looked at.

W

Carol Brandwein, senior art buyer, DDB Needham, New York, prefers to ee chromes because she thinks chromes add more to the work. She also likes to see consistency of format in a portfolio. If a portfolio has a mixture of format -slides, chromes, tearsheets-it can detract from the presentation of the work. She has seen books with just colored Xeroxes, but because they were well formated, they looked great. Tearsheets are not that important, content is.

Brandwein sets up appointments every day and the entire art buying department looks at them, then referrals are made to the appropriate people at the agency. If there are time con traints, she has "drop-offs," but all portfolios are seen. Her advice to photographers is to "edit, edit, edit and only show your best work." Unsolicited portfolios are not welcome. Carol prefers that photographers call or write ahead to alert her that a portfolio is coming to the agency.

She looks at all mailers, keeps the good ones on file and uses her files extensively. Brandwein uses the directories to a lesser extent.

refers to her files before she refers to the directories. She also says that it is smart to research the agency's client base to get some idea of the photography they buy.

Mimi Lampert, art buyer for Leo Burnett, Chicago, prefers laminated prints no bigger than 11 x 14. She feels tearsheets are very important because they establish the photographer's actual work. There is no limit to the number of pieces a photographer can put in a portfolio, but it is important to include recent work.

Mimi makes personal appointments three days a week.

She also schedules photography shows on the creative floor on a two week rotation basis, currently booked through 1992. Unsolicited portfolios are not successful.

Like so many prospective clients I talked with, she keeps only 10% of the best mailers for her files. She likes to refer to the directories when calling in portfolios. Her advice to photographers is to research an agency's roster when making appointments with art buyers. Ms. Lampert points out that she works on food, beer and cigarette accounts and likes to see work pertinent to those accounts.

Format is an important issue to Norma Krieger, senior art buyer at Ogilvy & Mather, New York. Presentation is also important, but there is an even broader canvas. She advises photographers to prepare for the overwhelming competition in their field by identifying what they have to offer a client that is unique.

Kathy Gulatta, senior art buyer at New York's Bozell, Inc., also likes to see transparencies rather than tearsheets because she feels transparencies are more of a gauge of the photographer's abilities and she would rather view a smaller sampling of the photographer's best work than too much average work.

Portfolios should show new ideas and creative risks. As to the practical aspects of the portfolio, Ms. Krieger prefers same size chromes or laminates. Chromes should be viewable in natural light since there is not always a light box available; others mentioned this as well. Slides can also be a problem since there may not be a projector handy.

She like manageable cases. It may be a small point, but sometimes the agency receives heavy, unwieldy cases that can hardly be handled or lifted and practically require a locksmith to open them. Content is, of course, the primary concern, but the photographer should have a case that is easy to use.

Norma constantly looks at portfolios and tries to accommodate everyone, especially out-of-towners. Like the other art buyers, she discards the greater part of the mailers she receives and keeps only the best for her files. She uses both her own files and the directories when seeking portfolios for the agency. She also schedules photography shows on the creative floor where "there is a captive audience."

Kathy arranges appointments and refers photographers to specific art directors in the agency. She looks at all dropoffs and does not appreciate unsolicited portfolios.

All mailers are viewed; like many of the people I spoke with, she discards the majority of them and only keeps the best ones. She likes mailing pieces that can fit in a file. I heard this many times. Posters are a real problem.

Because of limited wall space few posters are kept. Gulatta

To sum up: Most portfolios have too much material in them, so it is important to edit carefully and always show only your best work, both professional and personal. Try not to overwhelm the viewer. Also do not send huge bulky cases, that are hard to handle and impossible to open. Never send unsolicited portfolios. Research the client base and send mailers that fit in a file.

C 0 M M U N I C A T I 0 N

A R T S

167

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LEGAL

AFFAIRS

TAD CRAWFORD

STOCK PHOTOGRAPHY D ELIVERY MEMO must be legally protected when submissions are made to prospective clients.

HE FOLLOWING ARTICLE AND FORM are from Business and Legal Forms for Photographers. Authored by our regular legal columnist, Tad Crawford, the 208-page book includes a discussion and negotiation checklists for 24 forms. The forms are also available on computer disk.

T

Stock photographs are extremely valuable and can provide a flow of income long after the creation of the images. To protect the value of the photographer's inventory of stock, images must be carefully inventoried and submissions must be documented. Excellent resources for the stock shooter are the ASMP Stock Photography Handbook (second edition, ASMP), How to Shoot Stock Photos that Sell by Michal Heron (All worth Press), and Stock Photo Forms by Michal Heron (Allworth Press).

The delivery memo for stock pictures is a more sophisticated version of the general delivery memo that appeared in Communication Arts in May/June 1991. Since the stock images are the capital of any stock business, they

Photographs are defined to include all of the forms in which the images can be perceived or stored. This includes digitized versions and any future systems that may be invented. Ownership of the copyright as well as the photographs is reserved to the photographer. The photographs are given in trust to the client for the limited purpose of reviewing them. Some photographers charge a research fee simply for gathering the images in response to a request, and may then waive the fee if the client gives a large enough order.

The form requires the client to check the count shown on the form for accuracy and object immediately if the count is inaccurate. The client is made liable for loss , theft, or damage in the amount of the value specified on the front of the form. If no value is specified, it will be assumed to be $1,500 per original transparency. The photographer should specify values, if possible, since this may strengthen his or her position if litigation is necessary. Also, some images are worth more than $1,500 and this extra value should be noted.

Holding fees of $5 per week for color and $1 per week for black and white are specified for photographs held more than fourteen days. Although these fees can be waived for a good client, their inclusion suggests the value and urgency of keeping the images in circulation. An extension can be granted to responsible clients who need the extra time. The form also states that a usage fee will be negotiated for those images selected for use by the client.

Copyright notice is required for the photographer unless the parties agree otherwise in the invoice. Damages for failure to include notice are set at three times the usage fee. The client also must provide tear sheets of the use and take responsibility for determining if model or property releases are necessary for the intended use (and, if needed, requesting them from the photographer). The arbitration provision exempts amounts that can be sued for in small claims court.

Filling in the Form Our graduates have an average starting salary of $25.000.

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I I I II

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P H 0 T 0 G R A PH Y

A N N U A L

I 9 9 2

Fill in the name, address, and telephone number of the client, as well as who requested the photographs. Give the date, the photographer's delivery memo number, and the client's purchase order number if a purchase order was issued. Indicate a date for return of the photographs, then, for each image, fill in its value, quantity, format or size, whether it's an original or a dupe, its description or file number, and whether it's in black and white or color. Show

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TAD CRAWFORD

Stock Photography De live ry M emo

Client _ _ _ _ _ _ _ _ _ _ _ _ _ __

Date - - - - - - - Delivery Memo No._ _ _ __

a total count for color and for black and white. On the back of the form fill in the information regarding arbitration in Paragraph 6 and in Paragraph 10 indicate which state's laws will govern the delivery memo. If at all possible, the delivery memo should be signed and dated by the client.

Purchase Order No._ _ _ __

PerRequestol _ _ _ _ _ _ _ _ __

Photo Return Due _ _ _ _ _ _ _ _ __

Telephone _ _ _ _ __

_

Extension Granted _ _ _ _ _ _ __

VIlli"

Negotiation Checklist

- - - - - - - - - - - - - - - - - - -- - - - -

• Identify the client and who requested the submission of the photographs. It will be very difficult to win a lawsuit for lost or damaged transparencies if the submission was not asked for by the client. (Front of form) • Describe the images submitted, including whether or not transparencies are original, specify a value for each image, and give a total count for color and for black and white images. (Front of form)

--- --- --- --- ---------------- --- ----------------------------------- - --- -----------------

- - - - - - - - - - - - - - -- - - - - - - - - -- - - - - - - - - - - - - - - - - - - - - - - - - - -- - - - - - - - - - - - - - - -

• Value is in case of loss. theft , or damage. A reproduction fee for specified usage will be negotiated.

Total Color_ _ _ __

• Ask the client to verify the accuracy of the count shown on the form. (Front of form) • State that if the client does not object to the count immediately, the client is agreeing that the count is accurate and the photographs are suitable for reproduction. (Front of form) • Indicate that the recipient either is the client (such as an art director who is an employee) or has authority to act for the client. (Front of form)

Plee~e count ell photograph• end confirm that the count lo accurate by returning one olgned copy ol this

form. II objection Ia not Immediately made by notum mall, the Client ohell be conolderad to accept the count ohown on thlo form eo accurate end that the photograph• era ol a quality oultable lor reproduction. II the recipient ol the photograph• lo not the Client, the recipient by accepting thla Delivery Memo end the photogrepho warranto that the recipient h81 the authority to receive the photograph• on behalf ol the Client.

Acknowledged and Accepted _ _ _ _ _ _ _ _ _ _ _ _ __

• Reserve the copyright and all reproduction rights to the photographer. (Paragraph 2) • State that the photographs will be held in confidence.

(Paragraph 2)

Date_ _ __

SubJect to All Termo and Conditions Above and on Reverse Side.

• Define photographs broadly, including digitization and future ways to store and view images. (Paragraph 1) • State that the purpose of delivering the photographs is for the client' s examination and no other purpose.

(Paragraph 1)

Total Black and White _ _ _ _ __

Tenno and Condition•

1. Purpooe end Definition. Photographer hereby agrees to entrust the Photographs listed on the lront of this form to the Client for the purpose of review and examination only and no other purpose. "Photographs " are defined to include transparencies. prints. negatives, digitized encodations. and any other form in which the images submitted can be stored, incorporated, represented, projected, or perceived, including forms and processes not presently in existence but which may come into being in the future.

2 . Ownerohlp end Copyright. Copyright and all reproduction rights in the Photographs, as well as the ownership of the physical Photographs themselves, are the property ol and reserved to the Photographer. Client acknowledges that the Photographs shall be held in confidence and agrees not to project. copy, store, or modify directly or indirectly any of the Photographs submitted (whether such modification is ol the Photograph itsen or involves combining the Photograph with other images or graphic or written elements, including but not limited to cornping for clients) without the express permission of the Photographer, nor will Client permit any third party to do any of the foregoing Reproduction shall be allowed only upon Photographer's written permission specifying usage and lees. In the event ol the licensing of any usage rights by Client, payment shall be made within thirty (30) days of the date of the Invoice and time shall be of the essence with respect to payment.

• Prevent the client or a third party from modifying the photographs or combining them with written materials unless the express consent of the photographer is obtained.

This will avoid having the images used in a comp without any payment to the photographer. (Paragraph 2)

3. Acceptance. Client accepts the listing and values set forth for the Photographs as accurate if not objected to in writing by return mail immediately after receipt of the Photographs. Any terms on this lorm not objected to in writing within 10 days shall be deemed accepted.

4. loss, Theil or Damage. Client agrees to assume lull responsibility and be strictly liable as an insurer for loss, theft. or damage to the Photographs and to insure the Photographs lully from the time of shipment lrom the Photographer to the Client until the time ol return receipt by the Photographer. Client further agrees to return all of the Photographs at its own expense by registered mail or bonded courier which provides proof ol receipt. Reimbursement for loss, theft , or damage to any Photograph(s) shall be in the amount of the value entered for that Photograph(s) on the front of this form. Both Client and Photographer agree that the specified values represent the lair and reasonable value of the Photographs. Unless the value for an original transparency is specified otherwise on the lront of this lorm, both parties

• Indicate that reproduction by the client will only be allowed with the photographer's permission in which case fees and usage will be set forth. (Paragraph 2) • In the event the client does select some of the photographs, require payment within thirty days of the invoice date. (Paragraph 2)

agree that each original transparency has a fair and reasonable value ol $1 ,500 (Fifteen Hundred Collars). Client agrees to reimburse Photographer for these fair and reasonable values in the event of loss. theft, or damage.

5. Holding Fees. The Photographs are to be returned to the Photographer within four1een ( 14) days after delivery to the Client. Each Photograph held beyond four1een (14) days lrom delivery shall incur a weekly holding fee of $5 (Five Collars) if it is color and $1 (One Oollar) if it is black and white. These holding fees shall be paid to the Photographer when billed.

6. Arbitration. Client and Photographer agree to submit all disputes hereunder in excess of $ arbitration before _ _ _ _ at the following location

to under

the rules of the American Arbitration Association . The arbitrator's award shall be final and judgment may be entered on it in any cour1 having jurisdiction thereof.

7. Copyright Notice. Copyright notice in the name of the Photographer shall be adjacent to the Photograph(s) when reproduced unless otherwise agreec by both par1ies and stated in the Invoice. If such copyright notice. which also serves as authorship credit , is required hereunder but is omitted, the Client shall pay as liquidated damages triple the

• Make time of the essence with respect to payment.

(Paragraph 2) • If the client has agreed to pay a research fee , this may be billed at the time the photographs are submitted. If it

is not billed at that time, it might be mentioned in the Stock Photography Delivery Memo and billed on the invoice for usage.

180

P H 0 T 0 G R A P H Y

A N N U A L

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usage fee agreec to between the par1ies instead of the agreec upon usage fee.

&. Tearaheeta. Client shall provide Photographer with two (2) copies of tearsheets of any authorized usage.

9. Releaoea. Client agrees to indemnify and hold harmless the Photographer against any and all claims, costs. and expenses. including attorney's fees. arising when no model or property release has been provided to the Client by the Photographer or when the uses exceed the uses allowed pursuant to such a release.

