janfeb1984

COMMUNICATION ARTS MAGAZINE Editor and designer: Richard Coyne

VOL. 25, NO. 7, JANUARY/FEBRUARY 1984

Executive editor: Jean A. Coyne Associate editor: Dugald Stermer

Call for entries, Photography Annual ....... .

9

Editor's column..........................

16

Circulation manager: Nancy Gray

Tad Crawford . . . . . . . . . . . . . . . . . . . . . . . . . . .

22

Subscription: Toni Black, Georgia J urickovich, Betty Willis

Designing the L.A. Olympics . . . . . . . . . . . . . . .

28

Traffic manager: Scott Perry

Gary Kelley . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

44

Johnson & Simpson

54

Annals of design (2)

66

Lance Hidy . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

76

Call for entries, Illustration Annual. . . . . . . . . .

99

Publisher: Michael Hammer Production manager: Kurt Klein

Contributors: Nathan Felde, Byron Ferris, Mark Fulton, Larry Klein, Marty Neumeier, Mill Roseman, Jo Yanow

Communication Arts 410 Sherman Avenue P. 0. Box 10300 Palo Alto, California 94303 Phone (415) 326-6040

Barbara Gordon . . . . . . . . . . . . . . . . . . . . . . . . . 106 Materials, available literature ............... 109 Book reviews . . . . . . . . . . . . . . . . . . . . . . . . . . . . 114 Clubs, Conferences, Seminars .............. 116 Index to Volume 25 . . . . . . . . . . . . . . . . . . . . . . . 117

Communication Arts Magazine (ISSN 0010-3519) is published eight times a year by Coyne & Blanchard, Inc., 410 Sherman Avenue , Palo Alto, California.

Copyright 1984 by Coyne & Blanchard, Inc. Second class postage paid at Palo Alto, California and additional offices.

Subscription rates: U.S.: one year-$40; two years- $76.

Canada: one year-$42 (U .S.); two years-$80.

Other: one year-$50 (U .S.); two years-$96.

Single issues: $5 except Illustration Annual (July) at $10, Photography Annual (August) at $10, Design Annual (November) at $12 and Advertising Annual (December) at $12.

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

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

Cover illustration by Gary Kelley

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CALL FOR ENTRIES 1984 PHOTOGRAPHY ANNUAL ANNUAL PHOTOGRAPHY COMPETITION SPONSORED

BY COMMUNICATION ARTS MAGAZINE

Photography that was commissioned for advertising, design, editorial or any other area of communication arts between March 22, 1983 and March 21, 1984 is eligible to be selected for the 1984 Photography Annual.

A distinguished, nationally representative jury of designers and art directors will select the 1984 Photography Annual.

All of the winning entries will be handsomely reproduced and everything that is in color will be shown in color in the Annual, the August issue of Communication Arts.

58,000 copies of the Photography Annual will be in circulation, assuring important exposure to the winners.

As a service to art directors, designers and photography buyers, the index will carry addresses of the photographers.

DEADLINE FOR ENTRIES Is MARCH 21st, 1984 Communication Arts also sponsors another annual competition, CA-84, where the entries are judged on the overall concept and execution in all areas of advertising and design. The closing date for CA-84 entries is July 1st.

Entry forms will appear in the magazine or you can send us your name and address to receive the forms in May, 1984.

Preparation of entries Entries can be submitted as unmounted printed samples, e.g. ad tear sheets, magazine pages or spreads, brochures, annual reports, books, posters, etc., or as transparencies, photographs or paper mounted 35mm slides. No glass. If a single unit entry has more than one photograph indicate with a dot or some other mark which specific single photograph is to be judged. If this indication isn't made, the entry will be disqualified. Campaigns or series are limited to a maximum of five. If the piece has more than five photographs indicate which five, or less, photographs are to be judged. If this isn't indicated the entry will be disqualified. Please do· not send any original slides or transparencies. CA cannot be responsible for damage or loss of any entry. Submission of an entry acknowledges the right of Communication Arts to use it for exhibition and publication in the 1984 Photography Annual.

Form A Form A and the entry fee must accompany your package of entries.

If more than one package is mailed, indicate on the outside of packages." wrapping: "Package No.

FormB This form (or facsimile of it) must be taped to the back of each entry. If the entry is a campaign, a Form B must be taped to each piece. If a piece is to be entered as both a single entry and part of a campaign, a duplicate piece with its own Form B and entry fee must be submitted.

Advertising (ad, poster, record jacket, packaging, etc.) ($8) Advertising series-five or less ($16) B/1

Book (cover, jacket, interior) ($8)

B/2

Book series-five or less ($16)

E/1

Editorial (consumer or trade magazine, newspaper) ($8)

E/2

Editorial series-five or less ($16)

F/l

Work produced for sale (poster, print, note paper, greeting card, etc.) ($8) , ' •I

F/2

For sale series-five or less ($16)

I/1

Institutional (companyI association publication, annual report, facilities booklet, catalog, etc.) ($8)

......

Institutional series-five or less ($16)

•

I/2

Acknowledgement of receipt of your entries We will let you know that your entry was received if you include a stamped, self-addressed envelope or postcard.

Entry fees Single units ... $8.00 each. Series ... $16.00 each series.

Notification of acceptance Only accepted entries will be notified on or before May 10.

Complete credits and any additional material necessary for reproduction will be requested at that time. No additional fees are required.

Awards Award of Excellence certificates for the photographer, client and art director of each accepted photograph will be mailed in September, 1984.

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S/1

Self-promotion (printed pieces for artists, studios, agencies, printers, paper companies, etc.) ($8)

)

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S/2

Self-promotion series-five or less ($16)

"·

U/1

Unpublished ($8)

U/2

Series of unpublished-five or less ($16)

Return of entries An entry will be returned if it is accompanied with an $8.00 return fee. If more than one entry is to be returned, send $4.00 for each additional piece. These will be sent by United Parcel and will not be insured.

.....

;

Eligibility Photography produced or published between March 22, 1983 and March 21, 1984 is eligible. Entries may originate from any country. Explanation of the function in English is helpful to the judges.

' I.

Mail entries to: The Photography Annual Communication Arts P. 0. Box 10300 Palo Alto, CA 94303 or Air Express entries to: The Photography Annual Communication Arts 410 Sherman Avenue Palo Alto, CA 94306

1

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The entry form, right, and the fee must be included in your package of entries. If more than one package is mailed, mark on the outside wrapping: "Package No. of packages."

A

This form and fees must accompany entries submitted to Photography-84

P.O. Box 10300 • 410 Sherman Avenue• Palo Alto, CA 94303

PHONE

NAME

Tape this form (or facsimile) to the back of each piece submitted to Photography-84 (no paper clips).

For series onl y

CFOR

COMPANY

CA USE=1

ADDRESS

Th is is No. _ _ of _ _ .

_ _ Single Entries

. $ 8 Each

_ _ Series

.. $16Each

$. _ __

$ 8

$. _ __

. . $ 4 Each

$_ __

_

_

Initial Return Fee .

_ _ _ Additional Return Fees

IFOR

B

$. _ __

Total$ _ __ CA U S E _ ]

LDATE PROCESSED

Tape this form (or facsimile) to the back of each piece submitted to Photography-84 (no paper clips).

ZIP

STATE

CITY

D

Self-addressed , stamped envelope included for acknowledgment.

Tape this form (or facsimile) to the back of each piece submitted to Photography-84 (no paper clips).

For series only

For series only

This is No. _ _ of _ _ .

This is No. _ _ of _ _ .

CFOR

CA USE=1

Photographer - - - - - - - - - - - - - - - - - - ------,.--- -

Art director - - - - - - - - - - - - - -- - - --

-

--

Client - - - - - - - - - - - - - - - - - - - - - - - Explanat ion of function :

Explanation of function :

''

Tape this form (or facsimile) to the back of each piece submitted to Photography-84 (no paper clips).

For series only This is No . _ _ of _ _ .

c

B

Tape this form (or facsimile) to the back of each piece submitted to Photography-84 (no paper clips).

FOR CA USE = 1

For series only This is No. _ _ of _ _ .

Photographer - - - - - - - - - - - - - - - - - - - - - -

Art director - - - - - - - - - - - - - - - - - - - - - -

Client - - - - - - - - - - - - - - - - - - - - - - - - Explanation of fun cti on:

Explanation of function :

COMMUNICATION ARTS

P. 0. Box 10300 410 Sherman Avenue Palo Alto, CA 94303

Photograph copyright © 1983 by Art Kane

Art Kane-1984 Mohawk Graphics Collection

~h~~raphy~.

Our "Graphics Collection" at Mohawk Paper Mills is expanding quantitatively, of course. With the addition of Art Kane's photography it retains its qualitative integrity, too.

The stunning fashion footwear photo you saw on the previous page represents a sort of "homecoming" for the peripatetic photographer. Kane's career has been quite a trip.

Overexposed to a bad camera and darkroom chemicals as a youth in the East Bronx, Kane opted for illustration. His first semester at Cooper Union School of Art in New York failed to produce the inspiration of a Wyeth or Rockwell. But fate called him into World War 11, where he matured under fire in France . And his return to Cooper Union saw him graduate in 1950 with straight A's. (Art has designated his alma mater as recipient of the Mohawk Paper Mills scholarship grant in his name.) As a Cooper Union student, Kane did part-time work in Esquire's art department, where he was re-exposed to the camera and began dabbling in

Lithographed on Blue-White Navajo Cover, 65 lb.

His academic brilliance was soon reflected in his work as Art Di rector at Seventeen and later at the Irving Serwer Agency, an outstanding fashion advertising house in the early 50's. During this time photography superseded illustration as Kane's primary discipline, and he emerged as a top fashion photographer. But, Art's inituitive and technically brilliant use of color and design created demand elsewhere . Thus, he applied his sense of concentrated wonder to dynamic portraiture, cultural interpretation, dramatic landscapes, persuasive social commentary ... in all things the consummate story teller. Kane's images aren't simple rec-

ords of what is, but emotional interpretations of what might be.

Art Kane's technical and intellectual brilliance have earned him a long litany of praise and honor, including ':A.SMP Photographer of the Year"; 13 Gold Medals and 28 Awards of Distinctive Merit from the N. Y. Art Directors Club; similar recognition from clubs in San Francisco, Philadelphia, Chicago, Detroit and New Jersey; a variety of other national and international awards; and the hig1h honor of being included in the permanent collection of the Museum of Modern Art, among other museums and galleries across America.

Art Kane is truly a master of contemporary photography.

To the three books published of Kane's collected works, Mohawk is adding a limited edition portfolio .

Printed on Navajo Cover, the 11" x 15" prints in this portfolio make a marvelous sampler of the Kane brilliance in modern photography. Individual portfolios are available on letterhead request. In it you'll see how velvet smooth Navajo Cover provides a crisp, uniform surface to carry the dynamic Kane images. And

you'll note how the various whites of Navajo Cover make Kane's colors and sense of design snap off the sheet. Navajo's superior printing qualities have made it the leading uncoated cover stock in America. When you see how well it carries Art Kane 's work, you'll agree that it is made by masters of contemporary papermaking . Mohawk Paper Mills , home of the "Graphics Collection. "

Mohawk Paper Mills, Inc ., Cohoes , NY 12047

RICK GAYLE STIJDIO 3464 WEST EARLL DRIVE SUITED

PHOENIX, ARIZONA 85017

(602) 269-7707 15

EDITO~S COLUMN We usually are not involved in investigative journalism.

Being a bimonthly professional journal, we're not in a position to be a news magazine, but the design activities for the 1984 Olympic Games was an intriguing subject.

asked Larry about the meeting. He told me that Usher didn't raise any new points or deny that the problems existed. Asked how he felt about Usher, Larry told me that he seemed like a nice guy.

The public press, unfortunately, has little awareness and minimal interest in design. It only becomes news after the fact, and if it doesn't work. I recall the coverage in the press and on TV concerning the lack of information and signage at the Winter Games in Lake Placid. The resultant chaos got so much attention that it detracted from what was happening in Olympic events-the feats of the USA hockey team being an exception. No anticipation of these problems ever appeared in the press.

Two weeks later, Larry notified us that he had accepted the post of Director of Design for the LAOOC.

It hasn't for the Los Angeles Olympics either. The articles in Time and the other media have been mostly laudatory for the unique low-budget, private sponsorship plan conceived by the Los Angeles Olympic Organizing Committee. And well they should because it is a significant and probably necessary departure from the huge expenditures and resulting deficits for governmental bodies hosting past Olympiads.

No concern has been expressed about the Committee's rudimentary understanding and low estimation of the necessity of good design and functional communication.

The "Star-in-Motion" trademark is very good, and it is omnipresent on the TV screen and in print as the various sponsors try to maximize the value of their investment.

This can be comforting, giving the feeling that the design situation is in hand. It isn't. A trademark can be a unifying element but it does not solve problems. Robert Miles Runyan & Associates, the firm that designed the mark and won a competition (reported in this magazine in 1980), did not tum out to be the guiding hand of the Olympics design as I and Runyan and nearly everyone else expected. No one has been the guiding hand. The Committee did appoint a Director of Design, late in the game, but Schwartzman was gone nine months later.

Jean and I were discussing this whole Olympic design subject with Larry Klein about four or five months ago and made a decision that we should do an article. It meant delaying a project that Larry was doing for us, but we felt it was worthwhile to sponsor his research and writing of the article. With his background in both signage and exhibition design he was one of the best choices that we could make for the assignment.

We saw a rough draft of the article early in November and knew we had something. Larry still had some points to check out and as yet had not been able to arrange an appointment with Harry Usher, Executive Vice President and General Manager of the Committee. He did see Usher on the Friday before Thanksgiving and a week later, when he turned over the finished manuscript, I 16

Communication Arts January I February 1984

We were surprised to hear the news. That immediately wiped out the original title of the article, "Who's on First?" We now know who's on first.

Larry told us the Committee understood that this would have no effect on the article, that it would still run. Also, after several negotiating sessions, they had agreed to all of his stipulations, primarily in matters of authority. In essence, no project would be authorized or paid for unless it had first been cleared by the Director of Design.

He would be on a part-time basis until the first of the year so he would be able to finish the book project for us.

I wish him luck, and he's going to need it. Los Angeles is not Lake Placid. Handwritten signs won't buy much there. It's a tough job with probably over five million dollars worth of design to be completed in the short time remaining. Larry says he intends to allocate work to a number of design firms in Los Angeles, including James Robie, but even with the staff they've given him that's a lot of work to coordinate. Despite the directives from on high, the tougher problems might be in controlling the internal departments of the Committee that have been used to making their own decisions.

As I stated earlier, Larry has the right background to handle the job. He's also had over two months of research to learn something about what the problems are.

He can be tough. Ten years ago when he joined Chicago's Field Museum as chairman of its internal design department, his reorganization resulted in replacing half of the staff. They referred to him then as "Ghengis Klein,'' a nickname that may reappear in Los Angeles. For his sake, and for the Olympics, I hope he does well.

D

Gary Kelley's cover illustration of the polar bears was created for Mutual of Omaha's 1981 Wild Kingdom Calendar. Mick Ascher! was the art director. The art is 14Y2 x 14Y2 and the medium is pastel.

D

Our next issue is Volume 26, Number 1, and will be our special 25th anniversary issue.

From all of us at CA, best wishes for an interesting and prosperous new year and our thanks for the support you have given us over the past twenty-five years.

-R.S.C.

Good Business·

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Write for our catalog of commerce and business photography, or ask for one on scenics,

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people, sports, technology and many other subjects.

Better still, call us for a selection of photographs on any subject for your next project It's good business.

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Quality PRODUCTS FOR GRAPHIC COMMUNI C ATI ON S

Tad Crawford

ARTISTS' RIGHTS LEGISLATION On January.I, 1984 a landmark law benefitting artists will take effect in New York State. Sponsored by Assembly Majority Leader Richard Gottfried and known as the "Artists' Authorship Rights Act," this law will entitle artists to name credit when their work is displayed or reproduced and protect artists against alterations or mutilations of their work. Working closely together, the Assembly's Committee on Tourism, Arts and Sports Development, the Graphic Artists Guild and the American Society of Magazine Photographers brought about this law's passage as well as that of the Fair Practices Act which took effect on September 9, 1983.

Reproductions Protected In 1980 California passed a law similar to the Authorship Rights Act. The California law protected original art and specifically excluded from protection any work prepared under contract for commercial use by its purchaser. As the main author of the New York bill, I sought to broaden the scope of the protection to include reproductions of art, photography and design, even if these reproductions were prepared under a contract for commercial use. After much lobbying and numerous revisions, the New York law protects "any original work of visual or graphic art of any medium" -including reproductions of such art. However, the law does not protect works prepared under contract for advertising or trade use. Thus, the art or photography for a point-of-purchase display or product packaging would not be protected. Art prepared for magazines, books and other public interest uses would be covered.

Nature of the Protection No one-other than the artist or a person acting with the artist's permission-may publish or display an original work or a reproduction in an altered or defaced form if damage to the artist's reputation is reasonably likely to occur. If a violation takes place, the artist has the right to have his or her name removed from the work. If a work is published without the artist's name, the artist has the right to insist that his or her name accompany the work.

By protecting the reputation of the artists, the law protects the integrity of the art itself. Cropping for publication will undoubtedly become an issue. Is the cropping done in such a way that damage to the artist's reputation is reasonably likely to result? This test is flexible, so that unobjectionable cropping can continue. However, if a user fears that cropping or other alteration might damage the artist's reputation, it would be best to obtain permission from the artist for the form of the image to be disseminated. Other changes in the © Tad Crawford 1984

22

Communication Arts January I February 1984

art-such as additions or deletions to the image-may risk violating the law and require the precaution of obtaining the artist's consent.

The law's name credit provisions would affect the result of the famous Esquire v. Vargas case. The illustrator Alberto Vargas worked under contract for Esquire Magazine in the mid-1940s as he painted his series known as Varga Girls.

After a contractual dispute, Esquire stopped using Vargas and changed the series title for his art to Esquire Girls. Since Vargas received no name credit, he sued to have his name appear with the published work. The courts refused to do this, saying he should have negotiated for his right to name credit in his contract. Under the newly enacted law in New York, Vargas would have had a much better chance to win his case. The law does not appear to permit a waiver by the artist of the right to claim or disclaim authorship credit, since it states, " ... the artist shall retain at all times the right to claim authorship or, for just and valid reasons, to disclaim authorship of his or her work of fine art."

Limitations A limitation in the law provides that, "a change that is an ordinary result of the medium of reproduction does not by itself create a violation ..." For example, a reproduction of a painting in a magazine will not be identical to the painting, but the law will not be violated if the alterations are those that ordinarily accompany such a change of medium. At what point changes are no longer "ordinary" will have to be decided on a case-by-case basis.

The law does not apply unless a work is "knowingly displayed in a place accessible to the public, published or reproduced in this state." The work must be made public before a violation occurs. A painting defaced in a private home or a mechanical with an altered image for reproduction are not violations until the work reaches the public. Also, a person who does not know an image has been altered will not be liable for making it public, since the violation would not have been done "knowingly."

The law applies to any work published or displayed in New York. However, the true impact of the law will be national.

Since most published works eventually are sold in New York, the law will undoubtedly have an impact on publishers in other states. Compliance with the law will be a necessity for publishers who plan to market in New York.

For original art, conservation is not a violation of the law unless it is done negligently. Also, changes caused to originals by "the passage of time or the inherent nature of the materials" will not be a violation of the law, unless such changes were the result of gross negligence in protecting or (continued on page 24)

GifAl»HIX 4 As creative as your imagination.

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Designed for use by art directors and graphic designers, Graphix 4 requires no programming or typesetting skills. Right away, start producing ad and brochure comps, package comps for photography, posters, retail and trade show displays, presentation materials - almost anything imaginable.

Select from numerous type fonts on plug-in memory cards. To create multiple lines of type from 3/a" to 24" high, just use the typewriter-like keyboard and a few function keys. Select a type size, or let Graphix 4 calculate a size to fit the available space, and kern for you. Use standard faces, or extend, condense, italicize, custom kern, reverse - even create mirror images, or automatically scale your work up or down. You can easily set type on cuNed lines, too. Graphix 4 gives you incredible design freedom.

Graphix 4 draws paper patterns, and cuts designs from Rubylith,™Amberlith,™ Sta-Sharp,™or adhesived-backed color vinyl. Just press your design onto the work surface - perfectly aligned, spaced the way you want it- in minutes. Pounce paper patterns, too.

Right now, Graphix 4 font cards, release films adhesive-backed vinyls, and stencil materials are available everywhere through selected graphic supply distributors. If you've wanted a better, faster, more economical way to produce design concepts, it's here. It's Graphix 4. Just imagine.

TAD CRAWFORD

maintaining the art. Gross negligence is an intentional failure to perform a required duty with utter disregard for the consequences.

Term of Protection The protection of the law lasts for the artist's lifetime. The right is personal.to the artist who is the only person who may sue to rectify violations. Any lawsuit must be brought within three years after the violation occurs-or within one year after the artist should have found out about the violation if that would be a longer time period.

Damages and Injunctions If an artist's rights have been violated under the law, he or

she may sue for damages. The amount of the damages will be based on the nature of the injury suffered. Expert testimony about the significance of a good and growing reputation for success in the field will probably aid in establishing the amount of damages. The law allows for a suit to prevent a potential violation from taking place as well as to prevent any existing violation from continuing.

Future Reforms Lobbying is a process of negotiation and compromise, so certain amendments to the law could strengthen it.

The term of protection might be changed to life plus fifty

GO TO ART SCHOOL IN AN AD AGENCY. If you're aiming for a career in art, advertis, ing, or design, there are two things you need. A portfolio and some experience. You can get both at the Portfolio Center. As you're building a professional,looking portfolio on school projects, you can get valuable experience working with a national advertising agency on real projects, get, ting real pay.

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24

Communication Arts January I February 1984

years, which is the term of protection given by our federal copyright law. The remedies might be broadened to permit the winning party to collect attorney's fees and expert's fees from the losing party. The ability of the artist to waive his or her right to object to alterations in a work might be restricted to avoid the possibility of buyers using standard from contracts requiring such a waiver. Of course, experience with the law will be the best guide to reform.

A Federal Response?

That both California and New York now have moral rights laws strongly suggests the wisdom of incorporating such protections into our federal copyright law. Congressman Barney Frank of Massachusetts has sponsored such a federal bill, but no action has been taken on the bill in committee.

If the New York law can provide an impetus to federal legislation, it will have served dual and invaluable roles.

The Fair Practices Act In 1979 I spoke to the National Conference of State Legislatures and provided the state legislators with copies of my draft of the Fair Practices Act. The act provides that when reproduction rights are sold, original art remains the property of the artist. If original art is to be transferred with reproduction rights, the sale of the originals must be written and signed by the owner (presumably the artist) or a duly authorized agent for the owner.

This requirement of a written sales contract will avoid misunderstandings as to the ownership of originals when reproduction rights are sold. The federal copyright law requires a written and signed document to transfer exclusive rights of copyright. The law creates a similar requirement to cover rights of ownership in originals in which reproduction rights are also sold.

Oregon and California were the first states to enact this Fair Practices Act and New York has now followed. The laws in Oregon and California also include another provision of the package which I presented to the National Conference of State Legislatures. In any transfer of exclusive or nonexclusive reproduction rights, any ambiguity as to the extent of the rights transferred is resolved in favor of the artist.

The Fair Practices Act, in conjunction with the Artists' Authorship Rights Act, serve as legislative models for innovative laws to protect and enhance the rights and status of our nation's creators.

-Tad Crawford

As legislative counsel for the Graphic Artists Guild and the American Society of Magazine Photographers, Tad Crawford has played a leading role in the enactment of numerous state laws protecting artists. Author of Legal Guide for the Visual Artist, Mr. Crawford teaches a course on art and the law at the School of Visual Arts in New York City.

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DESIGNING THE L.A. OLYMPICS

By Larry Klein Baseball will be presented as a demonstration sport for the first time at this summer's XXIII Olympiad and the old Abbott and Costello routine, "Who's on first?", is an appropriate metaphor for the way the Olympic Organizing Committee has managed the graphic and environmental design for the games that begin July 28, 1984. It will be a long time before anyone in the Los Angeles design community will find humor in the situation, however, because for most of those involved, it's been frustrating. For some, it's been downright painful.

National and local press coverage has lauded the innovative concept for financing the mammoth event. For the first time in history a group of private citizens, rather than the host city, is responsible for financing and organizing the games.

The estimated operating budget is given in the Committee's publicity as $450-$500 million, a small fraction of the amounts spent on the previous games in Munich, Montreal and Moscow. (Montreal reportedly spent $2 billion, Moscow $5 + billion.) The major savings are a result of the decision to use the city's existing sports facilities, thereby virtually eliminating the single largest line item that appeared on other Olympie's budgets-construction costs. Only two major facilities, a swimming and diving complex at USC and a velodrome (bicycle track) at Cal State, are being built. These, and the refurbishment of the L.A. Memorial Coliseum and a few new track and field surface installations are being paid for by corporate sponsors. Major revenue will be from TV rights ($280 million), corporate sponsorship (~120 million), ticket sales ($90 million) and commemorative coins ($10 million).