10. Miscellany. This Agreement shall be binding upon the par1ies hereto, their heirs. successors, assigns. and personal representatives. This Agreement constitutes the full understanding between the parties hereto. Its terms may only be modified by a written instrument signed by both par1ies. A waiver of a breach of any of the provisions of this Agreement shall not be construed as a continuing waiver of other breaches of the same or other provisions hereof. This Agreement shall be governed by the laws of the State of _ _ __

• State that any terms of the contract not objected to within ten days of receipt will be binding on the parties.

(Paragraph 3) • Require the client to be fully responsible for loss, theft, or damage of the photographs from the time they leave the studio until the time they are returned to the studio.

(Paragraph 4) • Specify that client will pay for the return of the photographs and will use registered mail or a bonded courier which gives proof of receipt. (Paragraph 4) • State that the parties agree the values assigned to the various images are fair and reasonable. (Paragraph 4) • While it is best to assign a value to each image, $1,500 can be given as the value for any original transparencies that have not had a value assigned. (Paragraph 4) • Have the client agree to pay the assigned values (or $ 1,500 per transparency if no value is assigned) in the event of loss, theft, or damage. (Paragraph 4) • Charge holding fees if the images are kept beyond a specified length of time. (Paragraph 5) • Determine with the photographer' s attorney whether the form ' s requirement of arbitration would be better than going to court in the event of a dispute. (Paragraph 6) • Require copyright notice when the images are reproduced, unless the parties agree to the contrary in the invoice.

(Paragraph 7)

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• State that if a required notice for copyright and authorship notice is omitted, the liquidated damages shall be triple the amount of the fee. (Paragraph 7) a great design

• Have the client give copies of the finished piece to the photographer for use as samples. (Paragraph 8) • Place the burden of requesting releases (for models and property) on the client, since the client is dictating the use of the image. (Paragraph 9) • If the client fails to request needed releases, have the client indemnify the photographer against damages and expenses resulting from lawsuits. (Paragraph 9)

• Compare Paragraph 10 with the standard provisions in the introductory pages.

• Try to have the recipient sign the form, since this is better than having the recipient simply not object to the form.

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OPINION/COMMENTARY

CUMMINGS G. wALKER

AFTER SCHOOL A

D I S C U S S I 0 N

0 F

D E S I G N

ACH SPRING THE DOORS OF COLLEGES , universities and dedicated art schools swing open.

Thousands of fresh graduates fan out across the country with unblemished portfolio cases overflowing with clever condom ads, improbable perfume packages and budget-breaking storyboards for Nike.

E

Are these graduates ready to enter the "real world?" What are agency and design firm recruiters looking for at the entry level? What are the college and continuing education programs doing to prepare students for the rigors of the communications industry as we approach the 21st century?

ED U C A T I 0 N:

P A R T

0 N E

"We ' re looking for magic; young people who see things from a fresh perspective," said RitaSue Siegel, of RitaSue Siegel Associates , a design recruiting service based in New York. "We're looking for young creative talent who have fine craft skills, whose portfolios are impeccable, and who do things with style and great care. Unfortunately , because of our present ' no growth' economy, there are fewer opportunities. But graphic design is something that every business or institution needs , so opportunities won' t disappear-they just might be a bit different. "

In discussing the current design education curriculum, many professionals were less than complimentary. Bill In order to gain some insight into these issues, I conducted Borders , director of creative services and president of fax and phone interviews with educators, graphic designers Borders , Perrin & Norrander, Inc., in Portland and Seattle, and advertising art directors, including has supported a copywriting and art some recent graduates, and recruiters of direction intern program for a number young talent across the country. The of years. "If I could speak directly to the result is a two-part article. In this issue educators of America I'd say, 'Get real. ' we'll hear from those in the industry LET'S ALLOW STUDENTS Don ' t try to teach a fluid, evolving responsible for reviewing and hiring subject like advertising from the relative TO QUESTION AUTHORITY entry level applicants. In the second of academia." isolation column, professional educators will AND BE OPEN respond to these concerns and comments.

His suggestions include importing TO THE NEXT THING. practicing professionals to do lectures/ 0 workshops, immersing students in curTHESE ARE THE When asked about the ideal job applicant, rent work via the most recent awards responses were predictably varied. Jani ESSENTIAL ELEMENTS OF annuals, instead of obsolete textbooks, Mohr, director of creative recruiting for and arranging for field trips to real AMERICAN INGENUITY. Hallmark in Kansas City, Missouri, said: agencies who are tackling real problems "Today we are looking for more experifor real clients. "Too many students • enced candidates. Companies are running graduate from today' s colleges with a lean and have less time to nurture and PRIMO ANGELI keen desire to go into this business, but train junior talent. We need employees are sadly lacking in a genuine underwho can hit the road running! We look standing and grasp of the fundamentals." for candidates with a well-developed sense of how to build links between conceptual problem solving, visualization and the lifestyle needs of our consumers. Candidates need to understand how to market their ideas to the creative and business communities. They must have strong interpersonal skills and the ability to work well in teams."

Ruth Ayres, manager of creative services, DDB Needham, New York, added, "Generally speaking, our agency prefers daredevils with outstanding conceptual skills. Ideas, not ads.

A lot of agencies are cutting mid- and high-salaried people, they are stocking up on young talent at low prices to pick up the slack. A person with a good book can still get a job. Over the next four to five years, I'm optimistic that opportunities will expand not only in advertising, but in all related design fields."

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Jani Mohr agrees. " Academic curriculums often seem out of touch with the rapidly changing business environment, leaving graduates ill-prepared to enter the work force. Today, students often lack an awareness of how to work in integrated teams; how to market and promote ideas in a business environment; how to describe what they do as designers, the value of good design to the corporation or customer; how to approach problem-solving from a big picture, long-term, global perspective; and last, a broad knowledge of our culture, society and economy.

"Educators should focus on: how to be a leader vers us a manager of design teams and projects; encouraging passion and ambition; shifting the balance between doing and thinking ; thinking about design as a profession, and promoting [ C 0 N T I N U E D 0 N P A G E 1 8 8 )

BRENNAN DAILEY SENIOR ART DIRECTOR, TBWA

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graphic designers must be able to express why they do what they do. Students must also be taught to realize thei r responsibilities as world citizens in a changing world ."

five-year professional degrees; requiring on-job experiences through co-op, intern and apprentice programs and encouraging a better understanding of the larger political context in which designers work-global cultures, social/political climates and interactive economies."

Eric Baker, author and principal of Eric Baker Design Associates, Inc., New York, said, "My wish is that students will have a well rounded education; that history, literature, science, language and social sciences be integrated into the curriculum along with basic courses in business-lest we forget the commercial in commercial art. "

"By and large, I do not feel that college level design programs adequately prepare students, at least for a career in advertising," Ruth Ayres added. "It would appear that students need to be exposed to more great thinking, not just great designing. I see too many books that are designed up the wahzoo, but have no ideas."

In light of the increased reliance on computers and other technological advances , I asked professionals, "Is there still a place for traditional skills?"

Milton Glaser, who in addition to his outstanding design career, has also taught for many years at New York's School There were strong opinions on the impact of the computer of Visual Arts, said, "There will always be in design education, including its uses outstanding talent coming in, and there and abuses. Baker believes, "There will always be the mediocre. This hasn't IF I COULD SPEAK will always be a need for traditional changed in 50 years , and never will. skills; they are the foundation upon DIRECTLY TO THE Design education is behind the field which we built our craft. Although simply because the field itself doesn't EDUCATORS OF AMERICA computers can do certain things better, know where it is or where it is going." cleaner and faster, we need the knowl"For years I have tried to make leaders in academia realize that programs which teach students not only what to expect from business but to interact successfully with business are necessary. Unfortunately , I have met with much reticence," said RitaSue Siegel. "If you are offering a program called 'Graphic Design,' I think it is safe to assume that the students who enroll and the parents who often pay the bills have certain expectations.

One of them is that once the student graduates, he or she will be adequately prepared to get a good entry level position in the world.

I ' D SAY , " GET REAL ."

DON ' T TRY TO TEACH A FLUID , EVOLVING SUBJECT LIKE ADVERTISING FROM THE RELATIVE ISOLATION OF ACADEMIA.

• BILL

"Why then, do so few college level graphic design professors deny that preparing their graduates is an integral part of their job? In the last quarter of 1990, the Design Business Association in England did a study that shows that the level of business and professional practice skills of designers needs to be improved. I believe design schools should begin to teach these skills as an integral part of the problem solving process."

When asked to address the changes he would like to see made in design education, designer Sam Smidt, who has also served as director of the graphic design program at San Jose State University, said, "I believe the answer is to graduate a better educated and more innovative student.

"The professional world is looking for sources of new energy-young people who make us question our ways, who can communicate bright and meaningful ideas. English skills and business knowledge will be essential. Good 188

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BORD E RS

edge of these traditional skills in order to clearly see the past, present and future of design.

"As a practicing designer, and one who embraced the computer nearly seven years ago, I recognize the power of it as a tool. I do feel , however, that it is only a tool, and that too many young designers are seduced by it, and mistake technology for creativity.

These become substitutes for real ideas and the art of creative thought. "

"Pleasurable craft skills such as drawing, handwriting, papermaking and printmaking should not be discarded," added Smidt. "In this high-tech society, young designers should be reminded of the spiritual value of direct mind/hand/material contact."

San Francisco designer Primo Angeli served as a teaching assistant on Buckminster Fuller's staff while earning his MFA at Southern Illinois University . He has taught on numerous occasions since and extended his comments on the computer into broader educational issues. "American designers are really a bunch of misfits working together.

It happens to be our ticket to innovation. We are supposed to be flexible and ready for the next thing , curiou s and continuously discovering. However, the first big thing to happen in years, the first thing out of the bag since fire and typography, was the computer. The response by established designers was quite underwhelming. Many of these people were teachers at a high point of influence, so a nation of kids got turned off. These established designers sat on their well established, stylistic asses, and put down this

event for a number of years. What kind of attitude toward change and development were these young graphic designers being offered and taught by our actions?

"Because of the fascination with new technology, bad things can and do happen. The quality of design can drop for a period of time. It's something to overcome with creativity.

Imagine the angst among the scribes when Gutenburg rode into town. Resistance to change and the fallacy of substituting technique for ideas and imagination are some of the real problems in product and visual design. Let's allow students to question authority and be open to the next thing. These are the essential elements of American ingenuity."

Knowing that recent graduates would have some strong opinions about how well prepared they are for the "real" world, I asked several to evaluate the quality of their education.

Before attending Art Center (Pasadena, California), Karin Onsager had acquired an extensive liberal arts background in Europe which included studies in human sciences, literature, history and philosophy. She graduated from Art Center in 1991 and after her first job in Los Angeles and a taste of free-lance work, she landed at Good by, Berlin and Silverstein, San Francisco.

feel that my design education did not prepare me for the 'real world.' There are several reasons. The students were never truly conscious of the business aspects of the industry: budgets, writing up formal presentations, and so forth. Short of one class, we were hardly given proper instruction in the production process. Our design department had computers, but unfortunately did not teach computer classes that specifically related to design.

"Do not get me wrong. I had a very exciting design education experience. I had good instructors who cared, and only wanted the best from us. They paid particular care to the design concept-not pretty design, but rather an idea that works, challenges and stimulates," Marques said.

DESIGN EDUCATION IS BEHIND THE FIELD SIMPLY BECAUSE THE FIELD ITSELF DOESN ' T KN OW WHE RE IT IS OR

David Angelo is one of the successful ones. He graduated from San Francisco's Academy of Art College with a BFA in Advertising Design in June 1989 and is now an art director with DDB Needham Worldwide, New York. "I sent my book to the Creative Register in New York two weeks prior to graduation, and landed a job at DDB Needham the first day out," he said.

Angelo's work is already showing up with regularity in the major shows and design publications.

WHE RE IT I S GOING. "When I started working, it really "I feel that my liberal arts background wasn't that different from school. The allowed me to make the most of my • hours were the same. The instructors education at Art Center. The more you were creative directors, hands-on. Well, MILTON GLASER have to draw on, the stronger your maybe having real clients can have its concepts and solutions are. When I disadvantages. I see a lot of books graduated, I had two books, one graphic coming out of universities that look like design and one advertising. Although they were taught skills straight from I thought that good personal recommendations would some ancient textbook on advertising. Not to knock all help me get a job, I went to a headhunter. People know that universities, but I had the opportunity to experience your book has potential when they show it. both sides.

"Art Center was an intense, creative environment, and I "I think there should be a course for seniors where they always felt I was moving ahead. I took advantage of the update you on targeting the agency of your choice. I see option to work on my portfolio with the whole pool of too many seniors who just want to get in, unaware of the student talent there- photographers and illustrators. The nightmare that a sweat-shop-style agency can do to your faculty was excellent. I feel I was well prepared in both style.

Also, art direction students should share projects with concept and design." photo and film students. It would give them a better knowAntonio Marques, who just graduated from the Ontario ledge of what is feasible in the real world."

College of Art's design program (Toronto, Canada), D recently went to work for Ove Design in Toronto. Marques advocates intern programs to give students a much stronger I'm well aware of the pitfalls inherent in talking to a handful understanding of the industry before graduation; he made a of people about a subject of this scope. However, I think we point of working for various design firms believing this not have the beginning of a fascinating, far-reaching dialogue. only gave him experience, but valuable contacts.

Let's hope that it continues and contributes to giving our profession a clearer vision of its future.

"I really think that it is about time that design and advertis-

ing students have a chance to voice their concerns and thoughts about the industry they are entering. I honestly

In the second part of this article, to be published in a future issue, educators will respond to these comments.