The decision not to build centralized Olympic facilities has solved a major financial problem. Some have even claimed that decision has preserved the future continuity of the games which were in danger of becoming too expensive for most governmental bodies to even be persuaded to consider. It has also resulted in a number of unique and absolutely mind boggling logistical problems which have not been discussed in detail and, when mentioned at all, are usually accompanied by deep sighs and the rolling of eyes. For instance: how do you arrange to move 10,000 athletes, 4,000 officials, hordes of employees and support personnel, 8,200 media people and the holders of the 8,000,000 tickets to and from the 25 venues (event locations) in a metropolitan area already justly 28

Communication Arts January I February 1984

renowned for its want of public transport and propensity for instant expressway gridlock. And when most of the city will also be trying to carry on its day to day business.

The two most distant venues, Lake Casitas and Coto de Caza are 150 miles apart. Those nearer to the Coliseum, site of the opening and closing ceremonies and the track and field events, are cast from Malibu (32 miles northeast) to Anaheim (24 miles southwest) and from Eldorado Park (23 miles south) to the Prado Recreation Area (40 miles west). Athletes will be quartered separately in 2 villages (at USC and UCLA) and 100 miles up the coast at Santa Barbara. It's an opportunity for a '65 Volkswagen with a flat tire to displace Mrs. O'Leary's cow as the new perpetrator of unimagined urban calamity. It could make the slipshod transportation planning at the Lake Placid Winter Olympics seem about as memorable as the argument over the last space in the Episcopal church parking lot two Sundays ago.

What does the penuriousness of the Committee and 25 farflung venues have to do with design? Well, for one thing, the Committee decided several months ago not to develop plans for Olympic directional signage on the freeways in Los Angeles because it would cost too much. As of this writing there will be no directional signage at all for the Los Angeles freeway system.

The Los Angeles Olympic Organizing Committee officially opened shop on March 26, 1979, five years and four months prior to opening day. Peter Ueberroth, a 49-year- old millionaire businessman, was hired on as President. Eleven months later, in February of 1980, Harry Usher, a Beverly Hills entertainment lawyer, was appointed second in command as Executive Vice President and General Manager. Since that time the staff has grown rapidly and the headquarters has moved twice from the original offices in Century City. First to a new building on the UCLA campus and, in August 1983, into a large unmarked factory building near Marina Del Rey. In the period since its inauguration, the Committee has had at least ten employees with varying degrees of de jure responsibility for parts of the design work and another half dozen or so consultants who have held de facto responsibilities. At no time during the past four and a half years has there been a qualified design director on the staff with adequate responsibility and authority to organize, coordinate, direct and implement either the environmental design tasks such as the

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The "Star in Motion " symbol created by Robert Miles Runyan & Associates and selected by the LAOOC in a competition with other design firms . Runyan 's spectacular (and expensive) design development and presentation was justified, he felt , because the implied reward of being the official graphic consultant to the XXlll Olympiad was worth the time and money they had invested.

design of the venues, villages and signage or the huge quantities of graphic and print materials.

cations, and mount a professional level presentation that would impress the Committee.

At the time of this writing (mid-November '83), there was still no clear understanding by the LAOOC management or its consultants as to the scope of what print graphic work remains to be done, no guidelines for printed graphics, no schedules or budgets and no one in charge.

The carrot at the end of the stick was nevertheless very compelling. It included not only the worldwide publicity directed to the designer of the favored symbol, but each of the participants fully expected that the real payoff would be the large quantity of design assignments that would surely be given to the winner. In every identity program, the symbol or logotype is only the tip of the iceberg. The major work, the standards manual and the wide range of applications, is the real bulk of the design job and is routinely given to the designer who does the mark. Bass, the most well known of the four and with a large number of major I.D. programs under his belt, considered the odds and costs and declined to compete. That left Runyan, Cross and Follis and improved the odds for each of them.

In the process of getting to this sorry state, the Committee has antagonized a sizeable part of the design community through its ineptness, abrasiveness and want of leadership in handling the internecine wrangling that has been going on between the staff and its consultants and between the consultants themselves. With only eight months to go, the LAOOC is in serious risk of not having sufficient resources or time left to properly plan and implement a number of important projects such as the much needed venue signage program, or of having to make severe reductions in both plans and expectations. The most likely future scenario is one that has everyone working day and night on the crash, ad hoc basis that has become the normal operating procedure in order to just get it done somehow.

Robert Miles Runyan was one of the first designers to have contact with the LAOOC. He had designed presentation materials for the Southern California Committee for the Olympic Games (SCCOG), the forerunner of the LAOOC, and he hoped to be at the head of the line when the LAOOC got underway. And he was. Runyan was one of the four designers invited to compete for the design of the symbol for the games. The others were Jim Cross, John Follis and Saul Bass, all internationally known and important figures in the L.A. design community.

The competition rules were drawn up by Joel Rubenstein, who was then Director of Licensing and Merchandising. He was the first staff member to be given day to day responsibility for design projects. The guidelines included a single payment of $10,000 to be shared by the four participants and a deadline of eight weeks. The Committee was asking for a full blown presentation that included the proposed final symbol design. It amounted to a wholly speculative project for the designers, because even if the winner were to take the entire $10,000 honorarium, he would still have to spend many times that in order to design the work, show its appli-

At an orientation meeting at Committee headquarters, the three designers, after some discussion, and a proposal by Runyan that "the winner take all," decided to split the fee with $6,000 going to the winner and $2,000 to each of the others. They also flipped coins to establish what the order would be for the presentations. Follis won the first flip and, as expected, elected to go last. Runyan and Cross flipped and Cross won. To Runyan's great surprise, Cross took the middle position. Runyan concealed his delight at not ending up with the middle spot and, in order to forestall any reconsideration, went immediately to the phone and returned to announce that he had notified his staff and, while they were disappointed in not going last, were reconciled to going first.

Runyan, who was scheduled to begin his presentation promptly at 9 a.m. at the Committee's offices on the appointed day, suggested to Joel Rubenstein that, in order to expedite the proceedings, Runyan would come into the Committee offices the night be~ore and set up his dog and pony show in the conference room. This seemingly innocent and accommodating suggestion gave Runyan a major tactical advantage. He had prepared an elaborate presentation replete with a sophisticated four-screen audio/visual presentation by George Rappaport, one of the top A/V producers in L.A. Runyan was able to carefully set up all the complex equipment, eliminate any possible bugs and, most importantly, he was able to time and rehearse the presentation three times without any pressure of having to go before the 29

OLYMPICS DESIGN

Committee. He left the Committee offices late and tired but satisfied that he was fully prepared to give his best shot. (For a detailed and illustrated account of Runyan's presentation, see CA #145, Sept./Oct. '80.)

Bob Runyan is a flamboyant and deternlinedly unconventional character with a highly developed sense of the dramatic. This image is in sharp contrast to the staid and proper businesslike personnas of Jim Cross and John Follis, either of whom could easily pass as a corporate executive.

Runyan's show was dynamic and engrossing. It had lights, action and a special music score. It included examples of his symbol sewn, printed and embossed on a wide variety of objects that were passed out to each member of the review committee and specially made solid gold pins emblazoned with the "Stars in Motion" mark. Rubenstein said Runyan completely captivated the review panel and at the end of the day when the presentations had all been given, it was apparent even without a vote who had won. When the poll was taken several days later, Rubenstein recalls that Runyan got every vote but one. Rubenstein arrived unannounced at Runyan's office the following week and when he finally drew the bottle of champagne from his brief case, Runyan realized he had won. This happy day would mark the apex of Bob Runyan's relationship with the LAOOC. During the same period, in early 1980, the Committee had conducted another design contest, this time between three animation studios, for the development of a cartoon style mascot. Walt Disney Productions won this one with their design for Sam, the Olympic Eagle. Bob Moore, WDP Creative Director, said, "We wanted a bright, happy-go-lucky character, with qualities of warmth and a certain amount of cuteness." The Committee's P.R. release says, "He and his associates certainly achieved those goals in Sam ...." It would be hard to argue with that but these character traits

are not usually ascribed to golden eagles or our national emblem and Sam has been the subject of a certain amount of criticism. There are more than a few irreverant whispers that Sam is not the progeny of Aquila Chrysaetos at all because of his strong resemblance to another Latin named Jose Carioca, the parrot star of an old Disney movie. Time, in a laudatory cover story on President Peter Ueberroth, even compared Sam unfavorably with Misha, Moscow's Olympic bear, who is probably a communist.

Perhaps it was an omen when Sam, fully costumed and standing 7' 6" tall, appeared for the first time at the introductory press conference and, while attempting a happy little buck and wing, stumbled, fell down and could not get up.

After floundering about for an excruciating length of time, he was hoisted back onto his oversized claws by several embarrassed Committee bystanders. Sam is finding useful employment in the various Olympic youth activities and, of course, in every conceivable form of souvenir; but he is not much in evidence in any of the promotional graphic materials or in the Committee's official printed matter.

Runyan was now on a small monthly retainer that began in June 1980. He was preparingthe standards manual and was handling a wide range of miscellaneous day-to-day design work, such as news letters, business forms, etc.-none of it particularly exciting-that the Committee was beginning to grind out. The retainer, which started at $1,500 a month, didn't cover his labor costs because he had to hire a full-time person just to coordinate the Olympic work. Still, he wasn't worried because the major design pieces were still down the road and would come to him in time. In order to get a better hold on the work himself and to assist the Committee in understanding the mammoth scope of the design project, he began, unasked, to organize and write an outline for a report that would identify all of the kinds of design work that were going to be required up until closing day, now a little less than four years away. It was fall, 1980.

Runyan presented the "Master Report Outline" to Rubenstein in November of that year. It was a document several inches thick and care had been taken to make it fully comprehensive (Runyan had employed a consultant who had worked on the Montreal games) outlining all of the anticipated needs, up to and including the games themselves.

His covering letter said: "Dear Joel: A great deal of energy and many man hours have gone into producing the "Master Report Outline" -a vital step needed to show the immense responsibilities facing us all.

© 1980 L.A. Olympic Committee

30

Communication Arts January I February 1984

Upon review of this proposed undertaking by yourself, we request a general meeting with the Los Angeles Olympic Organizing Committee to present this proposal formally."

The letter closed with a request to raise the retainer to $6,000. It was later adjusted to $2,500.

Runyan, on November 14th, sent Rubenstein a four page detailed evaluation of the fees he had requested for developing the outline into a full blown Design Master Plan. The study was to include identification of all the necessary design and production, schedules, fees, costs, etc. for all print materials, A/V, interior design, printing, public relations, advertising and signage. It included the participation of three other consulting firms including John Follis & Associates, who were now discussing signage needs with the Committee and with Dan Stewart, Vice President, Architecture and Planning. Runyan's proposal totalled $505,000 and raised quite a few eyebrows.

The Outline Report copies disappeared into the bowels of the Committee. Harry Usher turned one over to Robert Fitzpatrick for review. Fitzpatrick is Vice President for Cultural Affairs and Director of the Olympic Arts Festival, and is in the upper level of the Committee's management group. He is also President of California Institute of the Arts and exceedingly visible in state and local civic and cultural affairs and an accomplished bureaucrat. His January 13, 1982 reply to Usher snidely begins " ... I have received the five-pound "Outline Proposal ...." and becomes increasingly negative: " ... costs seem excessive" ... "project is unnecessarily complicated." He accuses Runyan of charging for things that have already been done (e.g., Graphics Manual) and for others "that will not meet your needs nor effectively relate to existing planning." He mentions some parts of the outline that are not clear to him and he says he does not understand whether Runyan is proposing to provide design services for certain items or just information. He then delivers a more detailed critique of his own Cultural Arts Section. His suggestions, taken together, caution against any action and are a broad rationale for doing nothing until things are "more definite." He obviously was not entranced with the prospect of Runyan mucking about in his ballywick. He then goes on to say that he reviewed the proposal "(but not the budget figures)," with Lou Danziger, a member of his faculty and a well known L.A. design consultant.

Harry L. Usher, Executive Vice President, General Manager, LAOOC. Competition event symbols designed by Keith Bright & Associates.

Tennis and baseball are demonstration sports for the 23rd Olympics.

In order of appearance are, top row: archery, athletics (track and field), baseball, basketball ; second row: boxing, canoeing, cycling, equestrian sports; third row: fencing, football (soccer), gymnastics, handball ; fourth row: hockey (field hockey), judo, modern pentathlon, rowing; fifth row: shooting , swimming, tennis, volleyball ; sixth row: weightlifting , wrestling, yachting , torchbearer (symbol for the opening and closing ceremony).

31

OLYMPICS DESIGN

"His (Danziger's) reactions were that Runyan had done a first-rate job of identifying all potentially useful information and all of the possible areas requiring graphic services. When I asked him what something like this should cost, he said probably close to a half a million dollars.

"Danziger's principal objection was the lack of priorities. He feels the proposal needs to be severely pruned and priorities established, perhaps establishing four different categories such as highly visible public materials, internal functional materials such as business forms, etc.

"My own inclination would be to have the Olympics staff set the priorities based upon the perception of needs within individual program areas and then send the proposal back to Runyan for revision in line with these priorities, and broken into several different phases, each of which can be contracted for separately.

"A concern was also expressed about the danger of trying to reinvent the wheel. Why not, for example, use the pictograms developed for the Munich Olympics rather than reinvent a new system here. A great deal of work has been done in many areas at previous Olympics that does not seem to be taken advantage of in this proposal."

Runyan's attempt at providing a base line for design planning was the first of a number of attempts by consultants to alert the Committee to the immense amount of synthesis and organization that urgently needed to be undertaken. Like each attempt which was to come, it was met with suspicion and veiled enmity. It was never discussed with Runyan, no formal presentation was granted, no planning was ever initiated and no priorities were ever set by the Committee. For the next three years, unfolding events would determine ad hoc priorities.

A prime graphic requirement that was needed early on for a vast number of uses in signage, posters, uniforms, maps, pins, sponsors' uses, etc., were the sports pictograms, the stylized symbols representing each of the Olympics' 23 sports events. A very fine set had been designed for the Munich games and were then used again at Montreal. In the hope of saving both money and time, the LAOOC considered using them a third time. Montreal, who had purchased the rights, asked a very hefty sum (reportedly well over $100,000) and placed such stringent restrictions on any commercial applications that the L.A. Committee found it would not only be cheaper to develop a new set but the advantages of owning the unlimited legal rights were very important as well.

Runyan was stunned to hear in March, 1981, that the Committee was about to embark on its third invitational competition. This time for the design of the pictograms. The contestants had been selected and were to be Keith Bright and Leo Monahan, two well-known West Coast designers and, again, Jim Cross and Bob Runyan. Each competitor was to receive a $10,000 fee for designing a consistent system for the pictograms and applying it to four examples to be 32

Communication Arts January I February 1984

specified by the Committee. The winner would then be awarded the contract to complete the additional 19 pictograms for an additional fee of approximately $65,000.

Not exactly a king's ransom, but certainly a substantial piece of work.

Here, at long last, was the first of the plums to be assigned since the primary symbol. Bob Runyan had confidently expected to get the assignment as a logical extension of his work on the Olympic symbol and the I.D. Manual now being planned by his office, and especially his role as design consultant and defacto Olympic design director. He is an outspoken and very competitive man and he made his disappointment and anger clear to his contacts in the Committee.

He felt strongly that there had been a breach of an implicit agreement. But the decision had been made ("in keeping with games' spirit of competition") by Harry Usher and it was beyond being reconsidered. Outraged at being asked to compete again in a contest he thought he had long since won, Runyan withdrew but agreed to sit as a member of the pictogram review panel in order to salvage some degree of influence in his role as design consultant to the Committee.

Keith Bright and Ken Parkhurst, who was then Bright's partner, made a formidable team. Both are conceded to be among the very best graphic designers in Los Angeles. They and Ray Wood, Senior Designer at B&A, developed what would become the winning pictogram system. Bright & Associates then completed the full set of event symbols in early fall of that year and would be assigned an additional 23 complementary symbols for informational signage (men, women, no smoking, restaurant, etc.) in '83.

Runyan's agreement and monthly retainer ran out in August '82 and was not renewed. His ongoing consulting relationship, which had gradually become less and less active, came to an end.

John Follis is a native of the Los Angeles area. He is in his early 60s and well over six feet tall. His height, carriage and good looks would be enough to give him a commanding presence but it is enhanced by his deep voice and calm, deliberate pattern of speech. John co-authored what is certainly the best book on signage that has been written. He is, perhaps, the foremost expert anywhere on that subject with an enormous list of major signing projects in his portfolio.

He is also an accomplished designer of identity programs, print graphics and exhibits. Follis had expressed his interest Right, top: Deborah Sussman , Paul Prejza, Jon Jerde.

David Meckel.

Examples of the environmental design for the '83 Summer Games, a trial run of the energetic montage of color and form that will be used for the '84 Olympics . Photographs by Annette Del Zoppo.

33

0LYMPICS DESIGN

in the Olympic signage in a letter to the SCCOC in 1978 and had contacted the LAOOC when it was started in '79. He was one of the three competitors for the original symbol and was now engaged with various members of the Committee in attempting to establish the scope of the signage requirements, a complex task.

In March '82 his contract, dated the previous February, for Phase I (Study and Analysis) for signage for the Archery Venue was approved. In November of that year, Harry Usher and Dan Stewart, counter-signed a Follis Design master contract for the design of all the signing, flags and banners for all of the venues.

John had been pressing the Committee relentlessly for almost three years to get going, to identify the projects, begin planning, set schedules, to get organized. A year earlier, in February '81, he had written an eloquent and prophetic letter to Rubenstein: "Dear Joel: "The reports I have heard on the subject of design for the 1984 Olympics have begun to alarm me. If these reports, from various sources, are accurate, and if I interpret them correctly, some of the LA Olympics Organizing Committee's actions and inactions bode ill for the 1984 Games. To be inattentive to the importance of design in planning for the Olympics is to invite problems for the Games and discredit to Los Angeles and the nation.

"The Olympics are, after all, the greatest show on earth. For one thing, thousands of strangers from all over the world will be thrown together in a sprawling city and will have to find their way through a complex pattern of events; these people will depend on recognizable landmarks and sophisticated graphic information. Secondly, much of the world, rich and poor, educated and illiterate, will be glued to the TV to watch; they will judge the events on the basis of everything they see, not just the athletics themselves. (Many viewers do not watch even important sporting events otherwise.) And they will form impressions of the host city and nation. Thirdly, practically everyone on the globe that is interested in design is eagerly waiting to observe not just the events on television, but all the artifacts associated with the Games, from buildings to posters to programs to costumes to landscaping to signs in the streets; this professional community thinks of the Olympics as one of the great opportunities for a country's best designers to do highly visible work.

"There is a tendency, particularly under economic pressure, to downplay the importance of design. The usual arguments mustered against this tendency are often the utilitarian ones: good design facilitates communication, good design sells products. But the importance of design goes beyond these very real advantages, and the Olympics are the perfect occasion to assert that truth. The Olympics are dedicated to the pursuit of excellence to which there is applied no external yardstick of utility or profit. It is considered self-evident that the human spirit benefits from the pursuit itself. There should be an equal certitude that the human spirit benefits from excellence in design, which is the careful consideration and shaping of the 34

Communication Arts January I February 1984

visual qualities of our world, of the objects we use and of our surroundings.

"Now the whole arena of architectural design has been for the '84 Games practically eliminated. This means that the organizing and image-giving tasks of architecture will have to be shouldered by other areas of design. One of these areas is certainly graphic design, and that is where I am most immediately concerned. It was understood when the competition was held for the 1984 Olympic symbol that the winner would be the director of graphic design for the Games. All of us in the competition were acutely aware of the amount of planning, design and supervision that the job would entail. What astonishes us is that little of this work has yet been required of the winner, Robert Miles Runyan. So far some of the design tasks have been handed out to licensees (the program to Sports Illustrated and the flags and banners to Pageantry World), without even consultation with Runyan. No overall plans seem to have been made, no programs for design formulated . And, considering the magnitude of the task that needs to be done, it is already getting late.

"The director of design should be put in charge of formulating a functional design program for the Olympics, deciding what needs to be done and how it should be executed. Then he should administer the program ... He should decide which designers are best capable of doing the rest and then oversee their work. The director should be charged with directing and approving the design of licensees, to assure that the interests of the Games (and its hosts) are being served by the companies that are exploiting the Olympic imprimatur.

"This, of course, only takes care of graphic design. There are other areas of design as well, and these should have their own directors.

For instance, even though no major new buildings are to be built by public funds, an architectural director is clearly needed ... These responsibilities and many others demand expert and far-seeing professional consultation.

"I realize that the financial situation of the Los Angeles Olympic Organizing Committee is incredibly difficult, and they should be applauded for their dealing with it so far.

"It is appropriate that, in the words of the Committee, the 1984

Olympic be 'Spartan'." They should not, however, be visually piecemeal. It will take a great deal of careful planning and astute direction-and the understanding that sometimes it is better to spend some money-to carry off a Spartan Olympic meet that is not an embarrassment to its organizers, itself, and its host city and country. I hope that the human and financial resources available are used to their greatest capability. If more financial resources are needed I hope they are sought out. You have saved a billion dollars, plus or minus, on architecture, so perhaps we can afford a few of those dollars to see that what is done is done right. It would be unfortunate if Los Angeles and the United States allowed these

Detail in color and the full design guide poster showing the environmental design and color developed for the LAOOC by Sussman I Prejza & Co. in collaboration with The Jerde Partnership.

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Olympics to give the world the impression that we are incapable of doing a proper job.

Sincerely yours, John Follis cc: P. Ueberroth"

Rubenstein replied on February 26th as follows: "Dear John: "The reports that you have heard are somewhat exaggerated, however-not completely erroneous. We too, share your concern over having adequate planning and design elements coordinated for the 1984 Olympic Games.

"We are not as oblivious to these concerns as it might appear.

However, we do appreciate the expertise that you bring to this subject and your counsel on this is indeed valued.

"We are moving cautiously to make certain that what we do is done well, and that it is a coordinated and integrated program.

"Perhaps, and I would like to think properly so, we do derive a feeling of some comfort knowing that we do have Robert Miles Runyan as our primary resource in this area and therefore, do not feel quite the same degree of urgency that your (sic) perceive. However, we do hope to start moving in the very near future.

"As you probably know, there will be highly visible elements of the graphics and design element of the games as a result of the cultural aspect. That part of the Olympic fes ti val is moving ahead at a satisfactory pace.

"In total, we feel that we are moving forward, and it may not appear to be moving at the rate you would like to see it, however, we do feel that things are under control. Your letter is appreciated, it does make us even more aware of the need to do the job right and are appreciative of your concern.

"I am sure that in the not to (sic) distant future, we will have the opportunity to get together and further explore the resources that John Follis will bring to the Olympic Design Program.

"Again, thanks for your thoughtfulness and I do look forward to getting together with you in the not to (sic) distant future.

Sincerely, Joel K. Rubenstein cc: P. Ueberroth"

If, as Rubenstein says in his letter, the Arts Festival at least was under control, it was because Bob Fitzpatrick, with his strong political instincts and the power position to enforce them, had managed to keep everything relating to the cultural program in his own strict control.

Within a few months Rubenstein* would no longer have any responsibility for graphics or signage as the management and staff grew and new constellations of authority developed.

In August 1982, the month that Runyan's contract was allowed to expire, John Fransen, was hired as Director of *Rubenstein is now V.P., Olympic Family Services.

36

Communication Arts January I February 1984

Public Relations, thereby consolidating a large number of activities that had been handled until then by staff members wearing several hats, filling in as needed, until the table of organization was fleshed out. Fransen came from a large California development firm where he had been V.P., Marketing and Public Relations and had held earlier management posts as a P.R. specialist. He took over the responsibilities for graphics and other related design tasks that had been under Rubenstein and other staff members. Fransen began giving nearly all of that work to an old friend, and past supplier, named James Robie.

Robie Design Associates' studio is in Venice from where Jim serviced a number of medium to large local and regional accounts with layout, design and art production services.

He was not nearly as well known as the other independent designers who had been involved with the Olympics up to that time. He was, however, an experienced and highly competent professional who knew how to service clients and how to get a job done efficiently and with a minimal amount of his ego showing. It was an important opportunity for him,- professionally and financially, and he was soon effectively servicing a fair number of staff members, not all of whom came under Fransen's responsibility or, if they did, had sufficient authority of their own to initiate projects.

Meanwhile, work had begun in the spring on some of the environmental projects. Dan Stewart, in charge of construction, assigned two architectural firms to design "Alpha" and "Omega," the two Olympic Villages. One firm had difficulty arriving at an acceptable solution and the project was reassigned to the other firm which had quickly come up with a plan for the UCLA "Alpha Village." That successful design was the product of The Jerde Partnership.

Jon Jerde is the boyish, outgoing, energetic and very bright major factotum of the Los Angeles partnership of architects and planners that specializes in the planning and rehabing of communities, shopping centers and whole commercial districts. The Jerde group is not from the Miesian mold that produced firms like Skidmore Owings and Merrill. They do not work within a recognizable style and pure architectural aesthetics are not what distinguish their work or attract their megadeveloper clients. Their commercial cityscapes become vibrant stage sets for people-for merchants, shoppers, diners, strollers and whoever chooses to move within their boundaries. At the pedestrian level their schemes are not awesome nor are they fashionable arcane jokes. They are lively, involving, friendly, interesting and widely eclectic.

Jerde has an air of comfortable, unthreatening selfconfidence and natural leadership and he circulates knowledgeably through the Los Angeles design establishment. Lou Danziger, who was asked by Fitzpatrick to review Bob

Arnold and Isolde Schwartzman .

Right: mark designed by Schwartzman for Olympic Arts Festival incorporated the "Star in Motion."