C 0 M M U N I C A T I 0 N

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189

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A D VE R TISING

M ARTY COOKE

THIS ARTICLE DOESN'T NEED A HEADLINE

N

0 DOUBT ABOUT IT. ADVERTISING IS IN big trouble, and we'd all better start planning alternate careers.

Advertising budgets are being slashed to the bone. Agencyclient relationships need major marital counseling. Research is killing creative. The 30-second commercial is on its way to becoming a dinosaur. The very effectiveness of our business is being called into question.

You ' d better open that bed & breakfast in Vermont fast.

Luckily , there' s one group of people that isn ' t listening to all the talk of gloom and doom. After spending a year at Chiat/Day in Canada, I came back to New York City. I was in a position to hire and wanted to get reacquainted with the new young creatives in the business. I couldn't afford people with much experience so I met the juniors. One by one, they unlatched their books.

Amazing.

Just two years ago, I remember moaning that if I saw one more book of formulaic One Show ads circa 1979, I'd die.

But these new portfolios were different. They were exciting.

The passion was back. In the work and in the people.

Finally, an alternative to the time-worn formulas is starting to emerge.

The rebels of the ' 60s and ' 70s may complain that MTV has ruined concepts. Purist art directors may see the computer as the downfall of good ad design. Far from it. All these people are doing is challenging the precepts of an earlier era.

Do ads need headlines? Do commercials have to be linear?

Yes, if they want to get into the award shows . But, fortunately, the new generation seems more interested in breaking down the old formulas than winning awards. (OK, they like to win awards as much as the next guy ; they ' re just not willing to play it safe to take home some metal.)

There's a rebel underground feel to much of this alternative advertising. Horror of horrors, it' s not always pretty. Often, it' s done on a shoestring budget. I'm sure I'm not the first to notice that small budgets have a way of keeping commercials simple and forcing creative people not to rely on big production techniques to save them.

But you can ' t attribute all of the roughness in this work to small budgets. It ' s a valid reaction to the slick, overproduced advertising churned out by most American ad agencies. To a generation raised on MTV , a glossy commercial can seem like one more lie from the older generation. This younger audience controls millions of dollars in spending power. (A lot of them are looking for jobs, hint, hint. Be the first on your block to hire one.)

A lot of this work is done for small clients. Often for entrepreneurs. Its freshness and originality speak volumes about the damage committees can do to advertising. This, of course, is not the first generation to benefit from entrepreneurial advertisers. Remember what Scali, McCabe, Slaves did for a chicken farmer named Frank Perdue?

Call , send or fax for a free catalog.

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N U A L

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Not. A07

What this work lacks isn't ideas. It ' s formul as. The best of these writers and art directors have thrown out the

rule book. (It makes it tough on award show judges who have little rule books in their heads about what does and doesn't make a good ad. I suspect that's why there isn't more of this work in the shows.)

I've already mentioned one example: headlines. Every ad needs one, right? Not anymore. In challenging this precept, the more clever practitioners of alternative advertising have actually challenged another old maxim of the advertising business: "Nobody reads body copy."

Without benefit of a headline, I have actually been sucked into reading an entire page of copy. It used to take a damned good headline to make me spend that much time with an ad.

Today, there are creative people who are challenging even more than the need for a headline. They're challenging everything. One of the best ads I saw last year didn't appear in a magazine, on TV or in any conventional medium. It was painted on the sidewalk! It was directed to women and said, "From here, it looks like you could use orne new underwear."

This brings me to another characteristic of alternative advertising- its brutal honesty. How many times have you heard a "bold" agency person tell a client that nobody cares about his product? That's all well and good in the safety of a conference room. But how many agencies have the temerity not only to say it in a meeting, but to say it in advertising? That's what Mad Dogs & Englishmen did for the Village Voice with their wonderful subscription campaign. In these ads, the reasons NOT to subscribe far outweigh the reasons to sign up.

I've always noticed that advertising for some reason attracts a lot of cynics to its ranks. But then these same wonderful curmudgeons would go back to their offices and create the most mind-numbing Pablum imaginable.

Now, finally, that good old American cynicism is making its way into the advertising. No belief is safe. No topic is sacred. Not even advertising itself.

There is also a profound recognition of the fact that advertising today must be entertaining. This is nothing new. It's just become more crucial than ever. Fresh, original humor may be the last weapon in advertising's arsenal against zapping, grazing and apathy.

Caution. This may lead to advertising that's irreverent.

It might be naughty. It might even upset some people.

Volkswagen's "Lemon" ad must have freaked out the guys who were doing the Plymouth ads. The Apple "1984" commercial must have shocked the people working on IBM. How dare Doyle Dane Bernbach do black and white car ads with no smiling models? How dare Chiat/Day take such a potshot at Big Blue? And right there during the Super Bowl with all of America watching!

All this pooh-poohing of alternative advertising only means the business is alive and well . Advertising has this amazing ability to regenerate itself. Periodically, it sheds its old skin. If it didn't, we'd still be doing ads like "They laughed when I sat down at the piano ... " And if we were still doing ads like that, we probably wouldn't be doing ads at all. We'd already be changing the sheets at that B & B in Vermont.

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A R T S

193

DESIGN

TECHNOLOGY

W ENDY R ICHMOND

IT NEEDS DESIGN N THE PAST FEW YEARS, I'VE BECOME CONvinced that the acceptance and success of interactive media will depend heavily on good design. No matter how good the content is, bad design will be a significant barrier. Design can determine whether the user continues, or says, "Forget this, I'm out of here."

Typography

I

Our first task in typography is to revitalize the traditional rules of good typography for print that have developed over the centuries.

I'd like to share a few points that we've discovered and developed over the past two years in the Design Lab at WGBH. Here are four of the general subjects that we focus on when we're working on a project: Wayfinding; Feedback; Typography and Dynamic Information.

I've said this before, and it's still true: People in the computer industry have typographic amnesia. They've lived so long with 5 x 7 dot matrix characters that they have forgotten the distinction between legibility and readability. An essential (and traditional) role of typography is to convey information by means of the clear organization of type. We have to inject the basics of typography into interactive, screen-based media: proper use of hierarchy , grouping, size, line length, weight and so forth.

Wayfinding I borrowed this term a long time ago from the field of environmental graphic design. It refers to "getting to a place that you can't see." Think about being in the lobby of a big building. How do you know where the ladies' room is? Signs, building directories, context and intuition are all part of how you find your way. One of the great things about interactive media is that it encourages exploration along its many paths. But it also means many ways to get lost.

A printed piece, like a book, has a physical indication of volume, so you know automatically where you are and how far you've progressed. A screen, on the other hand, is a flat plane. The only way for you to know your whereabouts is through designed elements. The visual design of the piece must give you a sense of place: where you are, where you've been and where you want to go.

Feedback By definition, interactive media provides a response to the user's action. When you tell the computer something, you need to be sure it got your message. If the computer takes too long to respond, or responds in an unexpected way, it's a distraction and could become a serious barrier.

Multimedia offers many possibilities for feedback, and sound is one of the best. From a simple beep to indicate a misplaced mouse click, to a "teacher" that helps a child through a spelling bee, the possibilities for sound are great.

On the other hand, the computer's capabilities have been turned into liabilities. Here's a simple example: We're all accustomed to the "boing" sound that indicates that the printer is out of paper. Using a colleague's computer one morning, I suddenly heard that sound. But I wasn't printing!

I checked the printer anyway-the paper tray was full.

What could be wrong? Suddenly the sound stopped. An hour later it happened again. Yes, you guessed it; the clock "accessory" had a boing sound as the hourly alarm.

Feedback must be simple, direct and immediate, and it must not contradict what you already know.

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We also need to explore new ideas for dynamic, on-screen typography. An excellent source of good ideas is MIT's Visible Language Workshop. I particularly admire the way they use the concept of focus.

Imagine, for example, short paragraphs of descriptive text about various bird species. Now image hearing a bird 's song; the descriptive text that describes that bird's song is in focus. The song changes, and a different paragraph comes into focus. It's much like focusing your camera lens on the subject of interest. This is a great use of limited screen real estate, because you can have overlapping fields of text. Which brings me to my next point.

Dynamic Information One of the biggest problems with computer-based media is its limited real estate. Because there is so little spatial resolution, we try to take advantage of temporal resolution, that is, revealing information over time.

Let's take a rather obvious example of a benefit of computer based media over print. You're familiar with the beautiful Albers color studies which show that the way we perceive a color can depend totally upon its surrounding color. A gray square surrounded by blue appears to be completely different than the same square surrounded by red. Imagine a simple animation which moves the two interior squares closer and closer. Until they actually touch, you're convinced that they're two different colors. A dynamic diagram can make a much more convincing argument than one that is static.

The more I work on interactive projects, the more I realize that we've barely begun to explore their potential for enriched communication. And we're all so new at this game that we're still unaware of the frustration we may cause our users. But one thing I know for sure; poor design causes confusion and annoyance. Good design? It can lead to new ways of learning. © 1992 W. Richmond

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Whether you want bright whites to achieve maximum contrast. neutral whites for more subtle communication or warm whites to enhance your designs, Monadnock Paper Mills

demonstrations on Monadnock Astrolite,

offers a full range of whites in a variety of luxurious finishes for annual reports, brochures. corporate collateral, direct mail, corporate identity and desktop publishing.

contact your local Monadnock paper merchant, or write to us on your letterhead.

Superior Printability Monadnock is dedicated to consistent quality. Painstaking attention is paid to the even distribution of highly select fibers in the papermaking process. This outstanding

formation results in extraordinarily smooth, level printing surfaces that provide even ink distribution and excellent ink holdout. limit dot gain, and bring enhanced clarity to the printed image.

Environmental Responsibility Monadnock Paper Mills is committed to responsible stewardship of the environment and to the protection of human health and safety. Recycling is a natural extension of Monadnock's corporate policy, and the use of post-consumer waste fiber is a significant way to reduce the solid waste stream burdening North American landfills.

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ALDUS PHOTOSTYLER FOR WINDOWS. FOR PEOPLE WHOSE IMAGINATIONS EXCEED REALITY. With Aldus~ PhotoStyler.... you can create anything you have a mind to.

PhotoStyler is the complete color photo lab for Windows. It allows you to process scanned images in 24-bit full color or gray-scale, then separate them. And you can do it on your PC. Featuring color correction, retouching, filtering, composition, painting, and special dfects, PhotoStyler also lets you work with several open images at the same time. (The built-inJPEG compression enables you to conveniently store and access files.} And you can export your work to other DTP, multi-

media, and presentation applications - such as Aldus PageMaker~ and Aldus Persuasion~.

No wonder PhotoStyler's innovative graphic capabilities have been drawing rave reviews. Publish magazine's Reader's Choice Awards named it the "best image editing software for the IBM PC." While InfoWorld rated its image editing tools "Very Good"and found PhotoStyler easier to use than its two leading competitors.

To learn more, callt-800-685-3639 for a free trial version. And discover the high-end PC color photo lab that's nothing short of unreal.

This ad was produced using Aldus PhotoStyler and Aldus PageMaker 4.2. Aldus and the Aldus logo are registered trademarks of Aldus Corporation. PhotoStyler is a trademark of U-Lead Systems Inc. Windows is a trademark of Microsoft Corporation. PageMaker and Persuasion are registered trademarks of Aldus Corporation. ©1992 Aldus Corporation. All rights reserved.

TECHNOLOGY

REVIEWS

LISA S PIEGELMAN

RADIUS DEBUTS DESKTOP VIDEO PRODUCT OU CAN SAVE COMPUTER SOUND AND video in a standard VHS format by using a new video product, Video Vision from Radius Inc. This means you can quickly, easily and economically show your computer video work such as a storyboard, sales presentation or product mock-up to anyone with a VCR. Even though I didn't get a chance to see the quality of the video saved to VHS format, the product supports 24-bit convolution for flicker free output of 24-bit color images, so the quality of the video should be good.

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The Video Vision product, which sells for $1 ,999 , consists of a single card that has 24-bit graphics as well as video input and output capabilities. Plus , the package has an external connector panel for video and audio connections.

For a limited time, Video Vision will be bundled with DiVA's VideoShop and MacroMedia's Action software programs. Video Vision is compatible with any Macintosh II, Ilcx, Ilci, Ilfx or Quadra computer.

While saving computer video to VHS format is a big feature of Video Vision, it isn't the only one. You can also resize a video image on a computer without affecting the video performance. Moreover, Video Vision is compatible with QuickTime applications, and it supports many international video standards, so you can actually use the product as a video conversion tool, says Edward Colligan, general manager of Macintosh business for the company.

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An interesting aspect of Video Vision is that it originated from Apple Computer. According to Colligan, the Video Vision board was developed by Apple engineers and never brought to market. However, through a joint licensing agreement with Apple, Radius acquired the rights to the board and spent time modifying it, making the board ready for the market and production.

For more information about Video Vision, contact Radius Inc. at 1710 Fortune Drive, San Jose, California 95131 , (408) 434-1010, fax (408) 434-0770.

CoRELDRA w SuPPORTS TRUMATCH CoLoR

Corel Corp., the maker of CorelDRA W, announced a new version of its drawing program that incorporates Trumatch Inc.'s Trumatch color matching system. Now, CorelDRA W Version 3.0 fully supports four-color separations.

Trumatch works by applying the three dimensional concept of hue/saturation/brightness to four-color space. The result is that Trumatch has more than 2,000 proportionallygraduated process color combinations that can be reproduced on a four-color press. Color balance remains consistent by rounding screen tints to one percent, thereby maintaining yellow, magenta and cyan proportions in smooth saturation steps.

Along with CorelDRAW, Trumatch is supported by Adobe Photoshop 2.0 , Adobe Illustrator 3.2, Aldu s Corp.