Mark for the Olympic Spirit Team, former Olympic medal winners.

Mark for the Olympic Neighbor program, citizens living within one square mile of an Olympic venue.

Below: cover for invitation to national Olympic Committees to partic ipate in the XXlll Olympiad (Latin: swifter, higher, stronger.)

Poster for a speech to the Art Directors Club of Los Angeles.

toO KING AT THE LoO K FOR THE '84 OLYMPICS THROUGH THE EYES OF ARNOLD SCHWARTZMAN Of-, DlmlC10ll

LOS ANOILIS OLYMPIC ClllOANIZ.a ~

TJ:iU&SDAY. JUlY 21st 1983. RECEPTION 6-7PM PROGRAM?- I OPM 1400 WfST EIGHTH s~m; lOS ANGELES. CAUfORNIA 9o6 I 7 PROGRAM f'R5NTED BY TtE ART DREC"IO!S QlJl Of LOS

37

0LYMPICS DESIGN

Runyan's outline report, is a friend of, and consultant to Jerde. Danziger had recommended the design firm of Sussman/Prejza & Co. to Jerde to work on the signage and graphics for Horton Plaza, a new metro center being planned for downtown San Diego. Enthused by Sussman/Prejza's efforts, Jerde recommended them to the Committee to work on the Olympic Village projects which needed graphic treatment. They had earlier been suggested to Dan Stewart by John Follis, but when they had contacted Stewart, he told them Follis had all the work.

Sussman/Prejza is a Santa Monica design firm whose principals are Deborah Sussman and her husband, Paul Prejza.

They do general graphic design of corporate identity and print materials but they are mainly-and widely-known as pioneers in the recent art of "Urban Decoration." This is more than signs and banners, it is the close collaboration with planners and architects in order to redo and enliven the urban marketplace and to enhance the entire streetscape, both the exteriors and interiors. They have worked for some of the most avant-garde and enlightened developers in the U.S., Japan and Italy. This work is bright, hot and festive and goes well beyond mere graphic design or signage.

Jerde recognized the problem of the lack of design management within the Committee and out of an unofficial and informal group that included his consultant Danziger, Sussman/Prejza, his project director, David Meckel, John Follis, Jim Robie, and other casual participants, would emerge the "Design Forum." The Design Forum included both Committee staff personnel with design responsibility and all of the key design consultants. It was charged with developing overall design policy and coordinating the work of the participants into a visually cohesive effort. Jerde, whose influence with the Committee was growing rapidly, was appointed its leader. Harry Usher dubbed him "Dictator of Design." Jerde visualized the two main areas of design as architecture and graphics. Each had a mission that was largely separate from the other but there was an important overlap where they became critically interdependent. He characterized it with this adroit diagram.

Graphics Issues

Architectural Issues Pllr'*1glo,;c.F'"'"1g.

Tlck•l•, Badgea,

~aryStructurea.Llghtlng

Overlap sq.age, l.Wl'Ofms, Flags, Blimers

38

Communication Arts January I February 1984

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Poster sell ing 1984 Olympic license plates.

This page: James Robie.

Covers and spread from explanatory brochures Robie designed for each of the Olympic events.

Cover and spread from the quarterly magazine publ ished by the LAOOC.

Program of the Programme des Jeux de la Games of the XX/I/rd Olympiad XX/lie Olympiade Opening Ceremony

C9r6monie d 'ouverture

Archery

Athletics

Athl8tisme

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Boxe

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Cycling

Cyclisme

Equestrian Sports

Sports 8Questres

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Football

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Synchronisee Water polo

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Volley-ball

Weightlifting

Halterophilie

Wrestling Yachting Closing Ceremony

Tennis• •o-monst,..tion sport

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Stars in Motion

•Sport de d6monstration

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39

OLYMPICS DESIGN

Jerde was more than willing to take over design direction of the right hand pyramid but there was no one to manage the left one and therefore no clear way to synthesize the overlap.

Meanwhile Follis was on a collision course with the group in the Design Forum that was rapidly gaining ascendency-and with the Committee as well. John had been working with the Committee long before any of the present consultants and many of the staff people were even on the scene. With a firm commitment for the design of environmental graphics for all of the venues, it is easy to understand why he expected to have the lead in establishing the environmental graphic "look" -the patterns, typography, colors, use of symbolsand he, too, had a very different, more formal conceptual approach that was not easily synthesized with the radical, bright, dominating schemes that were evolving from Sussman/Prejza for the Villages. As Sussman/Prejza's new environmental patterns emerged and were enthusiastically received by Usher and others at the top, Follis fought even harder to protect what he saw as his turf and he continued to prod the staff toward better organization. A good deal of this activity was increasingly seen as abrasive and devisive.

The cast of characters were now locked into a dynamic that none had chosen. Each of the principal players, the design consultants, were experienced entrepreneurs. Each was successful as an aesthetician, planner and as a business person, some exceptionally so, in the very demanding practices of design and architecture. They were each intelligent, experienced, persuasive and talented and-whatever the differences in their personal styles-fiercely competitive. Each brought large investments of independence and personal ego, essential ingredients for success and survival, to their work .

Each gave up authority with extreme reluctance, if at all, and despite whatever spiritual commitment any of them had to contributing to the overriding goal of a successful Olympics, each was the quintessential free-lancer who had built his or her own world according to a private vision and had made it work well. The very effective qualities that had brought each of them to where they were, inevitably militated against any real resolution or fusion within the group.

While Jerde and Sussman/Prejza were working on the Villages, John Aleksich, the architect who was designing the weightlifting venue, came up with the seminal, unifying idea that all of the architectural and environmental designers had been groping for-the use of construction scaffolding to build the entry gates and the myriad other special structures for the venues. It was modular, strong, flexible, portable, easy to erect and cheap. It was available for purchase or rental in almost unlimited quantities. It was a common, off the rack system that perfectly fit the problem. It was the kind of answer that was so direct and yet so broad in its implications that, in retrospect, it seems obvious and simple, not 40

Communication Arts January I February 1984

much of an idea at all. But it was the essential key, the single stroke that brought the whole kit of parts for the environmental plan together. It needed to be refined, the bones needed to be beefed up and dressed for the party, but there it was. It was in absolute harmony with the ideas the Design Forum had, until then, only been able to put into words-"a celebration of sport, a circus, a carnival of games, a medieval jousting tournament, an invasion of butterflies." It was the first time in Olympic history that there had been a non-monumental design concept for the games and it fit the climate, the city and the emotive goals like a pair of Speedo trunks on Mark Spitz-obvious, practical, sexy and slick as a whistle.

Out of the Design Forum discussions arose "Pluralism." First suggested by Danziger as a thematic statement appropriate to the extraordinary ethnic and cultural diversity of Los Angeles, it was postulated as a concept around which to evolve a unique Olympic style that would arise out of a multitude of styles-a rallying cry behind which a variety of design styles could be enlisted. It would provide the philosophical umbrella that would cover everything from the spray painted graffiti of the East Los Angeles Chicanos to the formalistic international style still practiced by some designers-and the farrago of Southern California lifestyles from Hollywood's street smart hustling to Orange County's smug affluence-and everything between.

It was a grandiloquent concept but it was enthusiastically

endorsed. However, there was no one who could integrate the dream with the reality. This seemed to be the cause of every problem and the Forum began pushing Usher hard to hire a graphic design director, to finally get that essential synergetic agent in place.

Arnold Schwartzman arrived in Los Angeles in 1978 to become Saul Bass' Design Director. A talented London designer and film maker, he is listed in "Who's Who in Art," is a member of the prestigious Alliance Graphique Internationale and holds many British and European design honors.

When he arrived, he and his cool and elegant wife, Isolde, were already acquainted with a sizeable coterie of Los Angelenos. When he left Bass in '79, he singlehandedly wrote, produced and directed "Genocide" which won the 1982 Academy Award for best full length documentary.

Now in his late forties, Arnold is a charming, considerate and loquacious gadabout who seems to know, and be genuinely fond of, nearly everyone in Southern California who has a drawing board or owns some sort of camera. His great wealth of amusing stories, his self-depreciating humor, warmth and all 'round bonhomie make him welcome wherever he goes. Those appealing traits also tend to disguise a fierce ambition and ego.

One of the posters designed by Sidjakov Berman & Gomez for Sales Corporation of America.

Jerry Berman , art director; David Stevenson , designer; David Liittschwager, photographer.

Six of the official fine arts posters for the 1984 Olympics. The artists (clockwise from the top): Robert Rauschenberg , Lynda Benglis, Billy Al Bengston , Raymond Saunders , Jonathan Borofsky, David Hockney. The posters were all printed with dimensions of 24 and 36 inches and distributed

by Knapp Communications Corporation .

41

OLYMPICS DESIGN

Schwartzman's impressive credentials, his strong contacts (he knew several "Forum" members, including Robie who had done some art production for him on "Genocide") and his great enthusiasm for the position won him the job as Director of Design over a couple of other candidates. He worked on a month-to-month basis for 90 days and was then given a month-to-month open-ended contract by Fransen as a fulltime consultant to the LAOOC commencing March 15, 1983.

The job included use of a new Buick (Olympic sponsor) and a $7,500 a month fee. His own expectations were only exceeded by the Forum's and the Committee's expectations of him.

Harry Usher had earlier conferred the title of "Design Dictator" on Jerde. Jerde told Schwartzman that he would be the "Design Guru." Usher now had both temporal and spiritual design leaders and it seemed as though the set was complete.

It was going to take more than faith, however, for Schwartzman to succeed. He was inheriting a whole array of difficulties_;_contractual, structural and political-where he had heavy responsibility but very little real authority.

The situation with Follis was rapidly deteriorating. The root cause of the problem was contractual and Stewart was in charge there. Follis had been working on the preliminary phase on a number of venues but he was not getting approvals on his work nor the necessary information and commitments to proceed and there were constant quarrels over his fees and the costs he projected on the installations.

The Committee had long before made contractual arrangements and had ceded approval rights to a large number of sponsors and licencees. There was no one on the staff qualified to exercise design control except to protect legal copyrights on the application of the various trademarks. Neither the licensees nor the LAOOC staff members were anxious now to have Schwartzman become involved and, in most cases, unless he was invited to comment, he only became aware of what was happening after the fact. His complaints then became ineffectual and were merely aggravating.

Walt Disney Productions had spent almost two years working on the design of the opening and closing ceremonies.

These events were to be impressive, complex spectaculars involving a veritable army of participants, and Bob Jani, one of the most notable practitioners of this highly specialized art had directed the Disney team. Jani had worked for many years on the Disney staff but was now an independent consultant. Disney, still his major client, had donated the considerable costs of the design time for its own staff as well as Jani's fees. In Jani's version of events, he had become increasingly concerned about the lack of information he needed due to lack of planning in the security, transportation, architectural and construction areas and the disruptive, time consuming delays in getting approvals and commitments 42

Communication Arts January I February 1984

from the Committee. Now, with the design for the ceremonies virtually complete, serious problems had surfaced in regard to Disney's proposal for their fees and costs for the actual production. The negotiations finally broke down entirely and the Disney group withdrew. The LAOOC asked Jani to take over and continue to direct the planning and oversee the execution, but he declined in late August. They asked him to reconsider and over the long Labor Day weekend in '83, he thought about the difficulties of assembling a whole new team at that late date, the problems of working efficiently with the LAOOC staff and, on September 6th, declined again. When I talked to Jani on November 2nd, he said it would be impossible to execute what he and Disney had planned in the time that remained. Arnold had been little more than an observer at the mid '83 Jani/Disney presentations but he was beginning to hear serious complaints and alarming predictions from professionals other than Follis who was increasingly being portrayed as an intransigent and a gouger. Many months later, after the "pre-Olympics" ('83 summer games) were over, there were those who would admit Follis had not been as far off as they had thought.

Arnold had not been concerned about Jim Robie. Robie had been the one who had originally introduced Arnold to the Committee and the Design Forum (for a film project) and, due to his previous work with Robie, Schwartzman saw him as a production artist. And Robie gave him strong support when he became a candidate for the Design Director job. It was soon clear, however, that there was a major control problem. He was not satisfied with a lot of Robie's design work, but Robie deftly outflanked him and Arnold couldn't cut him off or plug the leaks. Schwartzman reported to John Fransen who was Robie's friend and sponsor. Robie also had the loyalty of many of the staff people he was doing business with and they continued to go directly to him with their assignments. Patrick Escobar, Manager of Publications, continued to be a major source of work for Robie.

When Arnold arrived at the headquarters in Westwood to start the job, he hit the deck running. There was a lot to do.

There were deadlines coming up, important meetings with the International Committee, the "pre-Olympics" were right around the corner and there was plenty to do even without that. Projects, meetings and decisions came at him from every quarter. He also took on a number of important design assignments himself since he had no assistance. He would later be criticized for that. (continued on page 90) Public relations folde r for the Olympic Arts Festival, design by Frans Evenhuis.

Poster and spread from the ticket brochure designed by Cross Associates. Poster photograph by Martine Franck/ Magnum.

D

A

A

THEATRE

M

F

c

M

Olympic Arts Festival Los Angeles

June 1- August 12, 1984

.Ju"'1f-Augustl2.t!NU

Fainformatioocall(213)74H777

Exhibitions

Sponsored by the New Zealand Government and the Pacific Asia Museum. Kahurangi:

SmaH Treasures of New Zealand features over 70 objects of bone, ivory. jade, ceramics and textiles by 16 contemporary

Competitive rowing 1s an an-. cient sport. one of the few truty

amateur sports remaining in the Olympic Games having no professional counterpart. The exhibitk>n tells rowing's story

LosAngelesOlyrr!JicOrgaruingCorrmttee

28

master artists. The exh1bitk>n indudes a selection of an6que Maori artifacts gathered by Pacific Asia Museum and a slide presentation. Several of the artists represented in the show demonstrate their work.

disi:May of works of art. and a panor~ma of equipment including okt and new racing shells, and oars from the 19th century to sleek modem ones. Rowers' racing shirts, photo murals and

from fts rich past to the plans for the 1984 Olympic rowing site at Lake Casnas through a

avideopresentationcomp4ete

Ari exh1blbon of contemporary painting and sculpture from an outstanding private collection in California are featured in the new Alice Keck Park Wing of the Santa Barbara Museum of Art. Included in the collection are works by Robert Arneson.

Max Cc>M!, Craig Kauffman, Roland Reiss, James Rosenquist,

Concurrent to the exhibition is a 10-week series of artists ' lectures and performallees. The combination of these events-

Loc•tion Pacific Asia Museum 0.tN June 7 through October 21. 1984

Houn Wednesday- Sunday: 12noonto5:00pm Forinfo'1r,.tioncllll (818)449-2742

Loc•tion University Art Museum, University of California, Santa Barbara

O.tn June 20 through August 5, 1984 Noun Tuesday- Saturday; 10:00 am to 4 :00 pm Sunday: 1:00 pm to 5 :00 pm For Inform.lion ell/I (805) 961-2951

the exhibition.

the gallery exhibition of major works since the 1960's and the visiting artists' program-gives a multi-dimensional view of important devek>pments in recent contemporary art.

Location Santa Barbara Museum of Art. Santa Barbara

O.tn June 22 through August 26, 1984 Noun Monday-Wednesday : 11 :00 am to 5:00 pm Thursday: ll :OOamto9:00pm

Friday- Sunday: 12 noon to 5 :00 pm For info11,,.tion cMI (805) 963-4364 18051 963-2240 (For the hearing impaired)

Frank Stella and key War!iol.

The impressionist painters.

D!izanne and others, artists

enduring image of France.

This unprecedented interna. tK>nal loan exhibition is dMded into nine different landscape themes, beginning with the cradle of impressionism and the environs of Paris. touching on the sea. the gardens , and the fields of France. and con. eluding with the provincial

who created a unique and

landscape.

takingadvantageofnewlydeveloped train travel. rediscovered the tradi t~ French land· scape while creating a "modern " image of rt. Spend " a day in the country" among 125 mas· terpieces-40 from the Louvre

alone-by Monet, Pissaro,

Loc.rion Los Angeles County Museum of Art 0.tN June 28 through September 16, 1984 Houn Tuesday- Friday : 10:00 am to 5:00 pm Saturday and Sunday : 10:00 am to6 :00 pm

For inform.lion ell/I 12131937-2590 (Taped information) 12131857-6111 (Public information)

........-... cc......... .....

New art from Australia appears at the Los Angekts Institute of Contemporary Art as well as

vents wild dogs from crossing central Austraha); two artists working as a group called Red·

throughout Los Angeles.

Among nine artists in the ex·

back Graphics make posters

hibition : John Davis creates

woven primeval structures of twigsandtreeparts; Marr Grounds explores man-made barriers from the Ber~n Wall to

the Dingo Fence (which pre-

that reflect INOl'kers' ooncems in a small coal and steel producing town: and performance artist Lyndal Jones involves audiences in environments created in part through skillful manipulation of protected images.

Loc•tion Los Angeles Institute of Contemporary Art and various locations throughout the city.

O.tn June 30 through August 14, 1984

Haun Tuesday- Friday : 12 noon to 6 :00 pm Saturday : 12 noon to 5:00pm Forinform•tioncllll (213) 559-5033

43

GARY KELLEY Perhaps one of the best known illustrators working today to have been born, bred and still live between the coasts, in this case the combined townships of Waterloo/Cedar Falls, Iowa, is Gary Kelley. Actually he was born in Algona, Iowa, but that seems a mere technicality.

For those who may wish to know, Waterloo is a town of about 100,000 souls, many of whom work in John Deere's farm equipment factory. It nestles right up next to Cedar Falls-population 50,000-whose principal business is Northern Iowa University where Gary received his higher education. However, when I was there last fall, both communities were temporarily giving way to their neighbor, tiny Norway, Iowa-population 633-as that is the home town of Baltimore's World Series hero, Mike Boddicker.

It's not that Gary has never been anywhere else; his family moved to Southern California for a short period when he was in his early teens, he has visited San Francisco and a few other larger cities, and, at this writing, he and his wife are in New York where he will be judging the Society of Illustrators annual exhibit.

The fact is, Gary is quite satisfied with his and his family's life in Iowa and has never been seriously tempted to move away. His reasons are compelling: he has the best of most worlds for an illustrator. Much of his work comes from out of state-nearly ninety-five percent-he has a secure position where he does the kind of work he likes to do, and he has earned the respect and admiration of his colleagues across the country. Perhaps most important to Gary, he and his wife are able to bring up their two children in the small town manner they approve of.

When Gary was on summer vacation, after his third year at Northern Iowa University, he took a job as a designer at Rath, the meatpacker and Waterloo's other major employer. It was only to be a temporary position, after which he would go back to school, but he found that he was learning so much he stayed on, finishing studies for his B.A. at night.

Gary explains, "Back then at NIU the whole course was considered to be 'commercial art' -a term I've come to dislike-and that meant all of it, particularly design. I could always draw better than anyone at school, and I knew that I wanted to make a living that way, but I went into design because that was the only place I knew of where I could get a job. I remember when I first saw 'Illustrators XII;' I thought 'wow, a whole book with nothing in it but illustration!' That was a turning point for me."

44

Communication Arts January I February 1984

He learned a lot of theory about "commercial art" at the university, but little practical information. That came during the four years he worked at Rath. He also took every opportunity to assign himself illustration work. Like many designers, much of his education about type and letterforms came through working as an apprentice to a sign painter. "I don't regret any of it, not my design background or the sign painting. It was all great discipline and valuable experience. I might have blossomed a little later than if I had taken an intense illustration course at a school like Art Center, but I think that my training has made me a better illustrator."

When he decided to leave Rath in 1971, he went straight to the art studio owned and operated by his predecessor at Rath, Bob Hellman. As nearly the only game in town, it was inevitable. Gary had done some freelance work for Hellman, and was offered a position. "They didn't have anyone to do illustration, so I saw that as a way to become valuable to the studio."

There he stays, twelve years later, to all appearances content to stay for another twelve or more. He has a small piece of the thriving business, has his material needs taken care of, like equipment, supplies, rent and the phone, and Hellman and the corps of reps throughout the Midwest and Southwest keep him more than busy. He says, modestly, that "Maybe the reason I'm a little better known than the other illustrators here at Hellman Associates is that I'm willing to work all the time, evenings and weekends, and on work for little or nothing on my own time."

Hellman Associates currently consists of eight illustrators, the same number of designers, another eight animators, a handful of administration and support people and a varying number of commissioned reps throughout a wide area, all under the gently paternalistic guidance of Bob Hellman, perhaps the shrewdest and most capable studio owner since Stan Richards.

Gary is listed as the studio's "Vice President/Creative," which means that when Hellman is out of town, a frePhotograph of Kelley taken on the mezzanine floor of the Hellman Assoc iates studio in a renovated 1913 Episcopal Church .

Poster art for Jaffrey II residency at the University of Iowa.

Gary Kelley, John Hall, art directors. 15x27, pastel.

Illustration for opening spread of Science 82 magazine article on the morality of killing seals for scientific research.

Rodney Williams and Wayne Fitzpatrick, art directors.

25x16V2, pastel .

Photograph by Art Holeman

45

GARY KELLEY

quent occurrence, Kelley hands out the assignments and monitors the work load. But his main job is still illustration, and at that he is tireless. His office is strewn with original pieces, many of which look familiar because of their prominence in national exhibits, as well as because of the extensive promotion the studio puts out.

Hellman is willing and eager to spend money on promotion, especially designed to expose the work of individual talents in his group. Gary considers Bob to be one of the best salesmen in the business, and it would be hard to argue with that assessment. He also seems to have hit on the arcane secrets of the care and feeding of artists; the turnover rate is low, and just the fact that a major talent like Kelley has been kept happy for twelve years is no small achievement.

"There is a certain midwestern stability that I grew up with that is valuable to me," Gary said toward the end of our delightful conversation. "I was lucky to have had a great home life. We didn't have a lot of material things, but my parents were great and I admired them a lot. When my dad died in 1970 I didn't want to move away and leave my mom and I really wasn't all that confident in my work then. Also, we want to bring up our kids with that same feeling of security and stability."

Despite the absurdly provincial notion heard occasionally around Manhattan that one has to live·there in order to truly succeed in this business, Gary is convincing proof that one can live damn near anywhere that has an airfield, Federal Express and phone service, and be a success in anyone's terms-providing he or she has the talent and will to work very hard. But then, you'd still have to have that in New York.

-Dugald Stermer

Dust jacket illustration for a book of local history in their part of the Cedar River area. Brad Barricks, Gary Kelley, art directors; Quest Publishing, publishers. 28x18, pastel.

Illustration for a Dashiell Hammett short story in a book published by Franklin Library. Michael Mendelsohn, art director.

9x15, ink and acrylic.

Right: one of a pair of magazine spreads reporting on the National Hobo Convention in Britt, Iowa, compiled from on-the-spot sketches, photographs and interviews. Company publication of Northern Natural Gas, Omaha. Denis Hagen, art director; Bozell & Jacobs, agency. 29 % x28, graphite and colored pencil.

Poster art promoting the theater season at Western Mich igan University Theater. Gary Kelley, art director. 31 1/2 x 7, ink and acrylic.

46

Communication Arts January I February 1984

47

GARY KELLEY

48

Communication Arts January I February 1984

Left: illustration for Mutual of Omaha's "Wild Kingdom " calendar. Mick Ascherl , art director.

14 1/2 x14 1/2, pastel.

Art for Hellman Design promotional calendar.

This illustrated a quote from Will Rogers: " Lead your life so you wouldn 't be ashamed to sell the family parrot to the town gossip."

Gary Kelley, art director. 20 x 21 % , pastel.

Cover illustration featuring the Tampa Bay Buccaneers for the National Football League publication . David Boss, art director. 18x23, ink and acrylic .

Illustration for an article on buying wine at an expensive restaurant. Fred Woodward, art director; "D " Magazine , client. 13x17, pastel.

"Tales of Hoffman " poster art for University of Iowa/Iowa Center for the Arts. Gary Kelley, John Hall, art directors. 24x25, ink and acrylic .

Portrait of ldi Amin as Henry VIII for Hellman Design calendar illustrates a quote from Mark Twain : "All kings is mostly rapscallions ."

181/2x18 1/2, ink, acrylic and collage.

49

GARY KELLEY

Illustration for a Science 83 article, "Teaching Computers to Talk."

Joyce Black and Rodney Williams, art directors. 17 x 22, pastel.

Poster art promoting a holiday arts and crafts sale for the Waterloo Recreation and Arts Center. Gary Kelley, art director.

16x24, pastel.

Personal work, portrait of John D. Rockefeller. 17x28, pastel.

Right: art depicting events that occurred during the presidency of Chester Arthur. Gary Kelley, art director for Hellman Design calendar. 27 x 28, ink. Kelley says that he really loves to work in ink but clients all seem to want him to work in pastel color, even if the subject is not always appropriate to the medium.

50

Communication Arts January I February 1984

VI

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Twenty-fi rst president of the United States; served 1881 to 1884.

CHESTER A. ARTHUR:

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Artist: GARY KELLEY Medium: Pen & Ink

GARY KELLEY

Privately commissioned painting. 36x40, acrylic on canvas.

Art for catalog page on Keds Grasshopper Shoes.

Cheryl Heller, art director. Humphrey Browning MacDougall , agency. 12x12, pastel.

Right: newspaper advertising art promoting the National Radio Theater of Chicago dramatization of "The Odyssey of Homer." Yuri Rosovsky, art director. 14x15 V2, ink.