PageMaker 4.2 and QuarkXPress 3.1.

But what could you really do with Video Vision, if you were to put the product through the paces? According to the company: "A user can grab frames from motion picture images stored on a CD ROM library or filmed with a video camcorder, manipulate the images using a QuickTime video editing software package like DiVA's VideoShop or Adobe's Premiere, mix in background music or voice over, add additional sound effects, integrate photorealistic graphics or text from a presentation software package like Microsoft Corp.'s PowerPoint or Aldus Corp.'s Persuasion, simultaneously run images generated from a video camera in an inset window, modify the brightness or clarity of all the images, and then print the whole production to videotape to be played back in any standard VCR."

Atex Inc. didn ' t waste any time in taking pot shots at all the leading design and layout programs when it introduced Renaissance, a $895 Macintosh graphic design and layout program last April. Right off the bat, Atex criticized Quark and Pagemaker as being too production-oriented and limiting "free flowing creative design. " Furthermore, Atex criticized Illustrator and Freehand as being "illu stration tools for complex or advanced artistic techniques that are just too cumbersome to do manually ."

What' s missing from Video Vision is image compression, but this is under development, says Colligan. Additional capabilities such as compression can be added to the Video Vision board because it has a bus connector, called H-Bus that allows another board to be connected to it.

Not surprisingly , Renaissance is positioned clearly in the middle as an easy-to-use creative program with many production tools. It is designed for creating advertisements, brochures , newsletters, direct mail pieces, flyers, posters and magazine spreads.

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For details about Trumatch, contact the company at 33 1 Madison Avenue, New York, New York 10017, (212) 351 -2360, fax (212) 351-2367.

PAGE LAYOUT AND D ESIGN SoFTwARE N Ews

On the creative side, Renaissance uses a drawing board metaphor, so you can create a number of different size pages or pieces of paper on the board. You also have direct access (point and click) to a toolbox and color palette.

The toolbox consists of two columns: the maker tools and the apply tools. The maker tools are used to create page elements such as type, rules and boxes. The apply tools allow you to adjust or modify elements such as shadows and borders. Renaissance categorizes type into two groups: display type and story text. In the display type mode, you can treat type as art and distort and add shadows. With all these features, Renaissance enables graphic designers to work on projects like "Edward Scissorhands would work on a coiffure: spontaneously, rapidly, and with creative thought almost immediately translated into a stunning finished product," says the company.

For document production control, Renaissance supports Pan tone CMYK Colors and allows you to import TIFF, PICT and EPS image files. Moreover, the program supports full spot color separations, Postscript output and OPI for output to high end color systems.

Renaissance is compatible with Macintosh computers and it requires Apple 32-bit QuickDraw, Adobe Type Manager and Type 1 Fonts, 5MB of memory, a hard disk and System 6.05 or higher.

In case you didn't know, Atex is a subsidiary of Kodak.

Atex can be reached at 805 Middlesex Turnpike, Billerica, Massachusetts 01821, (508) 670-3430, fax (508) 670-3437.

NEw FLATBED CoLoR ScANNER

Agfa recently introduced a new flatbed color scanner that features 1200 dpi color scanning resolutions for tabloid-size originals. Even better, the scanner has 12-bits per pixel for color accuracy, which means that you can produce highquality color separations, according to the company. Agfa's new Horizon Color Scanner is relatively fast too; to scan an 8 x 11.75 inch gray scale photograph using a Macintosh Ilfx and Adobe Photoshop, the scanner would take 63 seconds manually and 81 seconds in the automatic mode.

Furthermore, you can scan reflective images and transparent originals such as 35mm slides. The scanner is priced at $22,500, which includes the transparency module. Optional color imaging software is available for $495.

Agfa can be reached at 200 Ballardvale, Wilmington, Massachusetts 01887, (800) 685-4271.

KoDAK FILM ScANNER

Kodak is introducing a second-generation film scanner that promises a cost effective solution for scanning 35mm slides and film for desktop publishing applications. A year ago Kodak introduced the initial 35mm scanner for photo-

journalists. Since then, the company has gone back to the drawing board and designed the RFS 2035 film scanner.

The scanner has twice the scanning resolution, auto focus and is easier to use. The net result is the $7 ,995-priced RFS 2035 scanner can do high-speed scans of 35mm negatives or slides in full 24-bit color image at 2000 dpi.

At the full 2000 dpi resolution, a scan takes less than two minutes. The scanner also features a prescan mode that scans an image in ten seconds so you can preview the results and make adjustments such as color. Moreover, the scanner has a fixed-film gate that accommodates a strip of six negatives or four slides.

One reason for scanning 35mm slides or negatives is the scanned image quality is better than scanning photographs.

Bob Blakey, manager of electronic imaging systems for Kodak, says, "Print scanning works fine for compositions and a lot of publishing, but film scanners offer the best way to get the information." The only problem with scanning a 35mm slide is that each file will require about 18MB of storage. So, these images are better stored off line.

The RFS 2035 scanner comes with plug-in modules for image management software such as Adobe Photoshop and Aldus PhotoStyler, which enable the scanned image to be directly ported into the programs.

Kodak can be reached at 343 State Street, Rochester, New York 14650, (716) 724-4000, fax (716) 724-9829.

TEKTRONIX CoLOR PRINTER

Tektronix has recently updated its color printer product line with two new, high-end models. The first new printer, introduced in June, the Phaser IIIPXi, is a plain paper color printer designed for anyone needing to produce various sizes of color prints on a variety of papers. The new printer uses "phase change ink-jet technology" and Tektronix's TekColor Finepoint technology. The technology, which was developed jointly with Adobe Systems, enables the printer to match output with commercial printing presses as well as print in fine details. This printer also comes with new inks that are crack and fold resistant. The printer is $9,995, and if you already own a Phaser IIIPXi, you can upgrade to the new capabilities for $495.

The second new Tektronix printer, which was introduced in July, is the Phaser Ilsd, a dye sublimation color printer with Adobe Systems's Postscript Level 2 software and TekColor Photofine technology. The printer, also priced at $9,995, provides continuous tone images for boardroom presentations, graphic arts and other output.

For information, contact Tektronix Inc., P.O. Box 1000, MS 63-583, Wilsonville, Oregon 97070, (800) 835-6100.

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Together Again

September 22 - 25, 1992 • Moscone Center

Sey bold (se' bold), n. 1. the definitive conference and exposition for people who use computers to communicate information; 2. the company which creates and produces these milestone events; 3. The Jonathan.

San Fran cis co (san' fran sis' ko-) n. 1. seaport on the coast of north central California, separated from Oakland by an inlet, and from the rest of the U.S. by a state of mind; 2 . setting for fabulous restaurants, entertaining diversions and memorable encounters; 3. where Seybold (see above) will be this September.

Plan to get together with industry leaders, fellow graphic designers and other communications professionals as Seybold and San Francisco get together again this September.

SEYBOLD SAN FRANCISCO

By definition , the place to be .

Call 800-777-6650 or 310-457-8500 for the complete event brochure.

Or download it from the Seybold board on AppleLink.

BooK REVIEWS GERTRUDE KASEBIER

OvEREXPOSURE

The Photographer and Her Photographs

By Barbara L. Michaels Published by Abram 100 Fifth Avenue, New York, New York 10011

Health Hazard s In Photography

By Susan D. Shaw & Monona Ro ol Publi hed by Allworth Press, an imprint of All worth Communi cation , Inc. 10 Eat 23rd Street, New York, New York 10010 $18. 95

$45 .00

This enjoyable book about the photographic life of Gertrude Kasebier is also a study of the competing interests of commercial vs. fine art photography. Over 100 images are reproduced and the photographs are haunting, especially the gum bichromate prints.

Kasebier' s soft focus, pictorial portraits provided her with a healthy income at the turn of the century and now hang in many museums including The Museum of Modern Art, New York.

She was an accomplished portraitist known for "likenesses that are biographies" and one of the founding members of the Photo-Secessionist movement of 1902 led by Alfred Stieglitz. Kasebier pioneered an emotional style that broke the mold of Victorian formality and was a leading proponent of photography as an art form.

Equally important, her international acclaim as an artist was earned while she had a successful business selling portraits to individuals and for editorial usage. Portraits of Mark Twain, Booker T. Washington and Auguste Rodin are very early examples of the celebrity/society mix that Annie Leibovitz now employs with such success.

However, by 1912 these seemingly incongruent paths finally clashed. Gertrude broke rank with the Secessionists by the symbolic act of joining a professional photographers group; the first of several issues the book raises about the conflicts between commerce and photography.

Kasebier was not constrained by the social or art dicta of the day. After all, she hadn't even begun to photograph until the age of 37-after raising three children. So her fall from the center of art chic did not distract her greatly and she continued both fine art and commercial work until her death in 1934.

Author Barbara L. Michaels gives a detailed history of Kasebier' s progressive photographic career and the writing provides great insight into her life and times.

OvereXposure: Health Hazards in Photography is a look at current health and afety hazards faced by photographer today. First published in 1983, this updated and expanded new edition features current research on the health effects of photo chemistry and the recently instituted laws and regulations affecting the use and dispo al of darkroom photo chemicals.

OvereXposure describes a variety of safe methods for working in the darkroom , including detailed descriptions and calculations for ventilation systems and other design suggestions to make your home, tudio or profes sional darkroom a safer and cleaner working environment.

The authors , Susan Shaw and Monona Rossol , have an extensive knowledge of environmental toxicology and it shows in this thoroughly researched book. They cover useful information such as: photography and the laws protecting workers; toxic chemicals and their effect on the human body , including pregnant photographer ; hazards to watch out for in various printmaking proces e including black and white and color film processing ; photogravure, photolithography, photosilkscreening, photoetching, historic silver and non-silver processes, as well as data on the conservation and restoration of most photographic materials.

OvereXposure is valuable reading for people involved in health and safety training, and essential reading for anyone in the field of photography- including students, instructors and lab technicians- concerned about toxic chemicals and their potentially dangerous effects.

- Scott Teaford

THE CoMPLETE BooK oF PHOTOGRAPHIC L ENS ES

by Joseph Meehan Publi shed by AMPHOTO, an imprint of Watson-Guptill Publications 1515 Broadway, New York, New York 10036 $22 .50

It almost seems like the author was a contemporary of the

artist; her research is so thorough, but so personal. Interviews with Kasebier' s heirs, her colleagues and her subjects give the book an anecdotal quality that lends personality to the scholarship of the volume.

The story of Kasebier' s life keeps returning to the fundamental themes of independence as an individual and photography as an expressive, emotional art form.

Curiously, she is most recognized for her images of mother and child although she preferred to photograph men and other independent women.

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Despite the recent explosion of new technology , photography is still based on the same principles involving light and lenses established 150 years ago. The Complete Book of Photographic Lenses examines every type of lens for virtually every format , and how to choose and use them.

The author, Joseph Meehan , describes the basic design and operation of standard , wide-angle, telephoto and specialized lenses, as well as clo seup , macro zooms, extension tubes, bellows , diopters and copy lenses. The corresponding illustrations, beautiful photographs and detailed diagrams clarify each concept. Best of all, The

Complete Book of Photographic Lenses goes beyond the fundamentals to explore how lens election affects the content and composition of your photographs. The book conclude with information on len te ting and aberrations, soft-focu s len e , filter , len access ories, tripod and projection screens. This comprehensive book will never go out of date ; it will help photographers who use 35mm, medium-format , large-format and panoramic cameras make the best lens choices for their creative efforts.

- S.T.

BRIEFLy NOTED: C LASS IC F ARB ER N u o Es by Robert Farber (Published by

AMPHOTO , an imprint of Watson-Guptill Publications, 1515 Broadway, New York, New York 10036 $24.95 ).

Classic Farber Nudes i the latest book from the renowned photographer Robert Farber. His previous books, Images of Women; Professional Fashion Photography; Moods; The Fashion Photographer; Farber Nudes and By the Sea , have influenced an entire generation of photographers. In this new retrospective you ' ll find some of the finest nude photography of the past twenty years. Art collector Ronald Parker writes in the foreword: "In an age when the nude is often presented as an object of exploitation, Farber's soft, sensuou s, and styli sh treatment of the nude is a welcome con stant in a world of not-alway s-welcome changes. " Beautifully printed, the book is a collection of 61 color and 38 black and white photographs representing some of his finest work to date. Each image is indexed with detailed technical data at the back of the book, complemented by an interview with Robert Farber which provides a fascinating glimpse into hi unique talent.

-S.T. S TOC K PHOTO FoRMS by Michal Heron (Published by Allworth Pres s, an imprint of Allworth Communications, Inc. , 10 East 23rd Street New York, New York 1001, $8.95).

Organization play s a major role in the success of stock photography , but there can be an overwhelming number of details between the origin of a photo concept and a photograph that' s ready to sell. Stock Photo Forms can help you with a lot of overlooked details. The 32 page tock photo success kit includes the following forms: a stock agency research form , model release , property release, tock agency query form, a location sites file (both interior and exterior), photo equipment list, a shooting day checklist and many others. The author, Michal Heron , (whose other book How To Shoot Stock Photos That Sell is highly prai sed) has been a successful free-lance photographer for more than twenty years. In addition to running her own stock photo business , she's a frequent lecturer on stock photography at seminars and workshops

around the country. As a result of her years of personal experience, it should come as no surprise that her book is a practical guide for any photographer in the stock photography trade.