Illustration for an article on " Youth Courts " in American Way , publication of American Airl ines. Mike Fuld, art director; Walker Fuld & Associates, agency. 14x 19, pastel.

Illustration for excerpt from the book , " Pioneer Women : Voices from the Kansas Frontier" by Joanna Stratton. Fred Woodward, art director; Westward Magazine , Dallas Times Herald, cl ient.

19x21 , pastel.

Poster art for The Iowa Shakespeare Festival.

The theme of the festival was " Public Faces, Private Fears ." Dick Blazek, art director; University of Iowa/Iowa Shakespeare Festival , client. 19x22, pastel.

52

Communication Arts January I February 1984

53

JOHNSON & SIMPSON NEWARK, NEW JERSEY The obvious question: Why Newark?

What's it like, running a design office in what, according to Milt Simpson, "some would say is the most undesirable city in the nation?"

Visiting Johnson & Simpson in their 1920's three-story town house across the street from the Rutgers University campus-on a revival-area stretch that looks just like any fraternity rowmakes the question almost academic.

The atmosphere is relaxed, peaceful, comfortable. Patch-work quilts and other folk-artifacts decorate the walls beams and stairwells, and Don Johns~n grows tomatoes and basil in the back yard, making his own pesto sauce.

"Clients like to come here for lunch. Get away from all that glass."

They've been there, in the building they bought from a dentist, since 1969. And it's long since been paid for, so "the overhead is low.

"I've always been in Newark," 50-yearold Don Johnson says. "I went to school here, the Newark School of Fine and Industrial Arts, and after a spell in the Service I went back. Got a job in an art studio and then an ad agency, both 54

in Newark. Found I wasn't doing enough and decided to pick up work at night. Eventually, I was doing as much at night as I was at the agency, so I decided to quit and try my own business. That was in 1962, and I've never been sorry-not for a day."

Back in those days, Johnson relates, "all the work was right here, in Newark.

I could walk to everyone I had to see.

There was some competition, but mostly the studios around then were production-minded; there weren't too many people like myself, who could design and illustrate (I used to do a lot of illustrating, in the beginning, to supplement the work). I could go to the agencies, help them do their layouts, and I'd get to finish the project. It was a nice arrangement. There was a need, or else they'd have to go to New York.

I was around the corner."

Most of the firms, Johnson adds, later moved out to the Jersey suburbs. "Lots of firms from New York moved over here, too. What's happened is that we've stayed here, and in fact everything's moved out here over the last ten years. I do a magazine now for Nabisco-they moved out of New York about five or seven years ago, to East Hanover, New Jersey. Allied Corporation is up in Morris Plains; they moved out of New York a while back. ADP just opened a Jersey office. Science Management, from south Jersey, just moved up; it's now an account of mine and I can take my bike to their office.

And as for out-of-town accounts, we're twenty minutes from the airport, and there's the PATH train to New York.

"Nowadays, we're aware of competition.

At one time, maybe we were the only ones around. Now the New York studios come calling. We've lost some accounts, and others have gone and come back; still others have come over to us from the New York studios."

Communication Arts January I February 1984

Simpson, the elder of the two partners by about two years, came to Newark by a different route. Born in Brooklyn, he went to the High School of Industrial Art (since renamed the School of Art and Design) in Manhattan, and although his family moved to New Jersey his first job was in the Big City, with American Baby magazine. He did work for a small studio in Newark for a time leaving to attend the now-defunct ' Workshop School, back in New York on scholarship. This led to a job with' an agency that had offices in both cities after which he became art director for ~ Newark printing firm, remaining there eight years until-"was it 1963 or 1964?"-he moved in with Johnson first as a sub-tenant and eventually ~ a partner. "I was offered free space at Singer Corporation, and the chance to do all their work. I turned it down; I preferred to be independent, and went in with Don. "It's been a long marriage-over 20 years. Rare in this business. Part of that has to do with value systems. Our personalities are a lot different, but our values are pretty much the same. And we've positioned ourselves just about where we want to be."

Left: the building.

Right, top: the staff. Clockwise from the front: Don Johnson (stri ped shirt}, Milt Simpson , Marian Sabolchick, Anne Giacalone, Cathy Brennan , David Chomowicz, Bonnie Berish , Jeff Kibler and Lynn Keffer.

The windmill weight on the table, Long Tail Dempster Horse, is one of many such farm windmill weights in their collection.

Poster for The Newark Museum exhibition of Whaling Days in New Jersey, lettering by Larry Ottino.

Festival New Jersey poste r.

Poster for the New Jersey Counc il on the Arts.

Sam Calello/ Northlight, photographer.

Photograph by Bill Rivelli

FESTNAL

NEW }ERSEY '83

55

JOHNSON & SIMPSON

That position results in a workload of some eight or ten corporate annual reports a year, for firms like Johnson & Johnson, Bell Labs, Public Service Electric and Gas, Allied and others. Those account for some 40 per cent of the firm's activities. Another 40 per cent consists of corporate magazines, internal and external, with the remainder brochures and collateral. For the Newark Museum, they also do book and poster design.

"We could be the largest around these parts," Simpson suggests. "Maybe we are the largest, I don't really know."

Including the two principals, the staff totals ten: three senior designers, two younger designers who do some design and comping as well as board work, two others in production, and one clerical person. All appear to be in their 20's; attractive young people about whose talents the partners are enthusiastic.

"One designer who'd been with us for ten years just moved out to California," Simpson reports. "Got married and moved out there, and on her own she picked up the Hewlett-Packard annual report. Just showed her book and got it. We're proud about that."

How do they find talent, especially in competition with the Big Magnet across the river? "We've been asked that, and it's difficult to answer. But when we run an ad, we get lots of resumes from New York, and one of our people even commuted from there. We try to keep the working environment as pleasant as we can, and people stay for years."

Johnson is also on the advisory board at Kean College in Union, NJ (serving with such others as Seymour Chwast, Tony DeSpigna and-formerly-Herb Lubalin), and "they call us when they see good potential." One current staffer is a Kean graduate.

All account management is handled by 56

the partners, and each serves his own group of accounts, in his own style.

"Calling on the customer, you get the problem first-hand," Johnson states, "and I know better than anyone, when I come back, what the solution has to be. But you can't just dump that on a young designer. So what I do is explain the problem, do some thumbnails, and get them started in the right direction.

Then I try to let them free-wheel a little, but I have to know they're going to be within certain parameters. I'll see what they come up with-they may spark something I hadn't thought of, and I try to let them do the design-but it'll end up, eventually, to be what I want."

Simpson works "a little differently. I try to go as far as I can in the thumbnail stage-think it out. I may end up with twenty pages of questions, and go back to the client: Option A, B, C ... is this plausible? I whittle it down, and then work with the designer. I like to get things off my chest, first. I'm compulsive; Don is more analytical."

Part of working with a corporation, Simpson adds, "is to have them involved in every step. Not to jump too fast. No surprises. At times we'll work with a yellow pad, with the client, and talk. Maybe they have a hangup. Maybe the chairman doesn't like red, or photos jumping the gutter, or this or that typeface. We like to find out if that's really so. Does the report have to be 48 pages?

Maybe that has to do with mailing, or maybe it's just something somebody said ten years ago."

The same pragmatism is evidenced in their advice to young designers. "Put the customer's problem first. Young people have a tendency to get caught up in what's fashionable, but it may not relate to what the problem is. Suppress the ego a bit, and try to put yourself, maybe, in the shoes of the corporation.

Read the copy. Don't decorate the page, solve a problem."

Communication Arts January I February 1984

The payoff for this level of concern, Johnson feels, is evident. "When I look back at reports produced just five years ago, I'm amazed at the difference. More people are becoming aware of design; design has gained more recognition, more respect, and the designer has taken on a much more important role within the corporation.

"I guess this is because it delivers results.

The corporate officers I work with are generally aware of the importance of design, and increasingly aware of the difference between good and bad design.

They're more receptive."

Working with receptive clients, some for most of the 20-odd years they've been in business, Johnson and Simpson have clearly found the solution that works for them. "The work we do, we enjoy doing. We think it's good work. I don't think we want to be much bigger than we are now. We're very comfortable."

And even though Newark is, in Simpson's words, "a troubled town," to which he, his partner, their staff and many of their clients commute from suburban residences, their style of work is satisfying.

"Relaxed. But we take it seriously."

-Mill Roseman

Right: annual reports for Purolator, Inc. Cover of 1980 report. Jack Milne, writer; Jeff Perkell , photographer.

Cover of 1981 report. John Opitz, writer; William Rivelli , photographer.

Spread from 1982 report. Ray Jicka, write r; William Rivelli , photographer.

Typical of the longevity of J&S account relationships , Purolator has been with them for eight years.

Purolator, Inc. 1980 Annual Report Purolator provides specialized transportation services and automotive and industrial products through seven operating companies. Purolator Courier offers _ ...._pickup and delivery of a wide vanety of time-sensitive materials for business and industry in the U.S. and in Canada. Purolator Armored provides secure, reliable transportation of valuable commodities in the U.S. Purolator's product manufacture filters and caps for autooff-road, industrial and applications.

Purolator Annorecl

Purolator Armored is the nation's second largest armored car company, and, with over 3,000 employees, serves 16,000 customers with 984 vehicles through a network of 76 terminals in 35 states.

In 1982, Purolator Armored's revenues rose 9.2 percent to a record $89.8 million. While net earnings were ~----' down for the year, a decided earnings improvement took place in the final quarter of the year with December registering record results.

Even though recent legislation created an environment of increased competition for the traditional armored car business of coin and currency movement within the banking, commercial and industrial markets, Purolator Armored is meeting this competition with no diminution of its high standards of safety and security. In addition, Purolator Armored has applied continued emphasis on non-traditional ancillary services. Two of these services are illustrated in this section of the report: Service of automatic teller machines and Sky Escort.

Purolator Armored provides routine and on-call currency resupply, deposit service and maintenance to a rapidly growing population of automatic teller machines.

These services are provided under the strict observance of security procedures.

The burgeoning volume of transactions in the financial markets has provided substantial growth for Purolator Armored's Sky Escort service. 'frained professionals accompany high value shipments transported by chartered aircraft and regularly scheduled airlines between major r:---,~-~

t=-------j

Under the strict

observance of security

procedurea. •n •utom•tic teller machine ls resupplied with c•sh. On·c•ll malfunction service , day or night , Is per· formed with the same adherence

to procedures .

57

HIGH IN ENERGY

OPENING "lllE CAsE

n

A DAIN1Y BREAKFAST

n

BY

J. 0 . LEYENDECKER

...:....:::::...._~~~~ AU.N~F_orn:~R~~~~~~ =·_,_ ~~~ - "-~~~E_o~-~~v_.B_REWE~R~~~~~ ~ '

plam was a fu lly-detailed inventory of all the Cream of Wheat art Listed in chronological order were hundreds of paintings done by famous

full of venical, Steel files.

Each, arranged in chronological order, contained various items: advenising proof sheelS

The Cream ofWheac Collection has been written about in newspapers around the coumry, and has received televi ton coverage from sta· lions affiliated with each of lhe major nerworks: AOC, CllS and NBC. Its tour has included 1he Phillips Gallery and 1he Society o( Il lustrators in New York Ciiy, lhe Valemine Museum In Richmond, VA, the Tupeka, KS, Public Library Gallery and the MidweSt Art Museum in Elkhart, IN , and has proposed bookings schedu led 1hrough 1985.

Olher consumer produas company has retained such a storeofart"NOrk.

Wah Reed, noced hlstofrom magazines, charcoal . rian of illustralion art, consketches and, wrapped in firmed the treasures Dave had anistsoflheera brown paper packages, pain•· unearthed. He conservative ly eStima1ed lhe Collection's Found In Minn capolls lngs- over 600 of them.

Could it be? Could these Dave's excitement grew; value at over Sl million. This paintings have survived? The ii appeared that these brown was 100 good 10 keep hidden. chance thev could have, W'Jr- paper-wrapped parcels corre- With a summer 1981 Inauguraramed oavC·s going out to sponded exactly to the tion in East Hanover, the Minnesota 10 investigate. His inventory list. It sex>n became Cream ofWheac Collection was deStined 10 be shared 1rip prt'.>\'ed worthwhile. Upon evident that the Cream of wilh 1he reSt ofihe world. his arrival he found a room \llheat Company had saved every last piece of o riginal advertising an it had ever

Golden Age Artists The Cream o f Wheat Com-

pany commissioned !he works of many Golden Age anises. Described here are some of the more renowned whose creations are often pan ofthe 1raveling Collection.

William V. C.hill was commi~ioned to paint some of 1he firs1 CREA.\t OF

WHEAT Cereal ads. His works are reminiscent of the early Impressionists.

James Montgomery Flagg"s most famous painting was done for a World War I Armed Forces recruiting poster piauring the nowfumous Uncle Sam saying, " I Wam You!·: He loved his life as an artist and was able to use all media casil~ During his 30ycar career his specialties were portraits and caricatures.

Frank B. Hoffman grew up in ew Orleans and was

commissioned. To date, no

a new shape , a new name and a spectacularly new method of packaging.

In deciding which of many candidates would be the first product to bear the National Biscuit name, Green had opted for the universally popular soda cracker. But he insisted on a special recipe that would make it exceptionally light and flaky, and he had the corners clipped ofTto give it a unique, octagonal appearance.

The name, too, had to be different and eye-catching. Here Green en listed the help of N. W Ayer & Son, a Philadelphia· based advertising agency.

The agency submitted a long list of possibilities. Among the s uggested names: 'I'JkaCracker, Hava racker, UsaCracker, RackaCracker, WantaCracker, 'I'Jkanoo Cracker and U need a racker.

Green liked the "Uneeda" part of the last name but found fault with the '"Cracker." The word

-

..cracker':' had too long been associated with stale and soggy products. "Biscuit," he felt, would be better.

The words .. Uneeda Biscuit" were registered with the United tates Patent Office.

Next came the need for packaging that would keep the prod· uctfresh,crispand free from cohtamination. After soliciting advice from dozens of packaging experts, Green found the answer in a design submitled by his own law partner, a young man named Frank Peters , who, like Green himself, was now devoting more of his time to the baking industry than to legal affairs.

What Peters had devised was a package consisting of interfolded layers of waxed paper and cardboard - a package so unus ual and so effective that it deserved , and got, a name of its own: '"In-er-Seal."

children. Clear-eyed, chubby· cheeked, demure, he would be <he model. He would be dressed in boots. rainhat and oilskin slicker and would hold a box of cst:t:DA Biscuits in his hands, thus demonstrating the moisture-proof quality of the package.

Displayed everywhere an ad could appear, the l!SEt:UA Biscuit licker Boy quickly became one of the world's most recognizable human beings. And with

T he Boy in the Rai ncoat Finally, there had to be a symbol - something that would illustrate the qualities of the new product, both on the package itself and in paid advertisements.

Here, too, the Ayer agency came through. Joseph Geisinger, a copywriter there, had a five year-old nephew named Gordon Lille who embodied many of the characteristies then in vogue for

16

58

Flrat('amrtltr1u;,.;111 Hi11nit inila ln-rr-Srol paekage. Tltrn ea mr GroltamCroekrraonda lto• lolotltrrproduel•, from ~ \llMl'l- llt. 1'."

Cro<"krratolf lt GingrrSnopa.

f'romlilrrar1llo1111lh CluUtophrr Morlrr I• <"omk-•trlparlilb, Amrrkt11uaa111tltr prai•raefHllt.\t " '·" l\IWll-" C"'rlrrr.i11 thrfrr.lerf14J,,.eka11r•.

his appearance came the e nd of an era. Food products would no longer be anonymous. The day ofstsndardized, reliable, brand· name merchandise had arrived.

Good over Evil One more image remained to be established - one that would symbolize the National Biscuit Company itself.

Green discovered it late one night while leafing through a book that contained medieval Italian printers' marks. One caught and held his eye. It was an oval surmounted by a cross with two horizontal lines instead of one. It was said to represent the triumph of the moral and spiritual over the evil and worldly.

Adopted as the official company trademark , the symbol at first was used to enclose the word " In-er-Seal." Later it set off the initials "N.B.C.", as the company was then known. And still later, when the company name was changed, the word "Nabisco" appeared in it.

Although public demand for UNEEDA Biscuits was enormous from the start - sales in 1900 exceeded a hundred million packages, or about six for every family in the nation - the company was constantly on the alert for new product opportunities. wingon every conceivable source - from old family recipes to brand new formulations made possible by the latest baking technology -N.B.C. soon was making a wide variety of cratkers, cookies and cakes.

First to come on line after the UNEt:DA Biscuit was the gingerflavored JINJER WAYFER. This was followed almost immediately by OYSTERETTES Crackers, zu zu Ginger Snaps, SOCIAL TEA Biscuits, Graham Crackers, FIG NEWTONS Cakes, PREMIUM Saltines, SNOWFLAKE Crackers, NABISCO Sugar Wafers - in lemon, orange, chocolate, vanilla and mint flavors - and BARNUM'S ANIMALS Crackers.

D

Circus Cage with a String The Animal Crackers, based on a design created many years earlier in England and made by several American bakeries prior totheadventofN.B.C., were an especially popular item. One reason was the showmanship used in selling them.

Among other things, there

was the name itseJf - derived from that of circus owner P. T. Barnum, the epitome of showmanship.

Then there was the package: a small rectangular box imprinted to resemble a circus cage mled with animals, and topped by a string-tape to facilitate carry, ing, although that wasn't the original purpose. The string had been put there to enable parents of small children to hang the boxes on family Christmas trees.

Introduced in 1902, BARNUM'S ANIMALS Crackers caught on to such an extent that they became pa.rt of the American scene.

Author-editor Christopher Morley was moved to make a lyrical tribute:

Animal Crock<n and cocoa to drink, That ii Uufinnt of IUpp<TS, I think; Whon I am grown up and can have what I pUa.u, I think I •hall alway• imiat uponthue. •

*

~

17

Communication Arts January I February 1984

JOHNSON & SIMPSON

Left: spread from the Summer 1983 issue of nb eye, company publication of Nabisco Brands, Inc. This is feature titled "Scenes From a Golden Age ," when young illustrators like James Montgomery Flagg , J.C. Leyendecker and Haddon Sundblom were commissioned by companies to illustrate their products. Dana Lee Wood, write r.

Spread from "The History of Nabisco Brands, Inc.," published at the time of the merger of Nabisco, Inc. and Standard Brands Incorporated, relating the roots of the two companies (dating back to 1792) that had joined forces . Melvin J. Grayson, writer.

This page: 1982 annual report for Bell Laboratories.

Larry Chase, writer; Michel Tcherevkoff, cover photographer; Sepp Seitz, spread photographer.

28

with other packets that comprise the entire message.

Basic Packet Swit.:hing Service will be available to Long Lines customers, and to operating company customers via Local Area Data Transport. For example, it can provide support for the data transport needs of American Bell's AIS Net IOOOservice offering (page 16). Long Lines expects to construct packet swit.:hes in several American cities in 1983. ~_.lromooltw ...

As in t.M local exchange, compoter-based operations support systems are helping boo6t performance and productivity in the int.erexchange network. In 1982, Long Lines and Bell Lallo collaborated to develop the ~y Maintenance and Administra~ for long-haul lightwave transmission systems. First use is in the Northeast Corr idor installat:ion . ~ Tulemetry Processors continuoosly monitor transmission performance from equipment bays along the transmission route.

The processors report to a centrally located 3Ba>S Processor (page 44). Craftspeople at regional centers can access the reports and execute trouble-locating software when reports indicate equipment malfunctions. The system is the first to support remote operation oC lightwave communications.

Last year we also worked to expand t.Mcapabilitiesolthe~

change facilities in 1984, its engineers will use the system to perform centralized statewide planning and order-processing functions associated with those fa<ilities.

Enhancements to other computerbased systems described in the opening chapter- the SwiU;hed Access Bemote ~ll!&!!! and t.M Centralized Auto~l!!!tli!!g~Yl!!&m.in

particular (page 11)- also benefit t.M interexchange network by improving test procedures and assuring performance of special service circuits. And improvements to t.M Circuit Maintenance Svstem-L which provides administrative support for t.M installation and maintenance of toll trunks, shoolcl increase craft productivity.

Finally, as described in the opening chapter (pages 9, 10), we helped develop long-range plans to allow for the coordinated evolution oC local and interexchange networks. These plans, together with a continuing flow of Bell Lallo advances, shoolcl provide t.M wherewithal for the AT&T interexchange business to meet vir<tually any customer need for information transport. The individual placing a longdistance telephone cal~ t.M small-business employee querying a remote data base from a desk-top computer; t.M largest corporation with its far-flung private network for voice, video and data: all can look forward to economical, reliable and flexible service, when and where they want il

Records-Kee in~ for Long Lines use. When t.M AT&T interexchange business assumes control of additional interex-

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59

JOHNSON & SIMPSON Fidelity

1982 annual report for Fidel ity Union Bancorporation highlighted economic opportunities in New Jersey. Dana Dowd Williams and Margaret Griffin , writers; Bob Krist and Michael Spozarsky, photographers on spread shown here; Craig Hammell and Gabe Palmer were also photographers for th is report. Fidelity Union has been a client for over ten years.

Right: Johnson & Johnson annual reports .

Spread from 1980 report. F Robert Kniffin , writer; Bill Cadge , photographer for entire report .

Cover 1981 report. F Robert Kn iffin , write r; Tom Hollyman, George Haling and Paul Elson , photographers .

Cover of 1982 annual report had a die-cut corner showing a photograph of Tylenol , the media highlight of the year, a tragedy and challenge that corporation handled well. F Robert Kn iffin , writer; Todd Weinstein, William Rivelli , Bill Cadge, Dick Luria, Faustino, photographers.

A Tradition of Economic Innovation page 4

A U adtr in Construction Financinj{ An tsst1111a/buttruily0Vtr-

loolttd rompot1nil of a htgh1Lcl1 mviro"mt'nt u swtahlt

worltspau. Ftdtltty Union Bat1U Rtal Estatt Dt/xutmtrit Juu playt'd a 1na1orrolt m providmg lht fh1a11cmg for such spau for compamts rtlocaling to or t:cpm1d111g m Ntw j trsq.

AJ01itofthtlargtsl commtrcia/co11structwn ltndersin thtstalL, Fidi!l1ty Umo11's Rtal Estatt Dtportmn1I has fiHa11ctd office a11d rtstarch and drotlopmn1I spauforUYbysuchh1ghttch giants as AT&T, Btll Labs and Digital Eqwpmml. lt hasalsoputtogttMrcon struction-Jinancing padagts for numerow otMr compawts, urhost l«hmcal rtquirtmtnts a tuf financial constrair1tsofttn/xmron1 more challn1gmg jiM11cmg probltm.suthtn itcomLs .to crtalrng a worltablt flniJhed product.

"Demand fo,. offlu and l'tStarch and developmt"I

60

spau m Ntu1 j tney co" timm strong dtSpiu tht rtctmon," says Tom Rya11 , Stnior vict pra1dmt m charge of tht Fidelity Uru011 Bank Rtal EstaU Dt/H,,.1mtnl...A,,d lhu haJ rrtaUd a pos1tivt ripplttfftrt throughoul tht Ntw jtruy constructw11 ;,1d1utry. Nol. only art compt,,11ts buildrng ntu1u'Orlt spau, bul tluir tmployttsartlooltmgfor high-quality ltving spact. By /av 1982 tht rtsidn1tial m11rlttt, although ·s111/ hamptrtd byh1ghfoumtrnlts,was

;:,u~~·;~m~~1~.~~:~t/,1

runes in the ortheast the economic advantages of a highl y concentrated population and industrial base.

This ensures an excellent market for its goods and services-a market which CC?mplements the region's read y access to overseas markets. In addition, this concentration of population and industrial resources is a rich and accessible fund of hu man capital, scientific and technical com~tence, financial support, and the so-

from tmplo)'US u•host com pa11its had recmtly muutd to Ntw J nsty 01 txJ>andtd their ftmllt1tshnt."

Thi Rtal EstalL departme11t u also htav1ly mvolllt!d 111 urbcm rtt1'wal projtclsi11 Ntwarlt, Haclttnsatlt, and j mey Coty. A Old in Nt:w Brwuwiclt tht Real Esta~ Dtpa 1tmnJ1 uias I.ht lead balllr. 111fi11ancmgthtctnl.trp1tct of downtoum rtritwa l-a "tu1350 room Hyatthmel whichopentd111thtfollof 1982. Tlit dtpnrtmmt also hasa 11m1goingfimmc1a/ comm1lmml lo tht New B,.u1uwlclt Dtvtlopmmt Co,.pora/1011, which u•i/Jhtlp assurt tht confimud l'tlltu.IQ./ o{lhtdoumtow11area.

Communication Arts January I February 1984

phisLicatcd com munications options which are so

e scntial in the "information age.· Complementing these regional resources, New Jersey's economic environmcm also boasts several particular qualities which enhance the state's long· term economic outlook.

For ex.ample, cw Jersey's per ca pita income is one of the highest in the nation, wi th the borough of Paramus ranking first in the nation in per ca pita reta il sales. Another critical measure of economic climate, coo peration between business and government, has tradi-

tionally been excellent, and it has improved still further with the recent rationaliz.atiorr of many regulatory requirements

~~:u~~~:t:~tfc:~~i~tg of programs.

New Jersey's first-rate transportation systems also do their part in keeping dow n the cost of doing business. The pub-

lie transportation system is one of the largest people movers in the country, and t~ highly developed highway system provides cuy access to all parts of the state, including Newark International Airport and Pon Newark.

The Garden State Almost surprisingly, in view of this high level of economic developme nt and the excellent pros· pccu for future growth, New Jersey iJ still "the

Garden State: Two thirds of its land is covered by farms and forests, and its agricultural base is nourishing. There arc over 7900 working farms in the state, and it is known to horse lovers as the •Thoroughbred Capital of the World."

And the tourist and entertainment industries thrive. Tourism, in fact, is

still New Jersey's number one product. Their labors completed, the productive workers of New Jersey know how to relax.

Thoughu of the factory ·or office are washed away in the roar of professional sporting events at the Meadowlands, the excited buzz of the crowd in an Atlantic City ca!ino, the soft rush of wind through a sail off Sandy Hook, or the quiet of a solitary walk along a trail through the PineJands.

For 60 years BAND-AID Br•nd Adhesive

Bandages have bun continually impro11ed.

The steady gains In consumer benefits In

adhHlve bandage& can 1/10 b• seen In today's

ack In 1890 Johnson & Johnson put together the original first-aid kit in response to a plea from railroad workers who needed treatment on the scene as they toiled to lay tracks acrolis America . Ninety years later the name Johnson & Johnson Is still synonymous with home wound care.

This reputation for producing the bandages and tapes to bind a nation's scrapes, cuts and wounds was enhanced greatly with the invention of the BAND-AID Brand Adhesive Bandage in 1920 by a Johnson & Johnson employee, Earle E. Dickson.

Actually his wife Josephine gets part of the credit for this revolutionary addition lo first aid. After a few minor but painful accidents in the kitchen, Josephine turned to her husband to create a convenient bandage.

He responded by taking pads of gauze and laying them al Intervals on a strip of adhesive tape. He covered the tape and gauze with crinoline. A snip of the scissors, peel oft the crinoline and there it was. W. Johnson Kenyon, superintendent of the mill, came up with the tradema rk " BAND-AID," and billions of bandages later it Is still the first name in first aid all over the world.

In 1980, the company's famlly of home wound care pi-oducts continued to improve, as ready-to-use sterile dressings, flexible gauze bandages, absorbent cotton products and adhesive tapes took on a new look.

Redesigned packages ol Johnson & Johnson Products, lnc.'s home wound care products In the U.S. began carrying the STEP-BY-STEP Wound Care Method for treating minor cuts, scratches, scrapes and burns.

STEP-BY-STEP explains the four steps in home wound care-cleaning, treating, covering and taping, and which products to use for each.

Many of these products also enjoy broad acceptance in markets outside the United States, such as the BAND-AID Brand Adhesive Bandage, which is sold in more than 100 countries.

B

lln• of home wound care products-from tape to

llrst-1ldklt1.

Cilag AG Chicopee Cadman & Shurlleff, Inc. Crilikon, Inc. Devro, Inc. Ethicon. Inc. Extracorporeal Inc. Or. Carl Hahn G.m.b.H. lolab Corporallon Janssen Pharmaceutica N.V. Johnson & Johnson Baby Products Company Johnson & Johnson Dental Products Company Johnson & Johnson Development Corporation Johnson & Johnson Products, Inc. McNeil Consumer Products Company McNell Pharmaceutical Orlho Diagnostic Syslems Inc. Ortho Pharmaceutical Corporation Personal Products Company Pitman-Moore, Inc. Surgikos, Inc. Technicare Corporation Crilikon Canada Inc. Devro Canada Limited Elhicon Sutures Lid. Janssen Pharmaceutlca {Canada) Inc. Johnson & Johnson Inc. McNeil Laboratories {Canada) Limited Orlho Pharmaceutical (Canada) Ltd. Pilman-Moore, Ltd. Surgikos Canada Inc. Technlcare (Canada) Ltd. Johnson & Johnson (Dominicana), C. por A. Elhicon S.A. Johnson & Johnson $.A. lnduslrla E Comercio Johnson & Johnson de Chile S.A. Johnson & Johnson de Colombia S.A. Johnson & Johnson de Costa Rica S.A. Johnson & Johnson de Argentina. S.A. Johnson & Johnson Hemlsterlca S.A. Johnson & Johnson de Centroamerica. S.A. Johnson & Johnson (Jamaica) Limited Janssen Farmaceulica. S.A. de C.V. Johnson & Johnson de Mexico. S.A. de C.V. Cilag de Mexico, S.A. Surgikos, S.A. de C.V. Ethnor del Estmo, S.A. Johnson & Johnson Panama. S.A. Johnson & Johnson de Venezuela S.A. Johnson & Johnson (Trinidad) Limited Johnson & Johnson de Uruguay S.A. Johnson & Johnson del Peru S.A. Auslro-Hahn G.m.b.H. Johnson & Johnson G.m.b.H. Cilag N.V. Exlracorporeal S.A. Janssen-Le Brun S.A. Ortho Dlagnosllc Syslems N.V. Janssenpharma A/S Codman Limlled Critikon Limited Extracorporeal Limited Janssen Pharmaceutical Limited Johnson & Johnson Limited Ortho Diagnostic Systems Limited Orlho Pharmaceutical Limited Technicare Imaging Limiled Cilag S.a.r.I. Crillkon S.A. Elhnor S.A. Laboratolre Exlracorporeal S.A. Technicare & Cle. Critikon G.m.b.H. Devro G.m.b.H. Dr. Molter G.m.b.H. Ethicon G.m.b.H. Extracorporeal G.m.b.H. Janssen G.m.b.H. Orlho Diagnostic Systems G.m.b.H. Cilag G.m.b.H. Technicare G.m.b.H. Janssen Pharmaceutica S.A.C.I. Johnson & Johnson Hellas S.A. Chicopee B.V. Johnson & Johnson Benelux B.V. Technicare B.V. Johnson & Johnson (Ireland) Limited Cllag S.P.A. Elhicon S.P.A. Janssen Farmaceulici S.P.A. Johnson & Johnson $.P.A. Ortho Diagnostic Systems llalia S.P.A. Ethicon Limited Surgikos Limited Devro Limited Johnson & Johnson Limilada Johnson & Johnson S.A. Cllag AB Johnson & Johnson AB Janssen Pharmaceutics AG Johnson & Johnson AG Chicopee Llmlled Johnson & Johnson (Angola), Limitada Oevro Pty. Limited Ethnor Ply. Limited Janssen Pharmaceutica Ply. Ltd. Johnson & Johnson Ply. Limited Technicare Australasia Ply. Limited Johnson & Johnson (Hong Kong) Limited Elhnor Llmlled P.T. Johnson & Johnson Indonesia Cllag Selyaku K.K. Janssen-Kyowa Co .. Ltd. Johnson & Johnson K.K. Kuraray-Chicopee Co., Ltd. Ortho Diagnoslic Systems K.K. Johnson & Johnson (Kenya) Limited Korea McNeil. Ltd. Johnson & Johnson Sdn. Bhd. Johnson & Johnson (Mozambique), Limllada Johnson & Johnson (New Zealand) Limited Health Care Products (Nigeria) Limited Johnson & Johnson Pakislan Limited Johnson & Johnson (Philippines), Inc. Johnson & Johnson Pte. Ltd. Elhnor (Pty.) Ltd. Janssen Pharmaceutica (Pty.) Limited Johnson & Johnson (Ply.) Llmiled Johnson & Johnson Taiwan, Ltd. Johnson & Johnson (Thailand) Limited Johnson & Johnson (Zambia) Limited Johnson & Johnson (Private) Limited Chayes Virginia. Inc. Frontier Contact Lenses. Inc. Windsor Minerals Inc. Xanar. Inc. Decentralization:: Creativity.:: Productivity

~~ 1981Annua1Report

61

The Newark Preservation and Landmarks Committee The Newark Public Library S Waahincton Street Newark, New Jeroey 07102

Get set to amaze and astound your family and friends with this lively trivia sampler. Joe Krawczyk, our Advertising and Marketing Forum Co-chairperson from PSE&G, passes it over for your enjoyment. While not strictly an advertising essay, we thought you might get a kick out of it. Enjoy!

$9.95

The greatest concentration of market wealth in the world lies within a 250mile radius of New Jersey.

Mating The revolutionary new Dynamic Mating System to: •Find your ideal mate •Solve your marriage problems •Build the marriage you want Single, Married, or Divorced, you need answers for your best Mating decisions!

• How can I make my marriage a success?

•What kind of mate am I? What kind of person is my lover or spouse?

•Which people are bad risks for me?

•Should I marry (or remarry) now, or late~ or ever?

•Where can I find a mate who's right forme?

New Jersey's per capita income is the second highest in the nation.

The borough of Paramus ranks number one in per capita retail sales in the United States.

New Jersey has more railroad track per square mile than any other state.

EDITOR

Ken Caputo Prudential ART DIRECTOR

Barbara Jo Leer Johnson & Simpson Graphic Designers DESIGN Johnson & Simpson Graphic Designers CONTRllUTING WRmRS Ward Nessen Arrow Typographers

A Fortune magazine survey of the top 1,000 firms shows that New Jersey is a top selection as the "most likely choice· for corporate headquarters.

Suzanne Poor Miller/Poor Associates

With more scientists per capita than any other state, New Jersey is a significant research and development center that includes university research programs and privately funded laboratories. In dollars spent, the state leads the nation in privately funded research.

PHOTOGIAPHIR Ken Caputo Prudential

Profit from worker productivity is among the highest of any industrialized state.

1bis newsletter is also made possible through the generosity of:

New Jersey ranks as the fifth lowest in per capita state taxes.

Jerry Nussbaum Keyes Martin

Joe Krawczyk Public Service Electric & Gas

... and much mare!

Elizabeth Typesetting: Type

by De M. Ronald Minge • De George A. Giuliani • De Thomas F. Bowman

The Kenny Press: Printing

Central Paper Company: Paper

New Jersey has the third largest concentration of corporate headquarters in the nation. (continued )

62

Communication Arts January I February 1984

JOHNSON & SIMPSON

Left: letterhead for the Newark Preservation and Landmarks Committee.

Book cover for " Mating," Red Lion Books, publisher.

Design for newsletter of the Advertising Club of New Jersey.

This page: Johnson & Simpson have art directed and designed the Gonoco quarterly company publication for thirteen years.

The 1974 issue, last of the old, larger format was entirely illustrated by Alan Caber. Maury Bates, Jr., Director of Publications, and Bob Gaines, writers. The 1983 issue was written by Maury Bates, Jr. and Simon Dresner. The cover was photographed by Kyllingstad and Fuenes A/Sand the illustration shown, one of a series for a feature titled "Welcome to Conoco Country" is by Sonia Lamut and Nenad Jakesevic.

Oklahoma

a

ahomahasbeena leading petroleum state since the turn ofthecenlury. But IOf Conoco, the

Going. AH told , Oklahoma is home fOf more Conocoans-over 5,500- lhan any other state.

Our roots in Oklahoma go back to 1911 when a down-

Sooner State is

on·his·luck busonessman named

much more. It's home Oklahoma was the birthplace of M011and Oil , one of Conoco's parent companies.

Today, it is the site of many of our WOfldwide seMce operations such as our state-of-the-art research and devek>pment center.

Our oil refinery in Ponca City is the larges! Wl the state. '>.ie have expk>ration and production offices in Oklahoma City and opera1e over 1.350 oil and gas wells throughout the state. And lhe<e are more than 350 Conoco servk:e stations here, owned and operated by independent businessmen who have helped make our gasottne and other automotive products the Hottest Brand

E.W.Marlandstruckoilnear Ponca City. Thal discovery opened up the rich Mid-

Continent oil-producing region and launched the Marland Oil Company.

From the beginning. the company pursued a sctent1fic approach to petrok!um prospectng. And by the early 1920s, ots scienceandresearchacllvities were paying otf- both in oil dis· coveries and in advances in petroleum technology.

In 1921 . construction was underway on U.S. 77. the firs! paved road across the state, and Martand's new oil relinery at Ponca City was supplying gasoline to seMce stations bearing lhelairoosredtriangle. (At

about that time, one of those Oklahoma stations set a WOJkfs recordlorgasolinesalesby

pu"Tiping 20.582 gallons in one day.)

B1Abythelatet920s, Ol<tahoma was lacing hard times.

Recurrent drought had turned rich farmland into a dust bowl , and the Otl industry was suttenng from overproduchon and low prices. In 1929, just belore the stock market crash. Marland 011 acquued the Continental Od Company. The new company took the Conoco name but 1t remained headquar1ered in Ponca City until 1930, building on Marland Oil's strength in explorahon and production and Conoco's exper11se in markel1ng.

Oklahoma conllnues to be a hub of the company's WOJldwtde operahons. The contnbuhon of our ac1tv1t1es here to the state's economy ts subslanllal. Our current payroll is about S160 mil hon.

In additlOl"I, last year Conoco

paid about $14.6milhonll"ldirect

taxes and S1.2 mdhon 1n royatty payments to !he stale And we collected another $5.6 million in state income taxes from our

employees.

To help make the place whef8weworkabetterptaceto lrvtt, Conoco supports a wide range of ph1lanthropte , educational. and cultural programs in

Oklahoma. Our conlributions help the mentally handicapped leamskdlsattheOpportun1ty

Center for Retarded Children, promote arts education for high school students through !he Oklahoma SurMler Arts lnst1lute, expand secondary school curricula through the Oklahoma Coun·

ell on Econormc Education. and do much more.

From pet1o6eum productlOl'l to performing ar1s - Conoco has been part of Oldahoma tor more than 70 years. That's why we say wilh pnde- Oklahoma is Conoco

Country.

63

JOHNSON & SIMPSON

"The Movies Begin ," a book about the invention and early development of the movie industry, in New Jersey, was written

by Paul C. Spehr, motion picture specialist for the Library of Congress, and published by The Newark Museum.

Right: annual reports for Allied Corporation.

1981 cover photograph by William Rivelli.

1982 cover and spread. Patricia F. Lauber, writer; William Rivelli, photographer of cover and spread shown , other photography by Todd Weinstein .

114

RiJtg, 1917; R~i 1t , TMBl4dMtntlr.1917; S"4U. We forgive Her? , 1917; Brokn Tiu, 1918).

ApH Aym. Actresa. b. Chicago. 1896-1940.

Worked in New Jersey for E . K. Lincoln's studio.

Clarence Badrer. Director. b. San Francisco.

1880- 1964. The well-known Hollywood director workedinNewJeraeyearlyinhi1can!er,direct.ing movies for Goklwyn Pictures (Almoat a Hu.tbo.ted, 1919; Davgltt.rr of Mine, 1919; Day Dm:mu, 1918; TM Floor Below, 1918; Friend Hutbti:nd, 1918; Jubilo, 1918; UrnH1 it to Su.taft., 1919; A Perjed Lo.dy, 1918; Tll11Vmu.1M<Hhl,l918).

115

livedandby1919itwuont.hewane. On1yoneof her tum., A Fool Tlwre Wiu, hu aurvived for today's audiencea to judge her talenta.

Her New Jeniey-made ftlma include: A Fool. T~ Wiu , 1914- 15; KNwtzerSonata , 1915;TM C~ uiow Ciue, 1915; TM Devil'• Du.glr.to, 1915; Lad1t Awdlq'• Seem, 1915; Tlte 1\oo Orphtuu, 1915; Six, 1915; Cannen , 1915; Tiu G«llq SlaVt!, 1915; De•h"Mdion, 1916; T"4 Smpetat, 1916; Gold and tM WomaJC, 1916; Tlte Eternal Sapplr.o, 1916; Ealt L~11JCe, 1916; Undtrr 7'u.10 Fl(lfl1', 1916; Htr DOKble Life, 1916; Romeo and Juliet, 1916; The Vixe'lf., 1916; TM DarliJCg of Pam, 1917; Tiu Tiger Woman, 1917; I/tr Gmau.i I.AV•, 1917; Hearl and Soot, 1917;Camille, 19l'l . ~Studiot,pp.92-96.

Kinr Barrot. Act.or. b. St. Louis. 1879- 19'8.. Popular leading man ot the 't.eens. appeared in Univer· ll.l'1Ab.i'ntlt11. 1914, l'1med in NewJeney.

LeahDaird.Actreu.b. C'.hlcago. c.1881-1971. AppearedinUniversal'aAbl'imM, 1914; 1at.erformed

herownproduct:ionoompany, LeahBairdProdue. tiona, making pictures like Cptl&ia o[Uu Mi'llt1.t11, 1920, inlheronnerKalemstudioe, Cliffside, N.J .

GeorseD. Baker. Studio executive and director. b. Champ..ign, m. With Pat.he Frere. and Aatn Pkt.urea.

Fred Balshofer. Studio executive. b. New York C ity. 1878 - 1968. FounderoftheCreacentand Bieon companies, early independent tilmmaking companies(1908-19l0),andoneofthefoundenor the New York Motlott Picture Co., Balsho(er hu written,with cameraman Arthur Miller, an interesting account o(the early yean ofmoviemaking in New Jersey, ()mi Rut a Wuk (Berkeley & Los Angele•, Univeraityof CaliforniaPress, 1967).

Tallulah Bankhead. Actre1111. b. Huntsville, Ala. 1903-1968. Herflnt acting experience came in a Goktwyn picture, TlaiTt1t a Wuk , 1918, made in New Jeney. She came to the 8C1'eeJI a a welllcnown toclety beauty and lhe daughter of a famOUI speaker oft.he H00&eofRepresent.ativea.

ThedaBara.Actreu. b. Cincinnati,0. 1890-1966.

Theprototypeofthemovie"vamp."Herft.rstpkture, A Fool. T/tnw Wiu , was a sensation. Her (a. moua plea " ... kiu me my fool!'" captured the imaginationofthepublicaafewlinesfrom silent pictureaeverdid . Ouringthenextrouryean (1915- 1919)shellan'edinmorethanfortyfeature lllma--.prodigiouaoutputinuyen.. Herpopu· larityaecuredt.hefutureorWilliamFox's&m·pro· ducingen'ort&, affordingtheopportunitytoexploit nol only Theda Dara's t.alent, but the talents of many other creative personalities entering the moviesinhiastudioe..

Herpublicity-foateredca.reer waarelltivelyshort.-

64

lkainald Barker. : ~r. b. Rothwell, Scotland.

1886- 1937.Beganautageplaywrightanddirector, moved to films in the 'teena. Worked in New Jeraey u a director for Goldwyn Pictures (7\lnt of lM Wlt«el , 1918; TM Slo719V V010, 1919).

C he1ter Barnett. Actor. b. Piedmont, Mo . l.885- UM7. Afterabriefllagecareer,heappeared in movie• for World Pictures ('T'rilby, 1915; TM WUlli"ll' Rirtg, 1914 ; MarryiJtQ MOMf, 1916; Heart of tM Blau Ridge , 1915; LittU M iu 8rot01t, 1915; TM Pit , 1914; Old Dw.U:A., 1915; TM Gextlema"

Prom Mi.uitsippi, 1914; La. VU De &Mme, 1916) and Selznick-Select (TM La.10 of Compt"lf.Mtimt, 1917).

Ethel Barrymore . Actresa. b . Philadelphia .

1879-1959. Asaprominentmemheroraprominent &t.age t&Ini ly, hermoviedebutrepresentedarecognitionotthemonireapecubleatatusor acreenactr ing. ln New Jer&ey ahe made movies for Famous Playera-Laaky and Metro Pictures {Tlr.e A11!tlk~ ing of Helefta. Ridiili, 1916; TM Divorcee, 1919).

Lionel Barrymore. Actor. b. Philadelphia.

1878-1964. Began hia movie career (or the BK>graph Co. wit.h aeveral productions mad~ in New Jeraey (The Battle, 19ll; F rintdl, 1912; TM Ntw Yori: H at, 1912). Later11ppearedinPathe'aaerial, ErploiU o/ElaiJte, 1915.

Richard Barthelmaa.. Actor. b. New York City.

1895-1963. Madehia11ereendebutinWarBrida, 1916 , HerbertBrenon'1interpretationofAlla Nuimova'1 popular at.age hit. Aft.er establishing him.9elf as a lla.r he relumed to New Jeney in the 192.0'a to appear in TM E'lcho11Ud Cot.tage, 19'l4, Tlt-eFiglUiwg81.ad.e, 19'l3, andCla.1171ltlU•, l924.

Charles Batchelor. b. London, England. 18451910. Laborat.oryworkerallhe Edison Co. during the period of motion picture. experimentation by DickaonandEdU.On.

Communication Arts January I February 1984

LlndaArvKlaoninLi'IW ofWllit.sOftciSw.UmSea. Biograph , 1909.'

°""°"'"

LucienAndriot, camenman, with Maurice Toumeurand Mary Pickford filming Poor ~ ~ Rid Girl. Ari.cratt,

9

Health and Scientific Products Sales In the health and scientific products segment

were $505 million In 1982; income from operations was $19 million. A&her Scientific Company, which constitutes this segment. was acquired effective October 1, 1981.

also ooosted Oi.Jllays en research anc development by 14 percent. to ca·ry out ts corrm1tment 10 ad d rrore '11gtHcx:hnnlog1 produc ls 10

.ts ous1ncsses

he Corpornt ori's ncwcsl core bl.smc!-is 1r t1eal1h and sc1ent1flc products maro{ed 1ls f:r~t ll..11 year ol Op!!ral or· n 1982 Manggeo

by A red health & Sc erl f c P·ooucts Compary 1t is. a l 'his 1 me made up er• ~ciy of F1~hcr Scicnt1f1c CQrl'pany, whrch All cd acqJireo n the lall of 1981 as ar er:o, nto tre h gh-grov.1r opporiunrtr es c l ~ne heath care and ot'ler sc cnt,f.c

marke:s F1s'1e· Sc crl;f c. whic"I manufaciUres. c1s tnb.;tes a'ld se s a brcaa range of prooucts i..seo 1'1 'aborator1es exceeced lhe 5" cs ~JC of 1ts 1981 record year dcsp1le •'lo skrwcst g r<J.A1n rate in tre labora:ory suoplies rrarkets 1n a oec-

ade H~-eve~ 1ri a year-to-year comparison. earnings st..impcd, re f ect ng compcl11tve price pressures ar·o costs o' expand1'1g its sales 1orce Mhougr t~e compary tr mf'1ed costs l'l many areas of ts opor<! :iens 1t con!1ri1,i.cd lo make a subsla'll1al nvcs l r•en~ laNards 1ls fcture growlh It expanded its sales anc '!'al1<etrng stalls oy 16 pe rceot n order to peretrate goograp•·uca ano mark.cl areas "vhich were not previous y lt..lly covered T·us invest· mer! accourted for more lhar 40 percent cl :re comoary's '.eta p'Of t dee 1ne f'om 1981 The compary

Fi~tie1 is lhe eadmg supp·1e' to rndcst'ral abs and the secono argest supp 1er to moo1cal lnhs Its p'Oducts 1nc:ur1c ara yt cal ard mcasunng ns ln.J.ments, aµparatu s and apµlrances reagent cMm,cals and d agnostrcs g asswa•e and

hospitals, c hnics and med cal can· 1ers benefited tron u~creased demand by hea tn care fac1 1t1cs Grcw-1tt' of this market 1s cxpocled lo contint.o for :he lo·~seeab le h.. ure

p ashcware. ard abor:"Jtory tu mt ~1ro

New Catalog In 1982 F >her brought out tne ate;t eo1t10'1 of \'1hat 1s probabl)' ts oesl kncrNn ·product "a 1,700 pies page 11uslrntod cata og of v rlually all 56,000 rrsher s10c,ed rte•ns Trre ca ta og, iSS1..10d f11ery otne· yea r, ts sent 10 more than 300,000 customers anc pole'llm.I customers amu'1d the word Arl'O'lQ hJr'ldred~ ot ne\lli ~e 1Y'IS introou::ed.. and 1ric!Jded n Jhe cat·

a og 1s a nev.· vers·o"\ of F sher's autorrat1c !issue processor Called the Historna11c 266MP ano de Si grCd ror arge l'fledlC2 Cefl l0($ It can process as rra"ly as 340 iissue cassettes n a s1rg le rur II has ar integral mic roprocessor wliich cri rib cs !he use· to crca lc and sto1e 1nd1 . . 1dva ted progra-ns The com· pa•1y also rntroduced the new Conrempra chromat c l111e of mooular steel laboratory f .1rri1 1wc Oflcrcd in five allrac11vc colors, ·.-.·ilh g1ada tor~ al shades of eacr-1 color trori arawer to drav.oer, the h.. rri•ture ere· ates a feeling ol a r1ress neN to laoorator; •nsta.la!ions Ftsiicr's sacs to n1ro1cal laboratories , s...1ch as ttiose •ound 111

New Products Sa es to 1noustr al laboratorms wcro relatively strong 1n 1982 C0'1S1der 1ng tt'c state of the cccnomy. Sa es

cq.ia cd lhe CNe c l the year before. helped to so1""le eictent by tne mtroducl1ori of tv.'O re-N terns Iha! wore named by lnouslr:al Research Mag azl'ic as arnorg :r•e 100 'roost Sign f can: tedl''ICal products of ~002 · .... he lsotemp ash1"\g t...1 rrace Model 495 corrbires an 1nteg r~I rr1croprocessor w1tti a uriquc fcrcco·draft dcsigr to provide ci..s tomcrs grcatE!r flex1bi· ty l''l oete·· rrinng ash a'1d/or vo aliles content The ott'er proouct s a 'lC\v Jarrc Ash sc lid samp! ng spectrometer ttiat p rvv des expanded ar~a y~ cal capab1 ily Fist'e1 Sc1em1f1c's or.,er ma,or

markets. edvcaf,o.,a ario g(IVCrn mert labora~or f!S, wc•e less robusl thar !tie med1ca anc ndJ~lr1a l aroos, rcfleclrng a redcced level cl spena ng 11 tnese segrre"l ts ol tne econcMy All ed Hcnit'1 & Scicntrfrc Prod t.cls Companis futi..re µlans are to make c.:aref...1lly ~elec t ed accu!s tons in t~e tiealtl" C8'0 * 0iO l"lCiUd ng some outside ot the aboratory s1.ip ply b usrness

--·.....-.----•-which For-phyolcollyhond.._..i,Fl.-Sclentlllc ....

tor otudlff.