- S.T. VIS UAL LITERA CY by Judith Wilde and Richard Wilde

(Published by Watson-Guptill Publications, 1515 Broadway, New York, New York 10036, $45.00). Beginning with "black square problems," nothing but solid squares on a page , making them dance, expand, pattern and illustrate, the Wildes present over 170 pages of their students ' graphic design exercises. Exercises, such as telling the story of Jack and Jill in six panels with nothing but dingbats, or adding meaning with typographic play: "My name is sHAron HArel and I'm funny. " In form and imaginative illustration, assignments are solved by ideas of metaphor and invention to expres s a visual language, a non-verbal literacy. A tractor pulling a harrow leaves furrows in the ground that become a UPC computer-readable product price code, one of the 65 solutions shown for the UPC exercise. This is es entially the same teaching method that Armin Hofmann uses in Basel, Switzerland, a combining of figurative objects to reveal additional meanings. The Wildes have given us more and wilder examples.

-Byron Ferris TH E MAC Is NoT A TYPEWRITER by Robin Williams (Published by Peach pit Press , 1085 Keith A venue, Berkeley, California 94708 , $9.95) is a concise tutorial and reference for those wishing to make the transition from typing to typesetting . The book does not pretend to be a comprehensive treatise on design, typography or desktop publishing but an overview of the trade secrets that give pages of text the professional look. According to Ms. Williams , " If we are taking type out of the hands of profe ssionals , then we must upgrade our awareness of what makes their work look professional." In its 72 pages , the book covers nineteen of the most commonly made mistakes in a clear, matter-of-fact style. Samples abound, illustrating what one may have learned in a typing class and how professional typesetters would perform the task. In all but the most obvious cases, the author also explains the logic behind the typographic rules and traditions she presents.

A compendium of rules, a list of the keys needed to obtain the most commonly used special characters and an index are furnished in appendices.

-Cynthia Verdow

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MATERIALS

LAMINATOR

Now, all the paper pieces you own can have the shelf life of canned food and you can seal them yourself with the USI 1200 desktop laminator. It's compact, inexpensive and completely portable (weighing in at a mere six pounds).

The do-it-yourself lamination system uses preformed plastic film, sealed on one side, to form a pouch. Papers just slip into the pouch and are fed into the laminator where heat and pressure activate the pouch's adhesive coating, and "the finished product is impervious to water, oil, grease and even most acids." An "ordinary" sheet of paper turns into a document cover, a business card into a luggage tag and a computer printed graph into a presentation board.

The machine is 6" high, 37;8" wide and 17" long and will be sold for a limited time through a Special Starter Kit from USI; the Model 1200 machine and 50 pouches for $199.00 (suggested retail is $400). To turn all of your ordinary paper into extraordinary plastic-coated paper, phone (800) 243-4565 or write USI Inc., P.O. Box 644, Branford, Connecticut 06405.

FoAM BoARD CuTTER

If only Foster Manufacturing had come out with the "Foam Cut" while I was in school. Although finger reshaping was not in my curriculum, the razor blades I used while cutting foam board for models and presentations had a way of slicing through my fingers during the 2 a.m. push to get projects done. Had it been available, I could have been the proud owner of a "Foam Cut" cutter that the press release says "provides precise accurate and safe cutting of foam board, up to 3/4" thick, in one pass." Well it's available now, and not only will it save your fingers but it will give you a precise vertical cut up to 60" long-a near impossible task with a hand-held blade. Available in 30", 48" and 60" sizes, each unit has a five-year warranty and five replacement blades. To cut time from your projects instead of skin from your fingers, phone (800) 523-4855, fax (215) 625-0196 or write Foster Manufacturing Company, 414 North 13th Street, Philadelphia, Pennsylvania 19108.

TooL Kn

Now, instead of mi placing your supplie one at a time, Graphic Products Corporation makes it easy for you to lose them all at once. The maker of a variety of timesaving products for the graphic design indu try introduces the ail-in-one Graphic Toolkit; for $19.95 you get "eighteen of the most commonly used graphic design measuring tools conveniently organized for quick and easy referral."

Rules, bullets and boxes gauge, centering ruler, screen tint percentage and a serif type size gauge are all here, along with about a dozen other tools computer-generated and printed on glare-free translucent polyester. And for all those designers who feel the need to carry their ruler with them wherever they go, "its slim de ign allows it to fit easily into a shirt or pants pocket for on-the-spot measurement verification." To order your very own tool kit, write Graphic Products Corporation, 1480 South Wolf Road, Wheeling, Illinois 60090 or phone (708) 537-9300 and ask for the GT -30.

-Sue Sprinkle

LITERATURE FoR YouR FILES

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

MACTAC ... has introduced a toll-free Answer Hotline for designers looking for answers to questions about running on press, label layout, adhesive selection, finding a merchant and any other sticky questions about pressure sensitive sheet paper . The hotline was established after MACT AC surveyed the needs of designer in regional markets throughout the U.S. Designers can have their adhesive questions answered by dialing (800) 334-7310.

Canyon of Light .. .is a portfolio of oversize color print from Zanders Feinpapiere, manufacturer of premium and super-premium coated papers di tributed throughout the world. Printed in 385-line screen on four different coated papers from Zanders's Ikono group-Ikonofix Matt, Ikonolux, Ikonorex Dull and Ikonofix Glos -the portfolio demonstrates new dimen ions in color printing, according to Nancy K. Schulz, marketing manager of Paper Sources International (PSI), Zanders's U.S. subsidiary. Canyon of

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Light contain five 11 x 16 prints, suitable for framing, of photographs by Volkhard Hofer which capture the play of color and light on the sculptured rock formations of Colorado and Arizona canyons. The portfolio is available, in limited quantity, from PSI fine paper merchant throughout the U.S., or from the Marketing Department, Paper Sources International, 100 Demarest Drive, Wayne, New Jersey 07470.

Tony Stone Worldwide Stock Photography 4 .. . is the latest offering from the international stock photo agency. The colorful cover shot by Stephen Johnson is a fractal image, computer generated and mathematically designed, a product of Chaos Theory. The 160-page catalog contains hundreds of image in many categories, including moon and stars and the environment. Warning: Don't peruse the tunning selection of world travel photographs if you're up against a tight deadline, you might need behavior modification. To receive a copy, phone (800) 234-7880, fax (213) 938-0731 or write Tony Stone Worldwide/LA Ltd., 6100 Wilshire Boulevard, Suite 240, Los Angeles, California 90048.

Photographic Techniques on Fibered Beckett Cambric .. .is a promotion featuring four photographers and photographs of their children as

they relate to nature and the environment. The four photographers are Michele Clement, San Francisco; Brad Austin Smith, Cincinnati; Jon Gipe, Phoenix; and Michael Wilson, Cincinnati. Designed by Sibert Design of Cincinnati, the promotion demon trates the effects of using Beckett Paper's Cambric fibered sheet for photographic images. It al o highlights Cambric's new 10% post-consumer fiber that makes

up part of its 50% total recycled content. Cambric's writing, text and duplex weights are featured and fibered colors include Eggshell, Birch, Peppermint, Maple, Marble, Ebony and Ash. For further information, contact the Beckett Paper distributor in your area or phone (513) 863-5641, fax (513) 863-7782 or write The Beckett Paper Co., Division of Hammermill Paper Co., 400 Dayton Street, Hamilton, Ohio 45011.

Neotone ... from Monadnock shows a new form of tonal reproduction printed on Revue, their post-consumer waste content premium recycled text and cover paper. Neomeaning new-tone represents the means by which a photographer or designer modifies a black and white photograph for the purpose of altering the emotional content of the photo by adding color during printed reproduction.

"Designers have a way of pushing things to the limit and then taking off in a radically new direction. We've all done our thing with black and grey duotones. Right now it's color, color and more color," says Michael Weymouth of Boston-based Weymouth Design, who designed the promotion and also coined the term neotone. The brochure has a comprehensive tint chart made up of 3-color process tones which show what happens when the dot size are altered on different combination of film. Copies of Neotone are available by calling Debby McGilvary, Advertising Manager, at (603) 588-3311, faxing (603) 588-3158 or writing to her at Monadnock Paper Mills, Bennington, New Hampshire 03442.

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Communications J

* *

Computers

Black Star Stock PIHitfHII'allhr FittiiJfl seamlesslr Into Your Concepts

Agriculture

* * Anthropology * Architecture * Art/ Crafts Animals

Automobiles

* * Beaches *

Aviation

* Birds* * Business

Biotechnology

Education

High Technology

* * Holidays *

Historical

Parks

*

People

*

Scenics

*

Science

* Signs* Ships

Silhouettes

*

Space

* * Stores/Markets * Transportation Sports

Black Star 116 East 27th Street New York, New York 10016

Pollution

(212) 679-3288

* * Poverty

FAX (212) 889-2052

Police

A Stock Library of 3 Million Images-Model Released

CLUBS , CONFERENCES, SEMINARS BALTIMORE

Black women in the practice of architecture and related fields (graphic design, interior design, landscape architecture, construction management, engineering and planners) have formed a new non-profit organization, Black Women in Architecture (BWA). The group was originally created to provide support, visibility and networking opportunities to black women in an industry dominated by men. The founding members, Sharon Graeber, Alice Burley, Pamela Fountain and Sharon Richmond, recognized, after meeting with women in the field, that the concerns and problems they faced on a day-to-day basis needed to be addressed, so they expanded their initial goals to include the improvement of the cultural, social and political dilemmas facing black women. To date, BW A has been in contact with over 200 black women in 24 states who are now practicing or studying architecture or a related field. For a brief history of BW A and a survey form to obtain information for the BWA National Directory, send a self-addressed, stamped (52 cents), #10 envelope to Pamela Fountain, BWA, P.O. Box 1723, Baltimore, Maryland 21203.

PHILADELPHIA

The One Club for Creatives, the Art Directors Club of Philadelphia, introduced their new board. Officers: president Marilyn Glass , free-lance copywriter; first vice president Lynell Wilcha, Lynell Wilcha Design Studio; second vice president Frederick Siegel, Ketchum Advertising; secretary/treasurer J. Robert Parker, Parker Design; acting past president Donna Weidel, Burgess Communications.

Board of directors: James Burks, Burksscott Advertising; Vera Carbo, Weightman Advertising; Stacy Kolmetzky, Kramer Miller Lomden Glassman; Thomas Mabley, III, FCB/Lewis, Gilman & Kynett; Stan Mallis, writer; Judy Munroe, Munroe Design Group; Wayne J. Picard, Insight, Inc.; Michael Rowinski, Devon Direct Marketing & Advertising; George Tyndell, Tyndell and Associates, Inc.; Eric van der Vlugt, Articus Advertising Design.

Art Directors Club of Philadelphia, 2017 Walnut Street, Philadelphia, Pennsylvania 19103, phone (215) 569-3650.

SAN FRANCISCO

The San Francisco Creative Alliance is conducting a year long educational lecture series focusing on projects of creative art teams. Wednesday, September 2, will feature an evening with art director Betsy Zimmerman, production manager Max Fallon, assistant creative director David O' Hare, planner Carol Winkler and account executive Debbie Nelson all of Goodby, Berlin & Silverstein and they will discuss "The Isuzu Campaign." The club, originally founded for art directors and designers, has been expanded to include the entire creative team: illustrators, photographers, multi-media artists, copywriters and printers. For information on this and future lectures, contact 210

P H 0 T 0 G R A P H Y

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executive director Melissa Murphy, SFCA, Box 410387 , San Francisco, California 94141, phone (415) 387-4040.

IowA The following members of the Art Directors Association of Iowa are the club 's officers for 1992-93: pre ident Candy Foster, public relations department Mercy Medical Center; vice presidents/exhibition Kiki Haywood and Jay Miller, S.I.P. art department, The Meredith Corporation; vice presidents/program Jody Anderson and Andy Chenchar, art directors Kragie/Newell Advertising; vice president/ membership Jeff Froehlich, Froehlich Design; treasurer Ann Francis, ASF Graphic Design; secretary Tammy Diggs, graphic designer Perfection Learning. ADAI, 1441 29th Street, Suite 111, West Des Moines, Iowa 50265.

SEATTLE

The Society of Professional Graphic Artists is a group of independently employed graphic designers, illustrators and production artists. Established in 1955, SPGA is the oldest commercial arts organization in Seattle. Membership is limited to studio owners and freelancers, educators and artists' representatives. The 1992 officers are: president John Chamberlin; vice president Richard Polf; treasurer/ membership coordinator Dan Ballard; secretary Chri tine Vaughan; phone tree Barbara Newton; reservations Cele te Henriquez; newsletter editor Carol Dillon; assistant editor John Chamberlin; biography editor Cassandra Trimble; ethics Bill Werrbach. SPGA, P.O. Box 31258 , Seattle, Washington 98103 .

NEw YoRK The Center for Computer Graphics for Design announces the 29th consecutive conference on computer graphics for design. "The New Tools" will be held at the Grand Hyatt New York October 4-6. This conference will attempt to answer design questions (Will the new tools change aesthetic values?) , technical questions (Has design software reached a plateau?) and business questions (Are printers and prepress shops becoming a threat to the individual designer?). Among those encouraged to attend are people responsible for design , graphic arts and visual communications in industry, government, advertising, publishing and education. For a brochure describing the conference, call or write Barbara J effe, The Center for Computer Graphics for Design, P.O. Box 8380, Santa Fe, New Mexico 87504. Phone (505) 986-0523 or fax (505) 989-4701.

-Jean A. Coyne

Copy must be received two months prior to the publication date.

Please include a contact, phone number and a full address.

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VVestviico

INDEX TO PHOTOGRAPHERS

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Alden, Steve M. 136 Fax(408)423-1148 68 Hollins Drive Santa Cruz, CA 95060 Alejandro, Carlos 102 Phone (302)762-8220 8 E. 37th Street Wil mington, DE 19802 Alexander, Glass, Ingersoll, Inc. 94, 101 Fax(513)885-2313 3000 S. Tech Boulevard Miamisburg, OH 45342

Bartholick, Robin 91 Fax(206)285-9503 1050 W. Nickerson Street Seattle, WA 98119

Carter, Keith 57 Phone (409) 833-2174 2615 Liberty Beaumont. TX 77702

Bekker, Phil 146 Phone(404)876-1 051 667-B Eleventh Street NW Atlanta , GA 30318

Cattani, Renzo G. 123 Fax(416)360-8786 1 Gore Vale Avenue Toronto, Ontario M6J 2R5 Canada

Belpaire, Christian 126 Phone (416) 696-2630 205 Woodville Avenue Toronto, Ontario M4J 2R4 Canada Bencze, Louis 140 Fax(206)236-1602 7683 SE 27th , #361 Mercer Island. WA 98040

Chiasson, John 61 Fax(318)237-4476 503 Jefferson Street, #4 Lafayette, LA 70501

Artiaga, Anthony 111 Fax (31 0) 444-2531 10644 Hatteras Street N. Hollywood, CA 91601

Bentley, P.F. 64 Fax(212) 522-0743 c/o Mary Worrell Time 1271 Avenue of the Americas, Room 24-17 New York, NY 10020

Chou, Peter 118 Fax(416)778-5136 276 Carlaw Avenue, Suite 310 Toronto, Ontario M4M 3L 1 Canada

Ashukian, Susan 10 Fax(416)778-7323 276 Carlaw Avenue, #301 Toronto, Ontario M4M 3L 1 Canada

Berg, Audrey 49 Phone (7 03)425-0084 Lightscapes 5595 Guinea Road Fairfax. VA 22032

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Black, Stephen 114 Fax(415)459-3372 1100 Third Street San Rafael, CA 9490 1

Badger, Rob 80 Fax(415)927-4200 9 Ridge Way Corte Madera, CA 94925

Booth, Greg 116 Fax(214)688-1879 1322 Round Table Dallas. TX 75247

Baker, I. Wilson 145 Fax(803)723-7282 1094 Morrison Drive Charleston, SC 29403

Bridges, Marilyn 107 Phone(212)674-0148 c/o Felicia Murray 131 E. 19th Street New York, NY 10003

Arndt, Jim 16, 139 Fax(612)332-8614 400 First Avenue N., #51 0 Minneapolis, MN 55401

Banko, Phil 9 Fax(206)624-6036 1249 1st Avenue S. Seattle, WA 98134 Barker, Robert 87 Phone (6)383-8850 35 Buffard Drive Rochester, NY 14610

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Barta, Patrick 4 Fax (206) 343-1411 80 S. Wash ington. Suite 204 Seattle, WA 98104

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Cohen, Nancy R. 139 Phone (805)965-0904 316-B W. De La Guerra Street Santa Barbara . CA 93101 Collector, Stephen 121 Fax(303)440-5944 4209 N. 26th Street Boulder, CO 80304 Collin, Fran 59 Phone (212)243-6373 c/o Turner/Collin 55 Bethune Street, Room 348 New York, NY 10014 Collins, Chris 96 Fax(212)727-1518 35 W. 20th Street New York, NY 10011 •

Campbell, William 128 Fax(212) 522-0743 c/o Mary Worrell Time 1271 Avenue of the Americas, Room 24-17 New York, NY 10020 A N N U A L

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Clark, Lon 121 Fax(415)928-6354 2501 Gough Street, No. 1 San Francisco, CA 94123 Clement, Michele 14, 20 Fax (415) 695-0921 879 Florida Street San Francisco. CA 94110

Bromberger, Saul 36 Phone(206)782-0625 5612 7th Avenue NW Seattle, WA 98107

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Cheney, Arch A. 84 Fax(801) 521 -4664 231 Edison Street Salt Lake City, UT 84111

Crum, Lee 23 Fax (504) 529-4481 1536 Terpsichore New Orleans, LA 70130

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Davidson, Cameron 11 6 Fax(214) 826-7087 c/ o C Pictures Inc. 2811 McKinney Avenu e Dallas. TX 75204 Dee, Stuart 105 Fax(604) 224-7880 4725 W. 6th Avenue Vancouver, B.C. V6T 1C4 Canada de Micheli, Guglielmo 28 Fax (39) 55-631 -992 Via Pogg io a Ripol i, 2 50012 Bagno a Ripol i Italy Derryberry, John 146 Fax(214)351 -0510 5370 W. Lovers Lane.

Suite 326 Dallas. TX 75209 De Zitter, Harry 116 Fax(508)945-4548 268 Deer Meadow Lane Chatham , MA 02633 Dickens, James 145 Fax (619) 721 -0536 6986 El Camino Real , Suite B-253 Carlsbad , CA 92009 Dickman, Jay 24 Fax(303)730-6202 5650 Blue Sage Dri ve Littleton. CO 80123 Dole, Jody 49 Fax(212)627-2635 95 Horatio Street New York, NY 10014 Drollette, Daniel Jr. 136 Fax(718)768-8806 495 Ninth Street. #4 Brooklyn, NY 11215 Ducote, Kim 130 Phone (21 2)989-3680 P.O. Box 272 Old Chelsea Station New York, NY 10113 Duka, Lonnie 134 Fax(714)497-8387 352 Third Street, Su ite 304 Laguna Beach . CA 92651

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ink holdout .

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GERALD REIS

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SIMPS Simpson Paper Company. One Post Street . San Francisco. CA 94104

0 1992 Simpson Paper Company

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Coronado SST Recycled IS a trademark of Simpson Paper Co mpany

I DEX TO PHOTOGRAPHERS

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Gavrilov, Igor 66 Fax(212) 522-0743 c/o Mary Worrell Time 1271 Avenue of the Americas, Room 24-17 New York, NY 10020

Erickson, Jim 14 Fax(919)839-0382 117 S. West Street Raleigh, NC 27603

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Ferri, Mark 105 Fax(212)226-4959 463 Broome Street New York, NY 10013 Flanagan, Lendon 14 Fax (213) 965-0572 5661 W. Pica Boulevard Los Angeles, CA 90019 Ford, Charles 134 Fax(214)696-2352 10543 Pagewood Dallas. TX 75230 France, Maureen 30 Phone(513)241-8795 2359 W. McMicken Cincinnati, OH 45214 Franklin, Charly 87 Fax(415)824-5496 3352 20th Street San Francisco, CA 94110 Franz-Moore, Paul 59 Fax (415) 495-6343 421 Tehama Street San Francisco, CA 941 03 Freeman, Hunter 20 Fax(415)495-2594 123 S. Park San Francisco, CA 94107

Gerber, Kurt 14 Phone (716) 244-9333 P.O. Box10119 Rochester, NY 14610 Gipe, Jon 64 Fax(602)230-1570 6747 N. 1Oth Street Phoenix, AZ 85014 Goavec, Pierre-Yves 89 Fax(415) 552-2384 2325 Third Street, #201 San Francisco, CA 94107 Grace, Arthur 23 Fax (703) 528-6535 4044 Vacation Lane Arlington, VA 22207 Greenfield-Sanders, Timothy 62 Fax(212)473-8073 135 E. 2nd Street New York, NY 10009 Gregory, Doane 126 Fax (604) 732-3121 1810 Pine Street Vancouver, B.C. V6J 3C9 Canada Griffin, L.L. 59 Fax(303)892-5123 4427 Bryant Street Denver, CO 80211

Freese, David 23 Phone(215)877-8050 1905 Wynnewood Road Philadelphia, PA 19151

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Fronk, Mark 49 Phone(703)425-0084 Lightscapes 5595 Guinea Road Fairfax, VA 22032

Hafkenscheid, Toni 64 Phone (416)920-0289 30 Charles Street W., #1201 Toronto, Ontario M4Y 1R5 Canada

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Hamilton, Chris 39 Fax(404) 971-5837 6595-G Roswell Road, Suite 675 Atlanta, GA 30328

Heal , Patricia 93 Phone (212)995-2505 229 E. 12th Street, #65 New York, NY 10003

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Kander, Nadav 6, 13, 16 Fax(44)71-359-8925 1-7 Britannia Row London N1 SOH England

Heisler, Gregory 66 Phone(212)777-8100 568 Broadway New York, NY 10012 Hicks, Thomas 133 Fax(503)274-1429 2717 NW St. Helens Road Portland, OR 97210

Kapahi, Ani I 118 Fax(206)322-7965 911 E. Pike, #31 0 Seattle, WA 98122

Hix, Steve 140 Fax (816) 421-0551 517 Southwest Boulevard Kansas City, MO 64108

Kaye, Russell 101 Phone (718) 797-5031 165 Lafayette Avenue Brooklyn, NY 11238

Hoffman, Paul 109 Fax(415)863-3405 4500 19th Street San Francisco, CA 94114

Kendrick, Robb 36, 89 Fax(512)467-0344 703 E. 43rd Street Austin, TX 78751

Holman, Greg 41 Fax(416)469-5596 17 Carlaw Avenue, Unit 5 Toronto, Ontario M4M 2R6 Canada

Kenna, Michael 107 Fax(415) 861-0423 123 23rd Street San Francisco, CA 94121

Holt, David 4 Fax(310)478-4123 1624 Cotner Avenue, Studio B Los Angeles, CA 90025

Kern, Geof 70 Fax (214) 630-7721 1355 Conant Street Dallas, TX 75207

Holzberg, Karen 96 Phone(703)241-7580 5179-B Lee Highway Arlington, VA 22207

Knott, Grace 133 Phone (214)824-5034 500 Exposition, #1 02 Dallas, TX 75226

Huber, Vic 78 Fax(714) 261-5973 1900 E. Warner Avenue, Suite E Santa Ana, CA 92705 Huet, John 4, 14, 142 Fax(617)439-4310 27 Drydock Avenue, 7th Floor Boston, MA 02210

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Johnson,Lynn 70 Fax(212)889-2052 c/o Black Star 116 E. 27th Street New York, NY 10016 Judkis, Jim 94 Phone(412)366-2242 1602 King James Drive Pittsburgh, PA 15237

Kennedy,Layne 68 Fax (612) 825-3075 4209 Garfield Avenue S. Minneapolis, MN 55409

Konig, Thia 41 Phone (800)234-7880 c/o Tony Stone Worldwide 6100 Wi lshire Boulevard, Suite 240 Los Angeles, CA 90048 Krantz, Jim 80 Fax(402)734-5326 5017 S. 24th Street Omaha, NE 68107 Kretschmer, Hugh 10 Phone(213)627-6554 1250 Long Beach Avenue, Studio 117 Los Angeles, CA 90021 Kuriya, Masatomo 128 Phone(212) 274-1588 108 Wooster Street, #6B New York, NY 10012

COMMUNICATION

ARTS

215

I DEX TO P HOTOGRAPHERS

Mahurin, Matt 33, 41, 59 Phone (212) 691-5115 666 Greenwich Street, #16 New York, NY 10014

Morgan, Jeff 4 Fax(212) 727-3046 27 W. 20th Street. #604 New York, NY 10011

Lanker, Brian 9, 28 Fax (503) 485-4011 1993 Kimberly Drive Eugene. OR 97405

Malaterre, Dominique 126 Fax(514)844-1805 c/o Tilt Inc. 231 W. St. Paul Street, 1st Floor Montreal. Quebec H2Y 2A2 Canada

Morris, Christopher 43 Fax(212)889-2052 c/o Black Star 116 E. 27th Street New York, NY 10016

Lanting, Frans 77 Fax(408)423-8324 1985 Smith Grade Santa Cruz, CA 95060

Malyszka, Michael 26 Phone (617)426-9111 90 South Street Boston, MA 02111

Lavine, Michael 10 Fax(212) 254-2944 2 Bleecker Street. #2 New York, NY 10012

Mason, Charles 145 Fax(212)889-2052 c/o Black Star 116 E. 27th Street New York, NY 10016

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Lammers, Bud 6 Fax (714) 546-4813 211 E. Columbine, Suite A Santa Ana, CA 92707

Leach, Allison 10 Fax(713)988-8115 7315 Ashcroft, Suite 108 Houston, TX 77081

McArthur, Peter 13, 30 Fax(213)467-1310 1117 Wilcox Place Los Angeles, CA 90038

Lee,Ka-Sing 62, 82 Fax (852) 521-3862 Ka-Sing Holly & Cameraworks Number 5, Ground Floor Prince Terrace, Mid-Level Hong Kong Levenson, Larry F. 80 Phone(816)361-6260 7236 Jarboe Street Kansas City, MO 64114

Melford, Michael 66, 75 Fax(914)666-3866 Petersville Farm Mt. Kisco, NY 10549

Levy, Tom 82 Phone(510)652-6633 5319 Dover Street Oakland, CA 94609 Lopez, S. Peter 118 Fax(213) 654-1270 8306 Wilshire Boulevard, #444 Beverly Hills, CA 90211

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Mulatero, Lewis 101 Fax(44) 71-249-0038 32A Newington Green London N16 9PU England

Ockenfels, Frank W. 3 139 Fax(212) 226-8944 c/o Outl ine 596 Broadway, 11th Floor New York, NY 10012 O'Ciair, Dennis 142 Fax(516) 598-0279 109B S. Ketcham Avenue Am ityvill e, NY 11701

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Orsman, Gill 123 Fax (44) 71-378-1867 The Tea Warehouse 1OA Lant Street London SE1 1QA England