--··•-....c-ucut-.College.

I• -

biology, chomlotJy or phyolc•

Tho

65

ANNALS OF DESIGN (2)

AMERICA 1850-1950 The annals, records of the years of an event, explore an earlier century in the United States, years that led to the event of design.

From the 1850s to the 1950s, the U.S. was expansionist, not in territory but in industry. It did not need to practice colonialism, since it had a continent-wide nation to industrialize. While Europe spent its substance on continental and colonial wars, the Americans mainly tended to business, and business meant products, distribution, printing and advertising.

-Byron Ferris

In England by 1850, the "revolution" of the Industrial Revolution had fairly well ended and the island nation settled down to bring the products of steam-powered industrialization into distribution. Under Queen Victoria, the British Empire, "upon which the sun never set," consolidated, and its colonies around the world became both new markets and sources of materials to feed England's industries.

Queen Victoria had come directly to the British throne from her home in the German province of Saxe-Coburg and three years later married her Saxon cousin, Albert. Since SaxeCoburg had been a member of the Hanseatic League, the historic shipping merchants of northern Europe, the new British monarchs' attitudes helped shape Britain toward ocean commerce.

Prince Albert was never quite comfortable with his understanding of the English language and the cultured and precise diction whieh we love so well on "Masterpiece Theater" developed as an accommodation to the Victoria and Albert court; a modification for the German ear.

The Victorian Era was one of great prosperity, devoted to commerce, industry and Empire.

Across an ocean, a former colony was also industrializing.

The United States had little need for Empire, since it had three thousand miles of territory to develop.

By 1850, basic industries in America had already developed along the Eastern seaboard and spread to the Mississippi. By then the thirty-year trek to the West had begun. More than a half million people moved across the continent, establishing farms and towns in two thousand miles of new territory, 66

Communication Arts January I February 1984

many making a six-month wagon train journey to California in search of homesteads or gold.

In 1865, the American Civil War ended and the industrial centers of the eastern North regained control of the materials of the South. The success of the steam-powered railroads that had linked the North to the South inspired the U.S. Congress to authorize the building of a transcontinental railroad. By 1869 four major routes opened the lands and towns of the West to the East.

During the 1870s a flood of European immigrants entered the U.S.; an influx of new people already used to industrialization, many of them technicians and craftsmen. Ethnic groups used the new trains to travel from the eastern ports of entry to establish neighborhoods in growing cities across the nation.

The 1870s were also a time of great American technical invention. Alexander Graham Bell demonstrated the telephone in 1876 and Thomas Edison soon followed with the phonograph, the electric light and the motion picture camera.

By 1875, the first fast mail trains were making coast-to-coast runs and four years later a "2nd Class" Postal Act gave favorable rates to magazines. New magazines sprang up and by 1885 there were 3,300 across America, spreading the word of new products and the attitudes of new industry from New York to San Francisco.

Since 1856, Chicago's Rand McNally had been publishing territorial and railroad maps that recorded the nation's growth and change. By the last years of the 1800s, Chicago had built the largest printing plants the world had seen, first to produce railroad timetables and then to serve the product catalogs of the new commerce.

In 1900, Chicago had taken a natural place as the midcountry hub of U.S. railroading and was known as "the freight handler of the nation." Sears & Roebuck Co. had sent its mail-order catalog out from Chicago aimed at the 1881-The first newspaper halftone, The Daily Graphic , New York.

1904-ATF "Chap Book" page layout by Will Bradley.

1905-Block style "Chap Book " page by Frederic W Goudy.

11•1·;:. ·:·1•1111··:.. ··, . ::::;;.;lii:i)$liMimlfltnllllDPlliw."'1tti- : 1.1J!1:,!: .. "=!'.!:''.;::1:1., ,.,;:!..J1 r·~

NOTICE TO THE REGULAR & OCCASIONAL BUYERS OF

THE VILLAGE PRESS BOOKS ~~~C7'lll:,'XJ'~ HE Village Press,

for the past two \VE4~ES~~~ years at Hingham,

Mass., is now installed on the 1 2th floor at No. 225 ~~~~~~Fourth Ave., New York City, where the work of the Press will be continued under more favorable conditions and with large· ly increased facilities.

An illustrated catalogue of books in the.nature of a bibliography, is in

67

ANNALS OF DESIGN

country's largest consumer group, the farmers and small town residents who still made up 74% of the U.S. population. The first catalogs were of utility quality, printed on inexpensive paper, but their message of the availability of guaranteed and dependable products was appreciated by the audience and was read in every rural outhouse.

Chicago has always been a remarkable city. When the Great Fire of 1871 destroyed the city's center, the Fire's debris was simply pulled across the Michigan Lakeshore railroad tracks and used to create a landfill civic parkway. The city began to rebuild with a new architecture that used the fireproof materials of industrial America, glass and steel, to present a Chicago innovation-the skyscraper.

In 1893, Chicago's extensive new Lakeshore Parkway was the site of the Columbia Exposition, a World's Fair that not only celebrated the city's vital rebuilding but also demonstrated the products of American technical invention to the world. The Chicago Art Institute, which was founded in 1866 as the Chicago Academy of Design, is today housed in one of the magnificent Italianate pavilions of the Columbia Exposition. A small footnote to Chicago's history: now the Art Institute's annex buildings are bridged to the main pavilion across sunken railroad tracks; tracks, still in use, that define the city's waterfront as it existed before the Great Fire.

By the 1900s, printing technology had reached exceptionally high levels and printing firms such as R. R. Donnelley occupied an area of superblocks on Chicago's South Side. Excellent halftone screens of over 200 lines per inch were in use, refined from the first crude screens Frederic Ives had introduced more than a decade before. The handcut woodblock and steelplate engravings of the 18th Century were fading into disuse, and better photoplate emulsions and acid-spray etching machines had advanced platemaking to a high craft.

By 1900, the platemaker's in-plant copy camera was as precise as it is today, though exposures made with carbonarc lamps required skill and judgment. Excellent color plates were made by exposing three or four shots through varying filters, but since there was as yet no color photography, the plates has to be made either from full-color illustrations or "directly from the goods" of such size as to fit in front of the copy camera. Objects such as fabric, wallpaper and small products could be pinned directly to the image plate in front of the lens, but because of the copy camera's size limits, most color reproductions had to be made from illustrations.

Most black and white photos of the early 1900s needed the retoucher's help to reveal details and sharpen images.

Though fine-grain photographic emulsions were in use, film speeds were still slow and exposures were usually made with available light. Most photographs had to be carefully airbrushed for proper reproduction.

At the turn of the century illustration and retouching had 68

Communication Arts January I February 1984

become significant to the printing industry. The New York Illustrators Club was formed and illustrators and retouchers were to remain the important artists of the graphic arts industry for almost forty years.

Advertising, by the start of the 1900s, was taking a pervasive part in the American production and distribution scene as a torrent of magazines and catalogs wove the country into a nation of consumers. Fifty years before, Volney B. Palmer had started the first agency to sell advertising for the new magazines. As commerce spread, N. W. Ayer & Son and J. Walter Thompson brokered magazine space nationally and even established advertising copy departments in their agencies. By 1890, advertising expenditures in the U.S. had reached $360 million.

Hundreds of small agencies were springing up and space brokering became competitive and cutthroat. It wasn't until 1901 that the Curtis Publishing Company announced a strong agency compensation system. The magazines of the

A

"Wold" Air Brush and a

"Liquid" Compressed

Gas Outfit Are the two biggest time-savers a n d money-earners of the modern Art Room or Studio.

"Wold" Air Brushes are years ahead of the rest.

A "Liquid" Gas Outfit, for any make of air brush, gives a pressure, always uniform, under absolute control, at a cost of about le an hour. It wor~s only when you work. A complete power plant m a tank. Hitch on the air brush tube; the Compressed Gas does the rest.

Send for Circulars and Prices For Air Brushes alone, address

For Gas Outfits alone, write

0. C. WOLD

The Liquid Carbonic Co. 68 Wells St.

157 W. Madison St. CHICAGO CHICAGO For combination outfits-Brush and Gas Apparatus-address either of the above.

1900-Magazine ad in symmetrical style by Will Bradley.

1907-Show card "writing ."

1907-Color reproduction "direct from moth ." Book illustration engraved and printed by The Sparrell Print, Boston .

1908-Halftone engraving from retouched photograph , Springfield Photo-Engraving Company.

Above, 1908-Small space ad for an air brush , "absolute control at a cost of about 1¢ an hour."

69

ANNALS OF DESIGN

Curtis group decided that they would accept no less than their published rates, rates which the advertising agency could charge its clients, the agency retaining a 10% commission plus a 5% discount for cash payment.

Coolidge became president in 1923 and ran for full term election under the banner, "The business of America is business."

The years of his presidency were ones of both nationwide building construction and hectic business prosperity.

Other major publishers soon adopted this ad agency commission arrangement and the large advertising agencies became stabilized and profitable. They expanded their staffs and set up copy departments with advertising writers.

In the Roaring Twenties, magazine publishing and advertising expanded, the New York Art Directors Club became a voice, and almost every sizable city started a local Art Directors Society or an Advertising Artists Club.

By 1906, the importance of copy was shown by the creation of the post of Copy Chief in many agencies, and many had hired full time layout artists, some being given the title of Art Director. Most layout artists moved into advertising from the ranks of the itinerant sign painters who had covered the country's barns with advertising, or from the field of the home-grown art of "sign writing." These craftsmen were not studied in the traditional decorative styles and letterforms of Europe, but brought American sign lettering to advertising where its influence was to dominate ad headlines for decades.

In 1927, the Society of Typographic Arts was founded in Chicago as a deluge of new typefaces appeared, many influenced by European sanserif forms. "Futura" was popularized, bought by even the smallest printers as the "modern" face. Frederic W. Goudy was in mid-task of his designing over one hundred type faces, including Goudy Oldstyle, Kennerly, and Deepdene. Chicago was home to Oz Cooper and W. A. Dwiggins, members of a seminal group of type designers.

In the Chicago of the 1900s, with its concentration of printing firms, Will Bradley was inventing new ways of laying out typography, breaking with tradition of 18th Century symmetrical layout that had been the printer's standard since the Renaissance. In 1904 Bradley designed a series of advertising booklets for American Type Founders to demonstrate new ways of using ATF typefaces. The "Chap Books" introduced stacked, flush left headings, new uses for typographic ornament units and ornamental spots introducing paragraphs as part of running lines rather than traditional paragraph spacing.

The work of Frederic W. Goudy, too, influenced typography with its explorations of the block style and craft ornament of England's William Morris, and by the start of World War I, American trade printing had taken on a more ornamental and bolder look. The typographic ornamentations of letterpress printing were an attempt to imitate the florid certificate decorations of stone lithography. Though powered presses had speeded actual litho printing, plates were still two-inchthick lithographic stones with surface images painstakingly drawn by hand. Mass production for commerce ran on letterpress.

In the first decade and a half of the 1900s, advertising had become almost as important as industrial production itself.

Advertising spending in the U.S. was $1.5 billion by 1917, when America entered the first world war on the side of the Allies. American industry was strong. Ford's assembly line methods had brought the price of the Model T to $290.

The infusion of U.S. mass production war goods into World War I helped turn the tide against the exhausted German war machine.

After the war, in the 1920s, devastated Europe became a new market for American products and other export markets in Japan and South America were beginning to open. Calvin 70

Communication Arts January I February 1984

By 1929, U.S. advertisers were spending over $3 billion, a figure that fell sharply as the Great Depression began and American commerce and industry ground almost to a halt.

During the Depression years of the early '30s, the illustrators, retouchers, lettering artists, and layout people who were lumped together under the term "commercial artists" began to wonder if the name were appropriate, since there was so little commerce.

They had been working in a printing industry whose technology had not changed appreciably in the past two decades . . . but photography had been improving and was, by the mid-30s, to change not only the publishing and advertising industries, but also to change the way people looked at pictures and the printed page.

The improvement in photography can be traced in part to the needs of the movies. Though Edison had patented the motion picture camera in 1891, the first roll films were of such emulsion that filming could be done only in bright daylight and at exposures of about 15 frames per second.

By 1914 emulsion chemistry had advanced enough to give proper exposures at the l/50th second required for the 16 to 24 frames per second needed for smooth action perception.

The booming international motion picture industry demanded better projection and 35mm film was introduced, large enough in frame size to give picture fidelity on the auditorium screen, 35mm format because these films were produced in Europe to metric standards. Then World War I interrupted European film making and American production soon dominated the motion picture industry.

The movie industry's demand for faster, higher resolution film to lessen the problems of movie lighting inspired manufacturing advances in both photo chemistry and film production. In 1924, Leica AG brought out a new 35mm still camera to use the new mass-produced film. The light1928-All-illustration ad for Packard- $2275 to $4550.

Tltt ~th ods uud in ht<at 1rtarl n,1t m~· tals in rl'll ta1l1 da1s of awtomub1I .. rnonu · fu1.· 1111t' wrrt' '"" 1hu t t.1 f rht' Dc.11lc Ag,.s

ACKARD has made the heat Today, the modern Packard furnaces P treating of parts-annealing, are regulated by the most sensitive of tempering or hardening to fit them pyrometers - quenching baths are for their special functions- an exact and charted science.

Before Packard began its pioneering research, heat treating, as a process distinct from forging, was almost unknown. For centuries smiths had tempered steel while forging it - gauging heat by the color of the glowing metal and quenching their handiwork in a cooling bath of oil or water.

Packard cars are priced from $2275 to $4550.

prescribed by accurate and recorded formulas. Specific reactions and un, varying results are known in advance - the quality standards of Packard parts have been made certain.

The Packard car is a tribute to the metallurgical and manufacturing, as well as the engineering progress in which Packard has led. It has well earned its acknowledged leadership in quality, performance and long life.

Individual c1mom models from $3875 to $8725 , ac Dm·oic

PACKARD

A

S

K

T H E

M

A

N

W

H

0

0

W

N

S

0

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E

71

ANNALS OF DESIGN

gathering area of the camera's large lens almost matched the area of the 35mm frame and exposure speeds could be reduced. Prices for the short strips of movie film that fit the new cameras matched the amateur's pocketbook and, by 1930, popular photography had become a new realization.

In 1931, the first convenient flash bulbs were introduced and a year later professional strobes came into use. By 1932, still · a Depression year, 75% of all U.S. black and white ads had turned to photography, partly for reasons of economy.

In 1935, Eastman introduced Kodachrome, the first practical color film of convenience and availability, and color separations could be made directly from transparencies.

The teaming of good inexpensive film, convenient cameras, and color caused a flood of pictures, and in 1936 the first all "picture news" magazine was in distribution. Some of the national issues of Life published photos that were, in enlargement, grainy, but of demanding news. content.

Instead of the highly retouched and glamorized photos of advertising, the public, already used to popular photography, began to accept printed pictures in a new way. By the end of the '30s, Europe was entering a new war and the immediacy of the photos in the picture news magazines was bringing the threat that the war might be global into many American homes.

Among the thousands of U.S. art workers in the printing and advertising industries in the late 1930s, a few were beginning to realize that, with the growing importance of the photographic image, they'd have to find a new way of working. Some photographs couldn't be changed because their excellence depended upon the capturing of an instant in time that couldn't be repeated. Such photographs were "givens" with forms within themselves that affected the look of the whole page. Such pages would have to be "designed" with captions, copy, and heads that would meld with the photo under the definition of "the relationship of elements within a field that make up a work of art."

In the '30s, design was already an industrial word. Raymond Loewy, a French import, had replanned the appearance of thousands of American products, streamlining fountain pens, razors, vacuuµi cleaners, refrigerators and locomotives from his industrial design offices. The most popular exhibit of the 1939 New York World's Fair was General Motors' model of the city of the future with GM cars moving along superhighways that would soon become reality. The "Futurama" was designed by Norman Bel Geddes, a theatrical set designer turned "industrial designer."

Though product designers were convincing industry that "industrial design" could create new mass markets for mass.produced goods, "graphic design" did not find its way into America's mass-market magazines. Some specialized-market magazines, however, had begun to spread a new image of the visual idea across America: Harpers Bazaar, art directed

by Alexey Brodovitch; Vogue and Vanity Fair, art directed

by Dr. Mehemed Fehmy Agha; Apparel Arts, Coronet and Esquire, art directed by Paul Rand.

By the later 1930s, another mass of immigrants was entering the U.S., people fearful of the threatening war in Europe. In 1933, the German Nazis had closed the Berlin Bauhaus and many of the instructors fled to England. After a brief time, many moved to America where Walter Gropius, Marcel Breuer, Joseph Albers, Herbert Bayer, Ludwig Mies van der Rohe and others were to enter U.S. design and architecture.

Chicago industrialist Walter Paepke of Container Corporation and department store owner Marshall Field invited Bauhaus instructor Lazlo Moholy-Nagy to open a school of design in their city. Chicago's "New Bauhaus" opened in 1937 with a workshop program that experimented in photography, sculpture as structure, two-dimensional form , and color adjacencies. With Paepke's support and a faculty that included Moholy-Nagy, Alexander Archipenko and Gyorgy Kepes, the school became Chicago's Institute of Design and then was incorporated into the Illinois Institute of Technology with university status, expanding with departments in architectural structure and product design.

After Moholy-Nagy's death in 1946, Serge Chermayeff (yes, Ivan's father) became Director of the Institute of Design and ten years later Jay Doblin came from his post as chief designer in the Raymond Loewy office to head the school.

He was to remark about the German Bauhaus of the 1920s, "The Bauhaus has been called the first school of design to be in touch with emerging technology, but I believe this to be a fallacy. The German Bauhaus was not interested in the function of technology but only its form. It produced geometric shaped arts and crafts . . . focusing interest on the pure form of products, not their utility."

In the early 1940s, other schools from New York to Los Angeles were developing circles of designers interested in the emerging ideas of visual expression; abstraction, nonrepresentational form, and symbolism. Picasso's 1937 "Guernica" symbolized the horrors of the Spanish Civil War in sweeping abstract forms that projected great emotion.

1Ype designer W. A. Dwiggins, in his work for Chicago's

graphic arts industry was calling himself a "graphic designer" and in 1939, Hy Farber began using the term "graphic design" in his column for Art Direction magazine to describe design of the printed page. By 1940, the New York Art Directors Club exhibitions had established a new category, "design of the complete unit."

72

Communication Arts January I February 1984

1931-Fashion illustration by Gordon Conway, Art Deco style.

1948-High-tech ad for Corning.

1949-llustration by Albert Dorne.

1949- Still an all-illustration ad- cruise to the Orient for $400.

THE EYE TffAT SEES

6,000, 000, 000, 000, 000, 000, 000 MIL£S

...................................... """'"' ...~

Bo

n • FlflD fHE MELLOW l< INo r YOU CAflf

D '(OUR DAD

ATISFIE THAT S

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J.

-

IMPERIAL is made by #iram Walker.

And ~iram Walke<$ 92 year.; at fine whiskey-making makes Imperial~!

'•r fl•11ri11ti •• ..... ,.,• ..., tJ.K ,,.., llttl el lllM ""iftt wrlk e11r A. -•k.11

'-*"'

U-Offin , SHfre~(H.,.dOfliu / JllCeJ;f.r..ie Sl.1 '4•wr9lt, l .. fo11, WeiJio.

l1tt'".Cltkeoo.Cle"l• H . S-t1le, le1A"f•let.

Bkndcd whitkq. 16 Ptool. 70':t. Grain NNUIJ Spirica. Hiram Wallr:Ct" ,,_Sons Jnc., Pecwi., W.

73

ANNALS OF DESIGN

The by then highly developed work of Mondrian employed an ordered control of space and element to generate a constructed design aesthetic.

The printing industry's new color separation techniques produced fine reproductions of the new visual modes and they became available in every American city.

By 1941, the U.S. found itself producing over half of the world's paper, partly because of the demands of an expanding U.S. printing industry, and partly because European paper mill workers were by then busy fighting the second world war.

In late 1941, Japanese planes attacked Pearl Harbor and the U.S. entered World War II. Most of the design-interested young were drafted into the services and left their hometown neighborhoods for wartime travels. Many met other cultures in Europe and saw at first hand Europe's posters, posters which concentrated on forceful visual ideas to carry their messages across multi-langauge boundaries. The draftees were thrown together in the services with people from other parts of America and, more than any generation before, came to realize that Boston attitudes could be different from those of San Francisco. Many of the designers-to-be began to develop the conviction that only the visual idea could bridge the cultural and attitudinal mix.

A number of the travelers had taken that new toy, the 35mm camera, with them and came home at war's end, in 1945, with a new familiarity and appreciation of photography, and a large corps of photographers, trained in military service, returned to civilian life versed in advanced photo equipment and ready to enter professional photography.

World War II's technical developments, radar, advanced aviation, rocketry, and the nuclear bomb were familiar aspects of technological change. In 1946, the U.S. bounced the first radar trace off the Moon; the first touch of the Space Age. In the same year the Navy introduced the electronic digital computer to its studies of ballistic trajectories, the first working application of the Computer Age. After the 1941-1945 war years, the U.S. again entered a period of prosperity, supplying an again-devastated Europe and opening further international markets realized from the wartime expansions. Domestically, returned veterans needed civilian goods. Selling was easy and American advertising felt little pressure to change.

During the remaining years of the 1940s, in spite of technological changes in industry and a new international sophistication in America, U.S. advertising did not change in approach, content, or intent. The ads of the '40s were usually the standard jumble of illustrations, sign-painter headlines, boxes, stars, and simple product photos that reflected the traditional style of the American circus poster or its daughter, the movie poster. Ad agency art directors of the time seemed to prefer illustration rather than photogra74

Communication Arts January I February 1984

phy, perhaps because the photos of the '40s were still stiff and posed, and the illustrators such as Albert Dorne could give vivacity and excitement to the advertising page. Then, too, the movies of the '40s were depicting an idealized glamor, a fantasized glamor that could be created by illustration more readily in advertising and national magazines than by the more realistic images of photography.

But, by 1948, television's 50th station was in operation and a new advertising window was beginning to open to the American public, a window of photographed pictures, pictures that seemed more personal and believable than the illustrations of print advertising. The images of the new electronic technology were about to change the way ads were made.

During the 1940s, a technological change was under way in the printing industry. Offset lithography, which had advanced during the war years, was the new promise. Offset presses had become as fast as the older letterpress machines and offset platemaking was faster and cheaper and not constrained by the letterpress problems of metal type and metal engraving lock-up assembly.

For letterpress printing, commercial art layouts were merely specification drawings for type placement and engraving positions. Actual assembly was done by craftsmen in the typographic department, far removed from the layout artist's eye.

In the early years of offset lithography's development the same production route continued. The layout moved to the printer's film department and assemblies were made on the light table by the litho craftsman.

By the end of the '40s, however, "finish art" was being prepared on the art department drawing board. The designer, working with type proofs, photostats, and halftone windows, had gained hands-on control of the subtleties of placement that interrelated elements into a work of design.

Corporate industry, returning aggressively to consumer production after the early-40s war, was asking for new identity design programs that would work in a changed marketplace.

By 1950, graphic designers, armed with a knowledge of photography, visual abstraction, the symbolism of identity design, and control of the design of the complete page, were ready. Designer Robert Reynolds said, "I was glad to be a part of it when we invented American graphic design in the '50s ."

-Byron Ferris

Postscript: In the 1950s, Lou Danziger designed an ad series for Dreyfus Company which demonstrated design ideas that complimented ad themes, photography seen in the full-screen framing of then emerging television, short, readable headlines and design control of typography.

When we use the "light touch" in advertising it requires more courage than the usual conventional approach. It's watch your step, or you're in a mess.

But the rewards are high for both client and agency. We can excite, amuse and persuade an audience that is reeling from over-exposure to insipid or insulting advertising.

Could you use an advertising agency with enough guts to live dangerously? We're speaking directly to dissatisfied advertisers with good products, good finances and minimum budgets of $50,000. But a word of caution. The type of advertising we want to do for you requires a client with guts too. And patience. Because you can't end up with the best until you've thrown out everything before it.

The Dreyfus Company, Advertising 511 N. La Cienega Boulevard,

Don't wait for us to call you ... call us first.

Los Angeles 48, OLeander 5-8255

75

LANCE HIDY A singular dedication to exactitude, steeped in the finest traditions of the trades of printing and lettering, are evident in Lance Hidy's work.

While we are often swept along with the prevailing winds of change and their incessant demand for novelty, the subtle persistence of someone like Lance reminds us that we have much to learn from past masters. It is his studied alliance with graphic arts traditions that make him a refreshing participant in the contemporary world of graphic communication.