Murphy, Peter 68 Phone (908) 730-9080 51 West Street P.O. Box 475 Annandale, NJ 08801

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Olson,Rosanne 109 Fax(206) 547-1986 5200 Latona Avenue NE Seattle , WA 98105

Murphy, Dennis 10 Fax(214) 748-0856 101 Howell Street Dallas, TX 75207

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Neleman, Hans 128 Fax(212)274-1758 77 Mercer Street New York, NY 10012 Niedorf, Steve 116 Fax(612)332-0047 700 Washington Avenue N., #304 Minneapolis, MN 55401 Nielsen, Ed 73 Phone (209)358-5232 2650 S. Bert Crane Road Atwater, CA 95301

Menzel, Peter 35 Fax (707) 255-4720 199 Kreuzer Lane Napa, CA 94559

Nikpay, Jila 130 Phone(612)379-4505 720 Washington Avenue SE, #213 Minneapolis, MN 55414

Meyerson, Arthur 145 Fax(713) 529-8525 2710 Bissonnet Houston, TX 77005

Nolton, Gary 19 Fax (503) 228-0857 107 NW 5th Avenue, Suite 214 Portland, OR 97209

Mizono, Robert 20 Fax(415)648-2163 650 Alabama Street, #301 San Francisco, CA 94110

Norberg, Marc 125 Fax (612) 340-9252 25 N. 4th Street, #403 Minneapolis, MN 55401

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Pavloff, Nick 98 Fax(510) 654-0557 P.O. Box 2339 San Francisco, CA 94126 Payne,John 123 Fax(312) 997-2434 2250 W. Grand Avenue Chicago, IL 60612 Peak, Robert 30 Phone(407)645-3252 1421 Lyndale Bou levard Maitland, FL 32751 Peterson, David 28 Fax(515) 284-8103 c/o Des Moines Register 715Locust Des Moines, lA 50309 Porcas, Russell 101 Fax (44) 71 -233-0340 No. 3 Vandon Passage Buck ingham Gate London SW1 England

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Magnusson, David 82 Fax(415) 621-6140 Pier 70, Noonan Building San Francisco, CA 94107

216

Meier, Raymond 36 Fax (212) 941-0659 532 Broadway New York, NY 10012 Meisel, Steven 49 Fax(212)353-8972 303 Park Avenue S., Room 409 New York, NY 10010

Levin, Andy 28 Phone (212) 675-5626 126 W. 25th Street, Apt. 4F New York, NY 10001

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Meeks, Raymond 118 Phone(617)643-6022 21 Pine Street Boston, MA 0217 4

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Rattin, Mark 19 Phone(212)445-2281 c/o Francesca Restrepo 666 Fifth Avenue New York, NY 10013

Richards, Mark 50 Fax(415)381-9408 61 Sunnyside Avenue Mill Valley, CA 94941

Shinn, Chris 94 Phone(713)526-2623 2411 Bartlett Houston, TX 77098

Stewart, Holly 112 Fax(415) 777-2997 457 Bryant Street San Francisco, CA 94107

van Overbeek, Will 46 Phone (512)454-1501 305 E. Sky View Austin, TX 78752

Ripling, Earl 73 Fax(212)727-2548 33 W. 17th Street New York, NY 10011

Siegel, Dave 126 Fax(602)340-8058 224 N. 5th Avenue Phoenix, AZ 85003

Stier, Kurt 123 Fax(508)456-6873 Box ·125 Harvard, MA 01451

Ritts, Herb 41 Fax(213) 850-8144 7927 Hillside Avenue Los Angeles, CA 90046

Simmons, Erik Leigh 123 Fax(617) 269-7255 60 K Street Boston, MA 02127

Stillings, Jamey 140 Fax(716)461-5536 1150 University Avenue, #3 Rochester, NY 14607

Vassiliev, Sergei 33 Phone(212) 522-4769 c/o Carrie Zimmerman Time 1271 Avenue of the Americas New York, NY 10020

Rostron, Philip 96 Fax(416) 596-8649 c/o Instil Productions 489 Wellington Street W. Toronto, Ontario M5V 1E9 Canada

Simons, Chip 68 Fax(505) 869-0944 1570 W. Bosque Loop Bosque Farms, NM 87068

Stoecklein, David R. 139 Fax(208)726-4792 P.O. Box 856 Ketchum, ID 83340

Smalley, Jason 80 Phone (44)02-57-260-419 3 Red Row, Heath Charnock Chorley, Lanes PR6 9EG England

Strode, Richard H. 130 Fax(503)234-4118 2136 SE Seventh Avenue Portland, OR 97214

Roundtree, Deborah 73 Fax (310) 394-4491 1316 3rd Street Promenade, Studio 3 Santa Mon ica, CA 90401 Rubin, Laurie 26 Fax(312)348-4743 1113 W. Armitage Street Chicago, IL 60614

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Schrager, Victor 102 Fax (212) 545-7167 9 E. 37th Street, 7th Floor New York, NY 10016 Schulman, Scott C. 130 Phone (310) 306-2191 4311 Lyceum Avenue Los Angeles, CA 90066 Sedlik, Jeff 68 Fax(213)626-8129 940 E. 2nd Street, Studio 8 Los Angeles, CA 90012 Seliger, Mark 45 Fax(212)941-9627 96 Grand Street, #3F New York, NY 10013 Sexton, John 107 Phone(408)659-3130 291 Los Agrinemsors Carmel Valley, CA 93924 Sherbell , Shephard 59 Phone(212)679-5454 c/o Saba 159 E. 30th Street New York, NY 10016

Smith, Richard Hamilton 96 Fax(612)645-8263 2242 University Avenue, #304 St. Paul, MN 55114 Smith, Rodney 91 Fax(914)359-8408 P.O. Box 48 Lawrence Lane, Snedens Landing Pa Iisa des, NY 10964 Smith, Ron Baxter 102 Fax(416)462-3042 11 Carlaw Avenue, Unit 4 Toronto, Ontario M4M 2R6 Canada Smolan, Rick 28 (415) 383-3388 515 Throckmorton Avenue Mill Valley, CA 94941 Sorokin, Lauren 62 Phone (212) 675-7148 236 W. 27th Street, 9th Floor New York, NY 10001 Stebbins, Jerry 133 Fax (612) 339-0811 420 N. Fifth Street, Suite 1070 Minneapolis, MN 55401

Swenarton, J. Dale 134 Fax(303)466-3065 11287 Ranch Place Denver, CO 80234

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Tai, Leong Ka 52 Fax(852)840-1593 9/F Hollywood Commercial House 3-5 Old Bailey Street Hong Kong Tardio, Robert 16 Fax (212) 807-8831 9 E. 19th Street, 9th Floor New York, NY 10003 Toma, Kenji 87 Phone (212) 219-1113 560 Broadway, #404 New York, NY 10012 Turner, Pete 140 Fax(516) 537-7019 Westwood Road, Box 203 Wainscott, NY 11975

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Ward, Les 9 Fax(313) 350-1019 21477 Bridge Street Suite C Southfield, Ml 48034 Watson, Albert 36, 66 Fax(212) 627-0348 777 Washington Street New York, NY 10014 Williams, Jimmy 14 Fax(919)832-2565 3801 Beryl Road Raleigh, NC 27607 Wirtz, MichaelS. 55 Fax(215)854-5193 c/o Philadelphia Inquirer Magazine 400 N. Broad Street Philadelphia , PA 19101

Editor's Note 0

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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.

0

VanderSchuit, Carl 125 Fax (619) 539-2081 751 Turquoise Street San Diego, CA 92109

COMMUNICATION

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217

INDEX TO ART DIRECTORS, DESIGN FIRMS, AGENCIES AND CLIENTS

A Agnone, John 25 Akagi Design 59 Alejandro. Carlos 102 Carlos Alejandro Photography 102 Alexander. Glass. Ingersoll, Inc. 101 Alfa Romeo of North America 78 American Airlines 41 American Health 73 American Photo 68 American Society of Magazine Publishers 23, 26, 30 American Way 41 AmSouth Bank 14 Anderson, Gail 33, 36 Anisdahi/Christensen 123 Arnesen. Anette 123 Artiaga, Anthony 111 Atlas, Citron. Haligman & Bedecarre 20 Avanti Press 75, 80 Avery, John 20

B BD&E 94 Bailey, Meredith Lea 9 Barry, Jennifer 28 Barta. Patrick 4 Bartholick, Robin 91 Beach Culture 59 Belpaire. Christian 126 Benson & Hedges 16 Berg, Audrey 49 Bergdorf Goodman 91 Bethea, Ray 140 Bishop, Debra 36. 41 Black. Bill 66 Black. Carol 146 Stephen Black Design, Inc. 114 The Boeing Co. 9 Bolt, Jody 25 The Book Design Co. 133 Bookbinder. Nina 109 Nina Bookbinder Design 109 Booth, Greg 116 Breining, Greg 68 218

PH 0 T 0 G R A PH Y

Breustedt. Christiana 35 Brock. Michael 30, 62 Michael Brock Design 30 Brooker. Brian 10 Brooks. Sharrie 112 Bull , John 133

c Cahan & Associates Design 82 Campbell Mithun Esty 16 Capitol Records 13 Caporale, Holly 62 Carillon Importers Ltd ., Absolut Vodka 20 Carson, David 59 David Carson Design 59 Castro. Alex 23 Castro Arts 23 Cathay Pacific Airways Ltd. 52, 62 Chambers Development Company, Inc. 94 Chang, Dorie 10 Cheney, Arch A. 84 Children's Defense Fund 139 Cho, Yee Ping 73 Yee Ping Cho Design 73 Chou. Peter 118 Christenson, Susan 68 Chung, Percy 52, 62 Clark. Lon 121 Lon Clark Photography 121 Clement, Michele 20 Robert Clergerie 87 The Coca-Cola Company 96 Cohen, Mark 10 Cole & Weber 9 Collector. Stephen 121 Stephen Collector Photographer 121 Collett Dickenson Pearce 16 Collins, Chris 96 Collins Publishers San Francisco 28 Communique 123 Corning Corporate Design 87 Corning Incorporated 87 Corsair Studio 102 Crawford, David 14

A N N U A L

I 9 9 2

D Danzig, Mark 73 Davidson, Cameron 116 Dee, Stuart 105 DeWitt Anthony, Inc. 14 DeWitt, Dann 14 De Young Museum 59 De Zitter, Harry 116 De Zitter Photography 116 Dilorenzo, Lou 66 Doten. Elizabeth 16 Doyle Advertising & Design Group 6, 13,118 Doyle. John 6, 13. 118 Doyle, Stephen 30 Drenttel Doyle Partners 30 Duckworth, Nancy 50, 66 Dunbar. Randy 14 The Dunham Company 6, 13 Dunn. Mary 59

E Earl Office 82 Eastman Kodak Company 23 Eastside Week 36 Eisert, Sandra 133 Emil, Carl 123 Emphasis (Hong Kong) Ltd. 52, 62 En Route 64 Entertainment Weekly 59 Eton Properties Ltd . 82 Evens. Larry 41

F Fagien. Lori 68 Fagien. Michael 68 Fairchild Corporation 89, 96 Fairchild Publications 49 Fallon McElligott 139 Feldmann, Sara 62 Ferri. Mark 105 Finishing Touches 10 Fiorentino, Helen 107 Fiorentino Leibe Associates 107 Fiorentino. Lou 107 Fly Productions 26

Ford,Troy 116 Fox, Bert 55 Franklin, Charly 87 Freedman. Dennis 49 Froelich. Janet 36 Fronk. Mark 49

G GSD&M 10. 14 Gagnon, Lucie 126 Garb. Monica 4 Gay and Lesbian Media Coalition 14 Geo 35, 77 Gerber. Kurt 14 Kurt Gerber Films Inc. 14 Gilmore-Barnes. Catherine 45 Ginza Diana 87 Glatved. Agnethe 30 Glaviano. Gregg 89, 96 Goard. Catherine 41 Goto. Audrey 64 Grafik Communications, Ltd .

89, 96 Graphein Design 121 Grapheme 126 Greer Lord 64 Griffin. David 70 Gross Townsend Frank Hoffman 4

H Haggett, Kip 123 Hahn. Vernon 6 Haligman. Matt 20 Ha II , Stephen 23 Hanerhan. Tim 16 Hanger. Mark 121 Harper Collins 30 Hazeltine National Golf Course 96 Health 68 Helfand, Jessica 55 Henderson. Carol 139 Hewson Berlin Associates. Inc. 105 Hewson. Jane M. 105 Hill, Holliday 20

Hill. Holliday, Connors.

Cosmopulos 14 Hoffman. Paul 109 Hogland, Rudolph C. 59. 64.

66 Holmes & Associates 118 Holmes. Russell 118 Holt, David 4 Hope, Hillary 6 Horne. Heather 139 Houde. Nathalie 123 Huffy Corporation 94 Hurren. David 101 Hutch ings, Ian 101

I llit. Mirko

L

N

R

L.A. Style 30. 62 Lad d. Brent 10 Lau. Wilky 9 Lawner Reingold Britton & Partners 16 Leonard. Pierre 126 Levenson. Larry F. 80 Lexus 6 Lightscapes 49 Los Angeles Times Magazine 50, 66 Loupe 49

Nappi. Susan 142 National Basketball Association 39 National Geographic 25. 70 New Times 64 New York Department of Education 14 The New York Times Magazine 36 Niedorf Photography 116 Niedorf. Steve 116 Nielsen. Ed 73 Nike Design 19 Nike Germany 19 Nike. Inc. 4. 9 Nissan Motor Corp ., lnfiniti Div. 20 Marc Norberg Studio 125

RBMM/The Richards Group 116 Raymond. Tinka 139 Redmond. Barbara 116 Barbara Redmond Design 116 Reebok 14 Resort at Squaw Creek 20 Restrepo, Francesca 19 Richards. Peter 9 Richards. Todd 102 Riddle. Todd 14 Rigsby Design 94, 116 Rigsby, Lana 94, 116 Rocky Mountain News 59 Rodriguez. Kirby 49 Rolling Stone 33. 36, 41. 45.