Simplicity of form and color and the careful articulation of letterform make his work comparable to that of the "Beggerstaffs" who are considered by some to be the first graphic designers. Lance acknowledges the influence of their work, al~o that of Hohlwein and Erdt, and specifically the work of his friend and contemporary, David Lance Goines, a poster revivalist whose work stimulated Hidy's first poster commission.

But it will not do to regard Lance Hidy's work as a return to styles associated with a short period near the beginnings of recorded graphic design process. His roots go further back with a commitment to values that are characteristic of many attempts to communicate graphically throughout recorded history. Hieroglyphic tendencies are not simply a mean reduction for the sake of economy. There is a quality of elegance obtained with the successful exercise of restraint and refinement.

Nevertheless, someone who counts Uncle Scrooge comics, Heavy Metal and Tadanori Yokeo as major influences is not altogether obsessed with elegance. It seems that elegance without charm is of no use to a poster designer.

The charm of an image is certainly the embodiment of ideas which are· attractive. To simply take pictures of things that are interesting and print them up large with a few words of a declamatory nature is not enough for Lance.

The achievement lies in the ability to take pictures of reality and distill them through careful work of hand and eye to their essence of form and color.

His approach to poster design relies heavily on the camera.

"I usually take three to eight rolls of 35-mm film, shooting rapidly, trying many angles while the model goes through natural motions. I never know which shots will be usable, but given 100 to 300 images, the odds are good that there will be something acceptable."

He first sorts through the slides on his light table, taking the most promising ones to his slide projector for enlarged viewing. His selection from these can be projected onto a sheet of paper taped to the wall and then traced with a pencil.

"Elements from different slides can be combined. I usually revise the drawing, simplify contours, tilting and shifting parts to improve composition. After the painting begins, often the need for further refinement in the drawing becomes apparent. I am thankful for the years of life drawing I did as a student which have given me the confidence in working from photographs without becoming their slave."

In addition to including the human figure in most of his works, Lance has sought, quite successfully, to obtain a degree of emotion of a lasting nature in his work. Most endearing are the images that portray his daughter, Anna, and chronicle her growth during a series of projects for which she was the model. For Lance, this is not just whimsey but the necessity of having subject matter that he cares deeply about in order to do good work.

After making his selection from a number of preliminary composition drawings, Hidy explores the orchestration of color harmony in the form of ten to fifteen paintings in gouache, one-quarter size, to get a color-chord which he feels is ready to show the client. These studies are in themselves quite wonderful things and would be very informative to any student of graphics. Although he is a scholarly colorist, having read and worked with the major theories on the subject, Lance has not neglected to observe the natural responses of people to color and be attentive to the indicators of the marketplace.

Right: hand silk screen by Hidy. 1980, 5x6 114, 180 numbered and signed copies. Model is artist 's daughter, Anna Coman-Hidy.

Poster, hand silk screen by Hidy. 1979, 11 114 x32, 600 numbered and signed copies. Model is Hamilton Gillett.

Silk screen poster for an exhibit of Hidy's work at the University of Maryland. 1983, 12x32, 400 numbered and signed copies.

76

Communication Arts January I February 1984

LANCE HIDY • DESIGNS PERSONAL & PUBLIC · SEPTEMBER & OCTOBER 1~83 ALBIN 0. KUHN LIBRARY & GALLERY

UNIVERSITY OF MARYLAND BALTIMORE COC)NTY • CATONSVILLE · MARYLAND 5o-

77

LANCE HIDY

This care for the working process, coupled with other conditions that are present today, allow him the potential to make a living doing what he enjoys most. The recent popularity of the poster medium as an interior decoration, the need for art for people with "champagne taste and a beer budget" and the enabling network of distributors has created a ready market for poster designers who make the effort to cater to it.

Photograph by David Herwaldt

Working from the studio home in Newburyport, Massachusetts, that he shares with his wife Carolyn Coman (an exquisite bookbinder) and daughter, Lance is every bit the professional communication artist. Although he has chosen the somewhat dusty trail away from the main-traveled road of brochures and annual reports that fuel the progress of many designers, he has obtained a living from work which places its emphasis on quality.

He has a strictness about him that he brings to bear on his client/designer relationships. This includes such points as not presenting a design unless he is excited about it; only working with people whose work he is enthusiastic about and they are enthusiastic about his; keeping the copyright and all the original studies; taking part of the design fee in posters; putting aside fifteen or twenty copies for exhibitions and to sell someday as complete sets to collectors; trying to keep the retail price of the poster, at least for the unsigned version, less than the cost of the framing; balancing the quantity, price and costs so that the client may reach break-even after selling half the edition or less; using acid-free paper, the most light-fast pigments and stock that has some rigidity but can still roll into a tube without bending.

Aside from his current occupation with posters, Lance has achieved significant success with the design of quality books, forty-two in number that range from extremely limited editions to "Ansel Adams: Yosemite and the Range of Light" with over 100,000 hard covers, 250 deluxe copies and two soft cover editions, one for the Museum of Modern Art. A native of Portland, Oregon, Hidy grew up in a home in which printing and graphic design were familiar topics. His father was an author and editor so young Lance was aware of galley proofs and the necessity of collaboration between editor and printer in the production of books and journals.

In 1964 he entered Yale University's Jonathan Edwards College and during summers worked for Doug Lynch and Associates, a Portland design firm.

The evidence in his work suggests that a solid and proper foundation was laid long ago with early and direct exposure to masters of the craft like Lloyd Reynolds in Oregon and Leonard Baskin at Yale where Lance created a curriculum for himself which is with him today.

A structure of finely crafted works and an intimate involvement with the printing crafts and the people who make fine printing has followed that start. For those who wish to know more of this I recommend "Lance Hidy's Posters" with an essay by Alan Fern. Paperback, $11.95, Alphabet Press, 60 North Main Street, Natick, MA 01760.

Lance Hidy's progress toward mastery from apprenticeship' to the finest, in this age of sudden and fleeting success, is instructive to anyone with a mind to build upon the legacy of fine print.

-Nathan Felde

Hidy's first poster, hand silk screen by David Stokes. 1977, 16% x25. Model is David Bourbeau.

78

Communication Arts January I February 1984

BEARD ,SLEY'S ..-

c AF E

R E ST A ·U RANT

SECOND ANNIVERSARY CELEBRATION. 27 JUNE 1977 NORTHAMPTON MASSACHUSETTS -~~-ot/;f

79

LANCE HIDY

Two panels, offset lithography and letterpress by Meriden-Stinehour, Inc., alphabet and titles lettered by Stephen Harvard. 1982, 10x30. Models are Stephen Stinehour and John McCormack.

Right: poster for David R. Godine, hand silk screen by Hidy, lettering by Stephen Harvard. 1980, 21 x29, 450 numbered and signed copies. Model is Carolyn Coman , the artist's wife.

Poster for David R. Godine, hand silk screen by Rob Day, Mink Brook Editions.

1982, 21 V2 x29, 875 numbered and signed copies. Model is Anna Coman-Hidy.

Poster hand silk screen by Hidy for White Mountains Festival. 1980, 18x24, 250 numbered and signed copies.

Poster of Basque Dancers, hand silk screen by Hidy. 1981, 20x26, 275 numbered and signed copies. Models are Cindy Schaffeld and Dan Ansotegu i.

Meriden 80

Communication Arts January I February 1984

Stinehour

+H"f

David R.Godine, Publisher

GODINE FOR CHILDREN

lhe First Ten Years· 1970-1980

BO~RDIN~

HOUSE

+

BOISE

81

GENIALIS ~f

IN PACE

82

Communication Arts January I rebruary 1984

LANCE HIDY

Left: poster for Boston Symphony Orchestra, hand silk screen

by Rob Day, Mink Brook Editions. 1983, 13 1/2 x34, 275 numbered and signed copies, also unlimited edition .

Watercolor. 1978, 22x30 1/2, two copies .

Poster for Boston Shakespeare Company, hand silk screen by Hidy. 1979, 15 x 24 112, 100 copies . Model is Will Lebow This page: book design for "One Mind's Eye," portraits and photographs of Arnold Newman , hard-cove r published by Godine, reduced-size paperback later·publ ished by New York Graph ic Society. 1974, 11 x 9 1/ a, printed by Jack Leether, Arch ives Press.

~""~~ ~"',_~ ~~~~

39. 11orStr• virisky, New Yo rk City, 1946

83

LANCE HIDY

How vainly men themselves amaze

Page from a limited edition printing of 'The Garden " by Andrew Marvell. Printed letterpress by Hidy with assistance from Andrew Melnechuk and Susan Ward Rae and illustrated with etchings by Hidy. 1970, 6 114 x 9, 115 copies .

To win tl1e Palm, tl1e Oke, or Bayes; A11d tl1eir 1mcessa11t Labours see 1

Crowr1 dJi·om some sin[jle Herb or Tree, Whose slrort and 11arrow versed Sl1ade Does prndently their Toy/es upbraid;

Below: spread from "Acts of Light: Emily Dickinson " with text by Jane Langton and drawings by Nancy Ekholm Burkert, designed by Hidy and published by New York Graphic Society.

1980, 9 V2 x10 %, Monotype Dante set by Michael and Winifred Bixler, printed by Princeton Polychrome.

While all Flow'rs and all Trees do close To weave tire Garla11ds

oJrepose.

Right: jacket and pages from "Specimen Days" by Walt Whitman .

Design , editing and photo research by Hidy, published by Godine Press, printed offset lithography by Stinehour Press.

1971 , 8 3/a x11 5/a, 6,250 copies.

Top, far right: actual size wood engraving of Walt Whitman made for a Godine Press keepsake, 1970.

and Grace Greenwood and Minmc Mynle cou ld be trusted to make pretry rwuu of all their rh)l11es and jingle 1heir meters more dependably. Even so augu.n a poet 11 O liver Wendell Holmes was grateful to the friend who altered his rhyming at the b t minute befon~going to pres. changing h11 cucleu matching of"gone" with "forlorn" to a udicr " gone" and "wa n."

Re;iding the doggerel that ;ippc=-arcd d<ty after day, )·ear m and year out, m the newspaper cd ncd by S.1muel Bo"lcs, Fmi ly must have wondered at it . jokingly she complained to I liggin.son of being " the on ly Kangaroo among the Beauty, Sir." She was not to be :t be;iury to I hggm.son unul after her de.ith. Hi.slack of perception has been explained by Dickinson scholar Thoma.s Johnson : " I l e wa.s trying to mC<Jsure a cube by the rules of plane geometry."

THAT PORTION OF THE VIS ION

She may also ha\e srud1eJ hymn me1ers more carefolly in her father 's copy of Wa1u's Chris11a" P.rnlmlhly. But Emily Dickinson W.l too original rn be conicnt fo r long with .myom: dsc's rules. Sometime he took darmg hberucs wuh the pat rhythms or the

h)mns, brcakmg the singsong meters to un her mean mg:

Just los1, when I was avcd 1 Just fc h 1hc world go by!

Just girt me for the onset wi1h E1cmny.

When breath blew back.

And on the other side I he;ird recede the d15.lppointed ride!

To Thom.u Wenrnonh I ligginson thlS son of dramatic irrcgul.iriry w.ts " uncon1rollcd," and he reproved her "sp.ismod1c" g.m . Nor w.u he the only one to be put off by her lopsided rhythms and bold "ays \~1th rhyme, by Imes 1ha1 ma tched "pcJ rl" \\1th "ho\\ I." ··blood" \\uh "de.id." ·· plucking·· with "morning." In her lifetime only a handful of poems by Enuly Dickinson was published (a ll anonymou ly). although the newspapers and popu lar journ.11s of her day regularly printed hosts of sentimental Yer es by Jes talemed women. Perhaps it was because Lhmc Lincoln and F.mny Fern

• 34

84

Communication Arts January I February 1984

Enu ly Dickinson wa.s amu.scd "hen her Jude nephew made a joke:" eJ tell th3t the lock purrs and the Kitten ticks." She said he had mherned her own "ardor for the lie." She \\aJ talkingof course abou t her fond ncs.s for mcuphor, th e mo.n useful tool in any poet's bag of tricks-lies like these in another poem about the wind: On a strange Mob of panung Trees And FcnccsflcJ away And Riverswhcre theHouscsran Those looked that lived - that DayThe Bell within the steeple wild The fl ying tidmg toldHow much c;in come And much can go, And yet abide the World!

Trees do not panr, fences do not flee, houses do not run. steeples arc not wild. But :111 these shifu and transferences make bnlhJnt image. The fresh breeze that ru.shcs through this poem seems to tos words before it and blow them jumbled in our faces.

Mo re dist inctive than "the lie" in the poetry of Emily Dickinson iJ her use of extra· ordmary combin:1tioru of word . Often she plucks commonpbcc things from the streets and houses of Amherst and scu them down beside rcg;;a l abstractions or

SPECIMEN DAYS

BY WALT WHITMAN

'·7,0:~

'

'

/)

- INTRODUCTION BY ALFRED KAZIN ILLUSTRATED WITH 133 C I VIL WAR PHOTOGRAPHS & SELECTED PORTRAITS FROM THE LIFE OF WALT WHITMAN

PREFACE T O T H E READE R IN T H E BRI T I SH I SL AN D S

SPECIMEN DAYS

It you will only take the foUowmg pages, as you doJOmc long and gouippy letter wrmcn for you by a rdauvc or fT1md rravdmg through dmant SttnO and modcnu, and pnng them down lu1ly and informally, hut ever vcnc1ously (wuh occuJOnal d1vcrs1om of crmal thought about somebody or something), 1t might remove all formal or literary unpcduncnu :nonce, and bring you and me close

together 111 the spirit m wl11ch 1hc jo1tings wcrccollued to be read . You have had, and tuvc, plcnry of public ~cntJ and facts and general st.m.sncs of Amcr1a;-m chc following bcxlk 1s a common md1vidwl New \Jlorld privatt lift, us h1nh and growth , us struggles for a l1vmg, ns goings and comings and obscrvanons (or rcprcsmnuve pomons of them) anud the Unncd Smcs of America the I.a.st thirty or forty ycan. with their vu1cd war and peace, their local colonng, rhe unavoidablecgor1sm,and the lightsa.nd shadctand s1ghn and joys and ~ms and sy111p2ch»n common m hum2nuy. Furrhcr mtrod1JCrory l1ghr nuy be found m the p.1ngnph, " A H;appy Hour's Command," and rhe bottom note bdongmg ro u, at rhe beginning of the book . I have ~·d m the text th2t 1fl were rcqu1rtd ro g 1 v~ good reason-for-being of Spitd1tttr1 lJdy1 , I should be un2bk to do JO. Let me fondly hope th21 u has at least rhe reason 2nd excuse of such olf-hand gou1ppy letter as just alluded to, porrraymg American hfc-11ghrs and mc1dnns as they 1CtU2lly occurrcd-thnr prcscntation, makmg additions u far as u goes, to 1hc um pie cxptt•cn« and auoc:iauon of your soul, from a comrade toul;-a.nd tha.1 alt0 m the volume, u below any p2gc of mme, anywhere, ever rem2ms., for sccn or unSttn Nns-phnsc.

1

good-will between the common people of all nations.

BY WALT WHITMAN BORN IN WEST HILLS , LONG ISLAND , MAY J I , 1819 DIED IN C AMDEN , NEW J ERSEY, MARCH 26, 1892 DAVID ll GODINE

PUBL ISHER -

WALT WHITMAN

BOSTO N 1971

LOND ON ED IT ION , JUNE, 1887

l•I

1,.1

fnl

85

LANCE HIDY

Jacket and spreads from "Ansel Adams: Yosemite and the Range of Light," selection and sequencing of photographs by Hidy with revisions by Ansel Adams and Andrea Turnage, title lettering

by Stephen Harvard, planning and editing by Tim Hill. The book features laser-scanned duotones printed by Pacific Lithographic Company. 1979, 25x12 .

Published by New York Graphic Society, the book has laserscanned duotones printed by Pacific Lithographic Co., supervised by George Waters with production coordinated by Nan Jernigan. 1979, 25x12, over 100,000 hard-cover copies.

Right: poster for League of New Hampshire Craftsmen, machine silk screen by Superior Silk Screen . 1981 , 24x36, 200 copies signed and numbered, also an unlimited silk screen edition . Paula Harvard was the model.

I

N 1864, tht year in which Yommtc Valley and dlt' Maripou mtwoods were granted to thc sme of California for '"public use, raon and rttrearion," a Vnmont

only as far ;u d\e country w1th1n reach of Concord. Yn " tvuy tul\Kt whteh I w1tncs1 mspuu me wuh tM dH.tt to go to a West as disnn1 and a.s f~ur as 1hat into whKh

scholar named George Pttkins Manh publishat a book enridcd Man 01td Notam. In it ht wroc:e: "To 1hc n:uural phik>soph«,thcdctoiptivepott,thepain1er,and1hc sculpror(today htwould hncadded ..thepbotographrr"J, as well aJ ro the common obKrver, the po~r mOM imponant to cultivate, and, at 1hcsamctimc, hardest to acquirc, is1hat ofscc:ingwh21 11Mfott him. Sigh1isa faculty; sering, an art." Henry DavKt Thottau, himself no common ob1ervcr, had already made a sinular comment in his journal : '1M quncion IS not what you look

'"'a inrop1ta. Expk>itatKM'I of 1rs raourca had begun with thedc.ltat of Mako al'd 1hegold rush th:a1 followed m 1849, but anthttic apprttiadon of its narural wonders w.u nil! confin«t to a few cxpk>ttrs and the artists who accompanied them into the heart of tht conunmt. FOi" the avcr:aF fronncnman, Wlldcmn.s was :an many to be

a1,bu1wha1 youttt."

Yosemite and the Rilnge of U,h t, like rvery book by Anttl Adams, ii a dassic exampk of the an of 1ttmg. lhottau of course: never uw 1ht Stcrra, the "Rangt of

Ligtu,"asjohnMuircatltdit. Hiswtll-trainalcycrovcd

86

Communication Arts January I February 1984

the sun gon down." To most usrcrMl'1 of the mtd·nJM· tttnlhec:nrury,thclandbryondthcM1u1ss1pp1wassoll

ronque:ttd . Thek>ngranar ofthts~.w11h1tsprtt1pt·

tous eastern csarpmcnt, wu teen pnnc1pally as a barncr to 1hcrichcs1ha1laybcyond.

Today, when we 1rcasutt these mount-a1ns for thctr own sake, we look b-aclt wnh grautudc 10 thosr who first took JOY in them, and whole doqucn1 words did so much IO save them for the furure - wrim~ like S1ur King,

LEAGUE OF NEW HAMPSHIRE CRAFTSMEN ·JUBILEE· 1932-1982 87

MARK THESE CANS AND WIN $5,000.

The Aluminum Association is looking for a distinctive, graphic logo that can be used on food cans like these to let consumers know they are made of recyclable aluminum.

Although aluminum accounts for less than 5% of today's food can market, we expect this percentage to grow tremendously as food companies and consumers come to realize the advantages of aluminum's recyclability, lightweight strength and product protection. And, as more and more aluminum food cans are used, consumers will need a way to differentiate recyclable aluminum from other materials.

That's why we're inviting all student and professional designers to participate in a competition to select a " recyclable aluminum" logo for

use on food cans. You have from now until May 15, 1984, to prepare and submit an entry. And we're offering Sl 0,000 in cash prizes as an extra incentive.

The Aluminum Association plans to promote the logo to consumers and the food industry to further stimulate voluntary recycling. Recycling earns consumers extra cash and helps us save 95% of the energy we need to produce new aluminum products. And it helps keep our communities clean.

For an entry form with competition rules, write: Recyclable Aluminum Logo Competition, 3240 Prospect Street, NW, Washington, DC 20007 the Aluminum Association 1ncorporaled

@ g

GRAPHIC DESIGN

PHOTOGRAPHY

ADVERTISING

ILLUSTRATION

INTERIOR DESIGN

FINE ARTS

FASHION ILLUSTRATION EXCITING ACADEMY PLAYFUL SEDUCTIVE SOPHISTICATED SMART ROMANTIC PROVOCATIVE ATTRACTIVE OF ART CHARMING HANDSOME CHIC SHARP FLASHY CLASSIC CONTEMPORARY INNOVATIVE COLLEGE DYNAMIC EXPRESSIVE MAGNIFICENT EYE CATCHING SKILL TECHNIQUE DRAWING ANATOMY FIGURE STRUCTURE FORM COLOR DESIGN TEXTURE BALANCE 540 POWELL STREET SAN FRANCISCO CALIFORNIA 415 673 4200 USA

0LYMPICS DESIGN

(Continued from page 42)

Schwartzman was not allowed to give work to anyone other than Robie without Fransen's express permission. That permission was only given a few times during Arnold's tenure. He was able to give the design of the torch to Newhart, Donges & Newhart, the product designers, because the job obviously required the services of an experienced product designer. He gave Jim Cross a project to design the ticket brochure for the Arts Festival because Bob Fitzpatrick did not want Robie to do it and was able to enforce his wishes. Arnold gave Runyan a job designing the event tickets after a peace-making luncheon between Runyan, Usher and himself and because one of the people directly involved with the job did not want Robie to do it. Those projects, a few other odds and ends, and the designer posters were the only design jobs given to anyone but Jim Robie.

Arnold had not, in his meetings prior to, or immediately after being hired, insisted that he take the time to determine the scope of what needed to be done and to put a plan together-and a schedule and budget-in order to get it started. Nor was he asked to. Had he done that, he might have had at least a chance of getting control of the design of the print graphics. When he failed to do that, when he began trying to put out all the fires, design the important jobs himself, he began working 12 and 15 hours a day, sometimes even longer, seven days a week. If he had taken the time to prepare and present a general plan, including the help he needed, and get approval from top management, he would then have had the power he needed to do the job everyone expected of him. Instead he was running as fast as he could to just stay even and every decision and every approval was still made on a case by case basis. He didn't have a long range plan, he was without a staff and he was not able to set priorities, restructure the work flow or get control of the approval system.

He had support from the Design Forum in his running battle with Robie and many of the complaints reached above Fransen. At one point, Usher gave Arnold the specific authority to fire Robie or confine him to art production, but Arnold did not act. He couldn't do it and he lost his chance to really take charge-and along with it, he lost some of the support and respect of the other consultants on the Forum who did not have the authority either, but who would have surely moved decisively had it been offered.

Robie was viewed as a problem both because his graphic style was not compatible with Sussman/Prejza's and he made no effort to make it so, and because his direct relationships with Fransen and others within the Committee made him both unwilling and unable to be influenced by the Forum.

He wasn't brought in by the environmental group, he didn't report to them and he didn't get his assignments or his fees from them. He had his own constituency within the Commit90

Communication Arts January I February 1984

tee and Fransen, who was responsible for nearly all of the print matter then being generated, strongly supported him.

Larry Price, a friend of Fransen, trained as an architect and recently an employee of a large engineering company, was brought on as P.R. Manager. He became more and more involved in scheduling and coordinating the graphics. On July 22nd, a memo was passed to Schwartzman dated July 21 and written by Harry Usher. The subject was: Organization Changes and went on to announce the appointment of two Senior Vice Presidents and who would now report to them.

The first paragraph under the introduction is as follows: "a. Dan Stewart, in charge of Architecture/Construction; Mike Mitchell, in charge of Venue Development; Larry Price, in charge of Design; Ed Smith, in charge of Tickets; and the Ceremonies & Awards Department will report to Bob (Montgomery). Bob will also be involved with sponsor coordination and supplier procurement, particularly in the area of building needs."

In the next paragraph, Fransen is listed as one of those reporting to the other new Senior Vice President.

Four paragraphs later is the following: "Larry Price, Director of Design, is responsible for coordinating all aspects of graphics from printed, audio visual, banners, flags, to other 3-dimensional such as cups, plates, etc. He shall coordinate all of the work of the Jerde and Sussman Group and their counterparts from the outside to Arnold Schwartzman on the inside."

The memo was circulated to a list of 83 persons in the Committee but not to Schwartzman. No one had ever discussed any aspect of this change with Arnold. In this one memo, with no warning whatsoever, he read that Larry Price no longer reported to Fransen but directly to Bob Montgomery, a Senior Vice President and one of the five members of the Management Committee and Price had also been given Schwartzman's title and most of his responsibilities. It was implied in the second relative paragraph that Arnold was now relegated to the position of an inside board designer.

Schwartzman, hurt and humiliated and, for once, angry, stormed into Usher's office and demanded an explanation.

Usher was embarrassed and said "I guess we have two Design Directors." He said "We thought you needed administrative help." He apologized and asked Arnold what Price's title should be. He did not explain what had prompted the new arrangement or how it was to work and he did not issue a clarification or retraction. And he did not give any hint to Arnold that he was dissatisfied with his performance. Nor had he ever done so.

Earlier in May, the situation with Follis had come to a head.

Plans had been made to rent a large empty building on 8th (continued on page 94)

Just write to -us for the name of yo~r nearest : .

Mecanorma dealer.

Artwork Spray Martin/Mecanorma USA 13450 Farmington Road Livonia, Michigan 48150

m7l11*1R . . . ;:· ~

·

. _

MICCANORMA

A material difference in graphic design.

·

'"

0LYMPICS DESIGN

Street near downtown Los Angeles to house the design consultants' Olympic staffs. Several consultants did not have sufficient space to accommodate the additional personnel they needed for the LAOOC work and had been pressuring the Committee for monies to rent more office space. The offices at 8th Street were intended to solve this problem and to bring the various design staffs together. The move in was scheduled for early June and this had provided an impetus for trying to solve the problems with both Robie and Follis before they moved in and would then be much more difficult to move out.