49. 66. 70 Rose. Nigel 16 Rose. Robin 111 Routhier. Chuck 82 Rucker Fuller Co. 87 Rumriii-Hoyt 23. 140 Ryder. Julian 9

M 33

J Jazziz 68 Johnson. Chris 30 Johnson. Duane 96 Johnson. Jennifer 89, 96 Johnston. Keith 93 Jost. Richard 52. 62

K KBA-Pianeta Inc. 107 Kan Tai-keung Design & Associates Ltd . 82 Kapahi. Anil 118 Karnish. Linda 80 Kawai. Kyoji 87 Kaye, Russell 101 Keefer. Craig 87 Kelsh Marr Studios 23. 26.

30 Kendrick. Robb 89 Kennedy, Tom 70 Kenyon Consortium 96 Kinney Shoes 16 Kirpich. Judy 89, 96 Klein. Kim 64 Kratochvi I. Laurie 33. 36. 41.

45. 49. 66.70

MFA Creative Services 96 Macenka. Mary 91 Manzo. Richard 96 Marr. Bill 23, 26. 30 Marshall. Alisann 41 Martex. WestPoint Pepperell.

Inc. 93 Martin. Maryetta 10 Martin/Maryetta Inc. 10 Martinez. Kristina 94 Mayeur. Gabrielle 20 McAnulty, Jessie 82 McCartney, Jean 93 McGough, Gregg 14 Mclean. Bett 36 McQuiston. Rick 4 Meeks. Raymond 118 Meraz. Tim 78 Tim Meraz Design 78 Merck Sharp & Dohme 4 Minnesota Volunteer.

Department of Natural Resources 68 Mitchell. Dick 116 Montgomery, Nancy 73 Morgan. Jeff 4 Morgan. Paul 123 Marla Design 112 Marla. Jennifer 112 Mulatero. Lewis 101 Mullarkey, Karen 39. 61 Mullins. Amy 105 Murrell, Fred 87 Muse Cordero Chen. Inc. 9

0 Olson. Rosanne 109 Operation Rainbow 89 Outside 41

s

p The Pacific Vision Foundation 82 Page. Dave 126 Palecek. Jane 68 Palm Press 73 Partners and Simons 116 Pavloff. Nick 98 Pedersen. Timothy 68 Philadelphia Inquirer Magazine 55 Pickering, Pennie 91 Pitts. George 59 Polaroid Corp. 14 Porcas. Russell 101 Prather. Pat 41 Probst. Paul 77 Project Open Hand 82

Q............ .

Quackenbush. Michael

75. 80

Sachnowitz & Co. 10 Sadhappy 4 University of St. Thomas 10 Schneider. Sandra 36 Schonauer. David 68 Schrager. Victor 102 Seattle Symphony 91 Sedlik. Jeff 68 Serv-Tech 94 Shay, Shea. Hseih & Skjei 125 Siegel Photographic 126 Simons.Tom 116 Skjei. Michael 125 SlaughterHanson 14 Smith, Sue 41 The Society of Graphic Designers of Canada 102 Sony Music 19 Southam Business Publications 41 Southwest Airlines 14 Spindletop Records 10

C 0 M M U N I C A T I 0 N

A R T S

219

INDEX TO I

DIVIDUALS, FIRMS AND CLI ENTS

D ISCOUNT P RICES FOR ADDITIONAL CoPIES OF THE 1992

P HOTOGRAPHY A NNUAL If you would like copies for others in your firm , or gifts for clients, friends or members of your family who aren't quite sure what you do, here's a price schedule for additional Annuals.

These prices only apply to the 1992 Illustration Annual and the 1992 Photography Annual.

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Sports Illustrated 39, 61 Steele , Tommy 13 Stefanski, Ted 75 Stephenson , Michele 43 , 59, 64, 66 Stevens, Robert 43 Holly Stewart Photography 112 Stier, Kurt 123 Stoecklein, David R. 139 Stout, D.J. 46, 57 Sullivan , Kate 73

T O.C. Tanner Co. 84 Taylor, Eleanor 43 Teleflora, Flowers 73 Texaco, Havoline Motor Oil 16 Texas Monthly 46, 57 Texas Tourism 10 Thackberry, Lisa 50 Thomasson-Grant 23 Thunen, Michaela 59 Time 59, 64, 66 Time, International Edition 33 Time/Ti me International 43 Toyota Motor Sales Design & Graphics 6 Travel Holiday 66 2 (Two) 101

u

Visual Marketing Associates, Inc. 94 Vopni, Jon 96 Vopni & Parsons Des ign Limited 96

w Walker, Stephen 13 Warner Bros . 9 Washington , George 39 Wasserman, Diane 123 Weaver, Martha 64 Weber Temple Magruder 123 Weflen , Kathleen 68 Weithman , Jeff 19 Weldon Owen , Inc. 133 Whittle Communications 36 Wieden & Kennedy 4 Williams, J.P. 91 Winchester, Bill 16 Wolfman , Claire 89, 96 Woods Lithographics 126 Woodward, Fred 33, 36, 41, 45, 49, 66, 70

y Yick, Clement 82 Young Fashions 62

z Zoo Entertainment

10

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Union Pacific Railroad 80 United States Golf Association 96 United States Open Golf Tournament 96

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P H 0 T 0 G R A P H Y

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v Vanderbyl Design 87 Vanderbyl, Michael 87 VanderSchuit Studio Inc. 125 Via Bo, Rink 87 Vigon, Larry 10 Viking Studio Books, Penguin Group 26

Ed itor's Not e

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.

CA BACKISSUES Some of the back issues are still available. They're all fairly recent because time has always managed to deplete our inventory.

There are several hundred extra copies of some of the issues in this recent period ( 1985 on) , a hundred or less of others, and none of a few. That's why we must reserve the right to refund your money on any that have sold out on a first-come, first-served basis. All orders must be accompanied with payment.

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NOV 1985

$21

MAY/JUN 1987

21

John Van Dyke; GSD&M ; Kathryn Klei nman; Alan Cober Sends His Best; Esprit Bed & Bath ; Color Predi ctions; Michael Mabry; San Francisco Design Di scuss ion; Ardeshir Mohasses

CA-85 De ign Annual

DEC 1985 CA-85 Adverti ing Annual

JAN/FEB 1986

$7

Michael Peters; Seymour Chwast/ Left-Handed De igner; Howard Rainer; Leonard Monahan Saabye; Hinsche + Associates; Lloyd Ziff; Poltroon Press Postcards; AlGA Conference; Index to Volume 27

MAR/APR 1986

$7

$ 14

$7

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

MAR/APR 1987

$7

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

MAY/JUN 1989

$7

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

JUL 1989

AUG 1989

SEP/OCT 1989

MAY/JUN 1988

$ 14

NOV 1989

DEC 1989

MAR/APR 1990

$7

$7

lllu tration Annual

AUG 1990

AUG 1988

$ 14

Photography Annual

$7

$7

Craig Frazier; Bill Vuk anovich; Victor Papanek; Ray mond Meier; Bartle Bogel Hegarty ; Salary Survey Results; Color Predictions; Ellis Island Immigration Museum; Exhibit; Index to Volume 32

MAR/APR 1991

$7

Soviet Graphic Design ; Bill Westbrook; C .F. Payne ; Graphic Demographics; Michele Clement; Vaughn!Wedeen Creative; Creating an Eco-Safe Office; American Package Design ; Exhibit

MAY/JUN 1991

$7

Museum Design Competition; Mandelbaum Mooney Ashley ; James Marsh; Clients and Designers; Johns + Gorman Films; Rick Rusing ; Emery Vincent Associates; Pricing & Ethical Guidelines; Exhibit

JUL 1991

AUG 1991

$ 14

$ 14

$2 1

$7

Frankfurt Gips Balkind; Annual reports ; James Stagg; Clients and Designers; Office Ergonomics; Brian Lanker; Cri spin & Porter Adverti sing ; Alan Chan Design Company ; Exhibit

$21

NOV 1991 $7

$7

$7

$ 14

$ 14

$7

Harry De Zitter; Mercedes McDonald ; Clarity Coverdale Rueff; Aspen; James McMullan 's Mural for Lincoln Center; Exhibit; Recycled Paper; Vignelli Associates

Sold Out

CA-91 Design Annual

DEC 1991

Sold Out

CA-91 Advertising Annual

JAN/FEB 1992

Sold Out

Society for Environmental Graphic Design; Leagas/Delaney; John Rush ; Tolleson Design ; Revolutionary Posters of Central and Eastern Europe; Sheila Metzner; AlGA Conference IV ; Exhibit; Index to Volume 33

MAR/APR 1992

$7

Concrete Design Communications; Mullen Advertising; Cathleen Toelke; Emigre; Bruce Hands; SlaughterHanson; The Changing Demographics of Design ; Co lor Predictions; The City of Phoenix Logo Competition; Exhibit

MAY/JUN 1992

Sold Out

Pinkhau s; Tom Curry; Clients and Designers; Stein Robaire Helm; Bi ll Thorburn at Dayton 's Hudson's and Marshall Field 's; Jeffery ewbury; Great Ideas on Limited Budgets; Recycled Paper; Exhibit

JUL 1992 SEP/OCT 1990

Photography Annual

JAN/FEB 1991

SEP/OCT 1991

Tim Girvin ; Pagano, Schenck & Kay ; Aaron Jones; Wine Labels Get Bolder; Terrelonge Design; "Design-Speak Vs. Communicating for Success"; Richard Mantel ; TED 2; deGraf/Wahrman ; Exhibit

Illustration Annual

$2 1

Photography Annual

Michael Brock; Rob Day ; Great Moments in Design Tool s; The Ball WCRS Partnership ; Geof Kern ; Madsen & Kuester; Chi at/Day : The Book; Exhibit; Farewell to the Opulent Eighties

JUL 1990

DEC 1990

Illustration Annual

CA-89 Design Annual

$ 14

Tony Schwartz ; Julie Lieberman ; Franc;:ois Robert; NFL Properti es; Neville Brody; Exhibit; Creative Greeting Cards ; Herbert Bayer

$ 14

Lewi s Moberl y; William Coupon ; Drenttel Doyle Partners; Anthony Ru sso; McKinney & Silver; Michael Cronan ; Han s Rudi Erdt; Exhibit

MAY/JUN 1990

Taylor & Browning; Thomas Blackshear; Livingston & Company ; Omni Magazine; Sex in Advertising; Michael Go ing; Exhibit; Heather Cooper's Carnaval Perpetuel ; Nine Ways to Improve an Ad

SEP/OCT 1988

$7

Ammirati & Puri s; Computers in the Studio; Scott Morgan; Richardson or Ri chardson; Exhibit; Yesterday inCA

$7

MAR/APR 1988

JUL 1988

$7

Tom Hughes; Jim Arndt; Meli ssa Grimes; Goodby, Berlin & Silverstei n; Exhibit; Design in Chicago; Jeff Barnes; Kym Abrams; Rick Valicenti ; Robert Petrick ; Steven Liska; Japanese Design Adventure

International Posters; Deutsch; Joyce Kitchell ; Tim Bieber; Skolos, Wedell + Raynor; AlGA Conference III ; Earthquake; Exhibit; Index to Volume 31

$7

$2 1

$7

Edelstein Associates; Myron ; Joy Radio; Muller + Company ; Pol aroid Poster Collection ; Matthew Carter; John Hersey; The Partners; Exhibit; Index to Volume 30

JAN/FEB 1990

Smart Yellow Pages; William Neill ; Art Chantry; "Design Jobs: Fact and Fiction"; Kunio Hag io ; Heller Breene; Gene Hoffman ; AlGA Conference II; Index to Volume 29

$2 1

JAN/FEB 1989

MAR/APR 1989

$2 1

CA-90 Adverti sing Annual

$21

JAN/FEB 1988

CA-86 Advertising Annual

JAN/FEB 1987

DEC 1987

$2 1

CA-88 Advertising Annual

CA-89 Adverti sing Annual

$ 14

CA-86 Design Annual

DEC 1986

$2 1

CA-87 Advertising Annual

Statue of Liberty Exhibit; Dougla Smith; Colos al Pi cture ; Louise FiJi; James Seba tian ; Frankenberry, Laughlin & Constable; The American Advertising Museum ; Next

NOV 1986

$7

CSU Pos ter Co mpetition ; United Way Campaign; Carbone Smolan Associates; William Cone; Willie Moy; Armando Testa; Aspen; Creative Greeting Cards; Roger Bl ack on Staying Alive; Ed McCabe and Bac kwater Advertising

NOV 1987

DEC 1988

NOV 1990 CA-90 Design Annual

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CA-87 Design Annual

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SEP/OCT 1986

$ 14

SEP/OCT 1987 $7

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Illustration Annual

Photography Annual

Illustration An nual

AU G 1986

$ 14

AUG 1987

Koppel & Scher; Skip Liepke; WPA Posters; Ru sty Kay; Jean Mo s; The College Marketing Game

JUL 1986

JUL 1987 Illustration Annual

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MAY/JUN 1986

$7

NOV 1988 CA-88 Des ign Annual

Illustration Annual

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