Follis and Stewart reached their final impass over the issue of Stewart's demand that Follis Associates set a fixed fee for the balance of their work. A senior Follis' associate sent a letter to Stewart dated May 26. After telling Stewart that Follis had retrenched on manpower and had cancelled P.0.s, supplies, furniture, etc., he goes on as follows: "In your letter of May 13, you stated that improvements should stop "unless we can come to some sort of resolution." In our meeting there did not seem to be any attempt by you to resolve the issue of fixed fees for our work. You informed me that you would not be giving us any additional '83 or '84 venues and that the LAOOC would explore other avenues to complete the work . . .

"Prior to this meeting we were led to believe that we would continue with the '83 and '84 venues. We had therefore increased our staff and had begun preparing our 8th Street space.

"In my Memo of 5/6/83 and letter of 5/20/83 (which you read in our meeting) we responded to your request for a fixed fee price-we can give a fixed fee for a fixed amount of work. You seem to fe~l that this realistic approach to providing services and staying in business is unreasonable. We know of no other way of rationally operating a business-particularly in the face of such a monumental task as the Olympics.

"As time has gone on, we have become more and more concerned with the lack of organization of the LAOOC. In working on Water Polo (see enclosed Notes) a great deal of misinformation was given to us and a larger amount was not given to us resulting in a mad dash at the end to make temporary signs. In addition, your schedule of 2/22/83 indicating the dates of when we would receive plans has never been met. We have continually cautioned you about the time factor to design, document and produce all elements.

"This lack of organization results in our increased fees to obtain, verify and double-check information. If the client is efficient and well organized, our fees can be reduced accordingly."

The letter continues for several more paragraphs in the same vein. And there was later correspondence and meetings but this was the effective end of the Follis-Olympics relationship.

With Follis now out of the picture and what work he had accomplished now dismissed as misguided in concept, overpriced, and incompatible in style, the signage plans were back at ground zero and there was no one then involved who could pick up that planning and run with it. The Olympics were now only a little more than a year away. Follis negoti94

Communication Arts January I February 1984

ated the balance of the fees and expenses due them at the time of cancellation and received a major portion of the $70,000 that they had demanded. The anticipated move to 8th Street was also what had prompted Usher's permission for Schwartzman to let Robie go. Robie moved his group in.

Discussion had begun even before Follis' departure to bring the planning for the signage inside-to hire a qualified designer to head a staff team that would be quartered at 8th Street. Schwartzman and others on the Forum presented a number of candidates but could not get a commitment to hire anyone. Arnold had also been pleading for help for months. He had even brought his wife, Isolde, in to help him and she worked full-time for no salary. Arnold had had Darrell Hayden, a young designer he had met at Bass', standing by for several months. Darrell was anxious to work on the Olympics and he liked Arnold and admired his work.

Arnold and Isolde had been trying for several weeks to schedule a trip to London where Arnold's daughter was hospitalized. They finally made firm plans to leave on September 1st. Arnold was also going to take care of some other personal business and he and Isolde were going to visit their families. As their departure date approached, things at the LAOOC were becoming more and more hectic. They were exhausted from the pressures and the extremely long hours both had been working. It was not a propitious time to leave, but they were committed. No decision had been made on the signage or on hiring Hayden. Arnold had been trying to schedule a meeting with Price in order to bring him up to date and to transfer design coordination to him while they would be away. Arnold also hoped to renegotiate his agreement and to also get a salary for Isolde. He'd had many compliments from Ueberroth and others for his work. These compliments had always been directed to the projects he had personally designed but other than a casual dinner meeting with Fransen and Price several months ago where Price had suddenly attacked him (with Fransen's apparent approval) for what he said was poor management and a recent hassle over his design of the medals which was two days late, he felt he had been doing a good job and certainly no one could say he wasn't working very hard. At this writing, the design of the medals is still up in the air.

On the evening of Monday, August 29, two days before his flight, Arnold called Price from 8th Street and made an appointment to meet him at the Westwood Headquarters.

Arnold wanted urgently to talk about what needed to be done and to bring Price up to date. When Arnold arrived, Price led him into a conference room and closed the door.

He listened to Arnold while making careful notes on all the pending work, and drew Arnold out on projects that were under control and would not require any action until after Arnold returned. Then, apologizing for having to do Usher's "dirty work," he handed a piece of paper to Schwartzman. It was a letter on LAOOC stationery:

0LYMPICS DESIGN

"August 29, 1983 Mr. Arnold Schwartzman

President Arnold Schwartzman Productions, Inc. 1041 Second Street Santa Monica, CA 90403 Dear Arnold: "Due to restructuring of the Design Department, your services on a full time basis will no longer be required after September 14, 1983.

Therefore, we will need your car turned in and your office space vacated at the headquarters and at the 8th Street Design Center by September 15, 1983.

"After September 15, for a period of two months, we will use your consulting services at the current hourly rate of $45.00 for a minimum of $3,000.00 per month on mutually agreed projects. Following November 15, 1983, we anticipate using your services on a mutually agreed basis.

"For projects performed after September 15, the project scope, quality, budget and schedule will be mutually agreeable.

Sincerely, Larry R. Price Director of Design"

He told Arnold that the letter would go into Usher's file the following day but he would withhold it if Arnold was willing to resign. Arnold angrily refused.

When Arnold arrived at the office the following day, Darrell Hayden unexpectedly turned up to begin work. Hayden had been contacted by Price and he was surprised to learn he would now be Price's and not Schwartzman's assistant.

Arnold was not able to get another meeting with Price and so he forwarded his files to him.

He later spoke briefly with Price and reminded him of the urgency of the signage situation. He gave Price the resumes of two qualified candidates he had lined up for the signage design director's job and told him they had been waiting a long time for a decision and expected to hear soon from the Committee. Arnold called both and told them he was leaving and that they should contact Price who was aware of the situation. When they attempted to call him, Price was not available and he ·did not return their calls.

John Guard, one of the two candidates, was very anxious to have the job (and, in fact had indirectly heard, before Arnold left, that the final decision to hire him was a mere formality). He was very persistent. He called repeatedly and, frustrated, finally wrote a peevish letter. Price's secretary called him and, speaking to him as though he were someone who had sent them an unsolicited job application, told him there were no present openings but his resume would be filed in case an opening should occur in the future. Guard felt frustrated, used and angry.

One of Schwartzman's last acts as Director of Design had been to assign six Olympic posters to Los Angeles designers %

Communication Arts January I February 1984

on August 26, the week before he was due to leave. There were 12 "Designer Series" posters all told but Larry Blum, of Sales Corp. of America, who had purchased the printing and distribution rights for the mass market posters (as opposed to the Fine Arts Posters which were licensed to another firm), was to coordinate the other six.

Arnold gave himself one and assigned the _others to Saul Bass, Jim Cross, John Van Hammersveld, Rod Dyer and Don Weller, all Los Angeles notables. Arnold sent a congratulatory letter and project brief to each. Payment was to be $5,000, $1,500 for the rough design and the balance upon acceptance of finished art. Designs were due October 20th.

Arnold completed his and left it at the LAOOC before his departure.

During his absence, Arnold's poster was rejected. Larry Price then re-assigned the poster slot to Jim Robie. Arnold returned to find a letter from Blum telling him the poster had been rejected because it incorporated the Olympic medal as a design element (the design was a full color bleed photo of a sunset over the Pacific Ocean with the gold medal replacing the sun). Arnold felt that Blum and/or Price had maneuvered this rejection as a parting shot. The Committee later confirmed the policy reason in a letter to Schwartzman but he still does not accept it as a valid reason because he claims the medal has appeared on other print materials and his poster was adapted practically intact for another use by Robie.

In an effort to distinguish these posters from the fine art posters and to tie them together somehow, Price told the designers to add a black border around three sides of their designs.

This heavy funereal element pleased no one and infuriated several designers. Saul Bass made himself extremely clear to the unfortunate Darrell Hayden, who now found himself in the middle coordinating the project for Price.

Price, as a result of the flack he was catching, assigned Robie the job of coming up with a more appropriate device to identify the series. Finally, a double bar carrying the official marks and type was added to the bottom edge.

When the posters were submitted, Price, attempting to get out of the line of fire, assembled a group to review them. It included himself, Maidie Oliveau and Hayden from the Committee, plus Sussman, Runyan, Meckel and Danziger.

Usher was invited to participate but merely put his head in the door and seeing the assembly, said it looked like they had it under control and departed. Three poster concepts were approved (Bass, Van Hammersveld, Weller) and the others were held back for modifications or new concepts.

Blum had given the other six posters to Jerry Berman of Sidjakov, Berman & Gomez, one of the top San Francisco design offices and a firm whose principals are all well known on the national design scene. The posters were designed by Jerry Berman, Nick Sidjakov, Jim Nevins, Pierre Rademaker and Agustin Garza, all SB&G staff members. These posters

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0LYMPICS DESIGN

are now on press. Needless to say, Blum's having assigned his six posters to a single firm, and one in San Francisco at that, did not sit well with the Design Forum nor the L.A. designers who were aware of what was going on.

When I met with Price on October 12th, I asked him about the signage program. He said he had given the project to Don Harmen, a local designer with a small staff. I asked him if he thought the venue program could be completed in time for the games. He replied that he "didn't know." Harmen did a crash on the '83 pre-Olympic Archery venue signage but is no longer involved in further signage design work.

I talked to Harry Usher on November 18th at the LAOOC offices and raised some of the issues I have discussed here.

He did not deny that there had been or still were problems.

He was not defensive and although he did not elaborate on how he perceived the problems or the causes, he was generally open and frank with me. He agreed that "Pluralism" had not been a success as far as graphic design was concerned. He said he thought Jim Robie had done a good job under difficult conditions, that he had produced good work quickly, efficiently and at reasonable costs.

Usher had seen Jim Cross' design comprehensives for the Arts Festival ticket brochure and poster the previous evening.

He made a phone call and had them brought in so he could show them to me. Sussman/Prejza's environmental guideline poster had just come off the press and it was pinned above his desk. He was very keen on both these first examples of "Festival Federalism" in print. He said he was confident that this development would now be expanded on a broad basis and he named a number of L.A. design offices that he thought would be used more in the future. He said things were getting under better control as far as the graphics were concerned.

The final approval to proceed with design of the venues was finally given in late October. It was proceeding under forced draft by Jerde and some 20 other architectural firms. David Meckel, Jerde's able assistant, was being given much more overall responsibility and had taken over some tasks handled earlier by staff personnel. He also was becoming more involved in the graphics problems.

Tommy Walker was hired as a consultant on the opening and closing ceremonies and he was reportedly starting from scratch.

Robie had recently completed an important magazine insert for the Sunday L.A. Times and, again, had avoided Sussman's input. He had moved his staff out of 8th Street and back to his Venice offices.

The Schwartzmans were pursuing an independent film project on the '32 Olympic games with the L.A. Mayor's office. When commissioned, it will be part of the city's participation in the Arts Festival. Follis' office was busy and John and his wife were gone on a five-week combined business and vacation trip to Asia.

David Goodman, the Design Management Consultant and peripatetic seminarist, was approached informally about the Design Director's job and demurred. Overtures were made to Si Lam and he did likewise. Roland Young's name keeps corning up. I have been asked if I'd be interested. I said that in a long career, where I had only narrowly managed to avoid total calamity on several occasions when I zigged when I should have zagged, I didn't want to stretch my luck with what could well turn out to be an internationally publicized failure.

John Bevilacqua replaced Fransen as Director of Public Relations. Fransen was put in charge of special projects.

Price's title as Design Director was taken away and his future at the Committee is uncertain.

I said that because I am convinced that-unless the job is repositioned within the management structure and the person who fills the role carries real authority, has the confidence and support of top management, is given the necessary resources, and is able to bypass some of the unproductive political alliances-it's a no win situation. As it stands now, it's a job that can't be done and highly qualified people like Lam and Goodman know that too. It's one of the qualities that make them attractive candidates. Strong, able professionals are willing to take on big, tough challenges but only fools or zealots are willing to immolate themselves before their peers. Even the Olympics doesn't hold sufficient psychic rewards for that. And even if the Committee is willing to do all that is necessary, it may now be too late.

-Larry Klein

Maury Blitz, a staff architect, was given responsibility for overseeing the signage program and Paul Prejza was working on a venue sign system. Freeway and arterial street signage designs were in preliminary development, but there was no agreement with Caltrans (the state department of transportation) and there would be none unless that agency will agree to pay for it.

Editor's note: After this article was completed and prior to the printing of this issue, Larry Klein accepted the post of Director of Design for the Los Angeles Olympic Organizing Committee.

That was on Friday, November 18. My deadline was drawing near and I spent the next day in Los Angeles meeting with a number of people I had interviewed in order to clear up items I was still unclear about and to find out what else was happening. I continued this activity by telephone the Monday, Tuesday and Wednesday before Thanksgiving as I edited the article and made my final changes. I turned the manuscript over to Dick Coyne at CA on November 25.

98

Communication Arts January I February 1984

Four times a year a panel of graphic arts judges gathers to evaluate entries in the Appleton Papers Creative Production Competition. '<

~~

·~ Y'!"

·:.~~ ~:;~

...

All specifiers , users and distributors are eligible to submit entries . An entry must utilize in whole , or in part, an Appleton Papers Graphic Arts grade and must be submitted in its final , printed format. An entry form (or facsimile) must be taped to the back of each piece. Additional entry forms may be obtained through authorized Appleton Papers Graphic Arts merchants or the Appleton Papers Printed Sample Department (address below).

The panel of judges will base their evaluations on the following criteria : overall impression , design for intended use, strength of design , paper selection , and quality of printing and typography.

A single Award of Excellence , three Awards of Merit and six Awards of Achievement will be given in each category. At the end of the year all Award of Excellence winning entries will be published in a full -color catalog . The catalog will be distributed internationally.

Submission of an entry acknowledges the rig ht of Appleton Papers to use the entry for exhibition or publication .

Appleton Papers is not responsible for damage, loss or return of any entry. If a piece is to be returned , special arrangements must be made in advance of submission .

Announcement of winners will be made two weeks after the deadlines.

Winners will be notified by mail .

---------------------------, I NAME _ _ _ _ _ _ _ _ _ _ _ PHONE _ _ _ __ COMPANY----------------ADDRESS _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ __ CITY _ _ _ _ _ _ _ _ STATE _ _ _ ZIP _ _ __ CATEGORY _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ __ DESIGN FIRM AGENCY ----------------~

CLIENT _

_

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PRINTER _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ __ PAPER MERCHANT ---------------~

D WINTER

D SPRING

D SUMMER

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I I I

Entries mu st be received

by Appleton Papers before the following deadlines: Winter February 1 Spring May 1 Summer - August 1 Autumn - November 1 Entries not received by the above deadlines will be eliminated .

The categories of competition are : A. ) Annual Reports B.) Brochures - product, service , facilities , institutional , etc .

C.) Folders D.) Covers - books , magazines, catalogs , etc .

E. ) Posters F. ) Miscellaneous - anything not specifically covered in the above , such as menus, calendars , ad inserts, packaging , p.o .p., cards , etc .

Entrants must clearly specify the category a piece is to be entered into .

I I I I I I

I I

I I I

&

APPLETON PAPERS INC. GENERAL OFFICES : P.O . BOX 359 , APPLETON . WI 54912

I I I

Currency Cover, Copper/ White , 8 pt.

CALL FOR ENTRIES 1984 ILLUSTRATION ANNUAL ANNUAL ILLUSTRATION COMPETITION SPONSORED BY COMMUNICATION ARTS MAGAZINE

Drawing, painting, collage, three-dimensional, any form of media art that was commissioned for publication, between March 22, 1983 and March 21, 1984 is eligible to be selected for the 1984 CA Illustration Annual.

A distinguished, nationally representative jury of designers and art directors will select the 1984 Illustration Annual.

All of the winning entries will be handsomely reproduced and everything that is in color will be shown in color in the Annual, the July issue of Communication Arts.

58,000 copies of the Illustration Annual will be in circulation, assuring important exposure to the winners.

As a service to art directors, designers and art buyers, the

index will carry addresses of the artists represented.

DEADLINE FOR ENTRIES Is MARCH 21st, 1984 Please note: Entries for the Illustration Annual are judged on the quality, originality and appropriateness of the solution for only the illustration ..

Communication Arts Magazine also sponsors another annual competition, CA-84, where the entries are judged on the overall concept and execution in al] areas of advertising and design. The closing date for CA-84 entries is July 1st.

Entry forms will appear in the magazine or you can send us your name and address to receive the forms in May, 1984.

Preparation of entries Entries can be submitted as unmounted printed samples, e.g. ad tear sheets, magazine pages or spreads, brochures, annual reports, books, posters, etc., or as transparencies, photographs or paper mounted 35mm slides. No glass. If a single unit entry is a self-promotion ad or poster or some other piece with more than one illustration, indicate with a dot or some other mark which specific single illustration is to be judged. If this indication is not made, the the entry will be disqualified. Campaigns or series are limited to a maximum of five. If the piece has more than five illustrations indicate with a mark which five, or less, illustrations are to be judged. If this isn't indicated, the entry will be disqualified.

Please do not send any original art. CA cannot be responsible for damage or loss of any entry. Submission of an entry acknowledges the right of Communication Arts to use it for exhibition and publication in the 1984 Illustration Annual.

Form A

CATEGORIES All

Advertising (ad, poster, record jacket, packaging, etc.) ($8)

A/2

Advertising series-five or less ($16)

Bil

Book (cover, jacket, interior) ($8)

Bl2

Book series-five or less ($16)

Ell

Editorial (consumer or trade magazine, newspaper) ($8)

E/2

Editorial series-five or less ($16)

Fil

Form A and the entry fee must accompany your package of entries.

If more than one package is mailed, indicate on the outside of packages." wrapping: "Package No.

Work produced for sale (poster, print, note paper, greeting card, etc.) ($8)

F/2

For sale series-five or less ($16)

FormB

Ill

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I/2

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Sil

Self-promotion (printed pieces for artists, studios, agencies, printers, paper companies, etc.) ($8)

S/2

Self-promotion series-five or less ($16)

Ull

Unpublished ($8)

U/2

Series of unpublished-five or less ($16)

This form (or facsimile of it) must be taped to the back of each entry. If the entry is a campaign, a Form B must be taped to each piece. If a piece is to be entered as both a single entry and part of a campaign, a duplicate piece with its own Form B and entry fee must be submitted.

Eligibility Media art produced or published between March 22, 1983 and March 21, 1984 is eligible. Entries may originate from any country. Explanation of the function in English is helpful to the judges.

Acknowledgement of receipt of your entries We will let you know that your entry was received if you include a stamped, self-addressed envelope or postcard.

Return of entries An entry will be returned if it is accompanied with an $8.00 return fee. If more than one entry is to be returned, send $4.00 for each additional entry. These will be sent by United Parcel and will not be insured.

Entry fees Single units ... $8.00 each. Series ... $16.00 each series.

Notification of acceptance Only accepted entries will be notified on or before May 10.

Complete credits and any necessary material for reproduction in the Illustration Annual will be requested at that time.

No additional fees are required.

Awards Award of Excellence certificates for the artist, art director and client of each accepted piece will be mailed in September, 1984.

Mail entdes to: The Illustration Annual Communication Arts P. 0. Box 10300 Palo Alto, CA 94303 or Air Express entries to: The Illustration Annual Communication Arts 410 Sherman Avenue Palo Alto, CA 94306

DEADLINE FOR ENTRIES IS MARCH 21ST

The entry form, right, and the fee must be included in your package of entries. If more than one package is mailed, mark on the outside wrapping: "Package No. of packages."

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Tape this form (or facsimile) to the back of each piece submitted to Illustration-84 (no paper clips).

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COMMUNICATION ARTS

P.O. Box 10300 410 Sherman Avenue Palo Alto, CA 94303

Typeformance is a happy book.

Typerformanct!

By Roger Ferriter

Enjoy the fun and surprises that each page offers.

Typerformance is a stimulating book.

Analogies • Drawings& Ftrttems with letterforms From a collection of student work

Find yourself thinking of new ways to look at things, searching for the flair and appropriateness that frequently can only come from injecting fun and play into the design process.

Graphic forward by Herb Lubalin

You'll love the "graphic" introduction.

Works by Saul Bass Lou Dorfsman Herb Lubalin Alan Peckolick Paul Rand Brad Thompson &theauthor

Herb Lubalin created it shortly before he died, and embellished it with just one line of type . . .

"There is more than one way to see a cat" ... which says it all.

Learn Beauty

Form Color V:xlue Ftrttem& Expression with type

The bulk of the graphics in this 168-page book is from Roger Ferriter's collection of thousands of examples of student work, all executed in a very special class he has taught for over twenty years at The School of Visual Arts. The purpose of this class, primarily for beginning students, is to introduce the concept of "seeing" in a different, imaginative and creative way, utilizing type forms.

There are also examples from some of the leading practitioners of this concept of creative seeing, playfulness that is warm and compelling.

$12.50 Postpaid

A partner in Lubalin's design firm, Roger has been respo:usible for a substantial body of fine work.

Probably his best known logotype is for L'eggs, a great example of what this book is about.

Perfect bound, paper back, Typerformance, $12.50.

r----------------------------1 CA Magazine P.O. Box 10300 Palo Alto, CA 94303

Please send me _ _ copies of Typer!ormance I enclose $12.50 for each copy.

Address _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ __ City_ _ _ _ _ _ _ _ _ State_ _ Zip_ _ __

California residents add 81 cents sales tax

105

Barbara Gordon THE OUT-OF-TOWN PHOTOGRAPHER AND THE NEW YORK MARKET At a recent international conference of commercial photographers in New York I was involved with a seminar of top New York art buyers concerning the prospects of out-of-town photographers getting work from the coveted New York market. I'd like to share some of the information with you. Most of it was geared to the out-of-town photographer, but some of the information pertained to illustrators as well and some to all free-lancers.

First of all the bad economy has been good for the out-oftown photographer. In good times a client would usually pay for an art director to take a New York photographer on location. The economic crunch changed all of that and clients now request that the agency get a local photographer for those shots to keep costs down. In the process of hiring out-of-town photographers for location work, many art buyers and art directors say they've turned up very good talent that they ordinarily wouldn't be aware of.

The New York buyers also volunteered that it was not necessary to come to New York to make sales calls. If they

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106

Communication Arts January I February 1984

were contacted first, and if a photographer was working in an area they were interested in, they were perfectly willing to look at a portfolio that was airfreighted to them with one specific condition: The talent must make arrangements for the portjolio to be returned to him or her at their own expense and without any inconvenience to the art buyer or art director.

What about the fact that New York buyers have a tendency to buy talent that specializes (e.g. still life, food, line art, etc.) and the fact that most out-of-towners, out of necessity, have very diverse books? How does one reconcile that? It is very true that the New York buyer not only categorizes, but even sub-categorizes, so it was suggested that an out-of-towner divide the portfolio into several portfolios. A photographer might want to cull out his architecture, corporate, fashion, etc. into separate portfolios. An illustrator could do the same thing by style and have a realistic portfolio, line portfolio, etc. Obviously one should send only the best and strongest areas of his or her work and perhaps exclude the scantier, weaker areas, and one might ask the art director if they preferred a certain area over another.

What do New York buyers like to see? How much do they like to see? How often should an out-of-town talent make contact? People in New York, as a rule, do not like carousels, however 35mm slides are fine if they are in a plastic sleeve or matted so that they can be viewed on a light box with an eye-piece. Laminated tearsheets, prints and large transparencies are also good. One note here, several of the New York buyers brought up the fact that if a talent showed only tearsheets it was hard for them to know what the agency had done to the work by way of retouching, etc. So if you do show only tearsheets it would help to include a copy of the original work as well. And if the agency used a shot that the photographer didn't like in the ad, the art director quite often would like to see the shot that the photographer preferred, to give the art director some idea of the talent's thinking.

It's not necessary to show more than fifteen or twenty pieces and always include a "leave behind" with samples of your work for the file. The New York buyer is happy if you make contact with him or her once every six months, with these exceptions: if a person is doing high calibre samples or experimental work or work that is pertinent to the accounts that the art director is working on, most art directors would like to see that work as it is being done.

There's a lot of bidding that takes place in the New York marketplace and New York buyers said that how a person bids a job quite often exhibited their creativity, since a crea-

"I graduated from Art Center on a Friday. Sunday night I caught the red eye to N .Y. Mon, day morning I interviewed at DDB. And on Tuesday, I was hired': Mark Hughes is anyone's archetype of a successful art dir, ector. In three years, he's already won 2 Clios and a gold medal.

When he was a kid, a VW commercial turned him on to advertising. Now he's getting a lot of mileage from a Volkswagen TV spot of his own.

How does he do it?

First, he never compromises

on Which is quality. exactly what you'll find Says Mark, in The Black Book. It's the one "An ad is either bad or great. place to find all the best photog, raphers, illustrators and designers in The great ad is why I'm always working late': the business.

And when you think Then, he uses the best talent he can get his about it, it's the difference ~~ / hands on. Which, for be tween thinking small I I Mark, means using The and thinking big.

I I Black Book. ~ ~....

He likes it for the quality of its talent BLACK BOOK I because, he admits, "I IT GETS USED. can't afford to use anyone 401 PARK AVE SOUTH, NYC, 10016 but the best."

212-684-4255 .

I

~

I

THE CREATIVE

BARBARA GORDON

The New York buyers also selectively keep and use mailers and referred frequently to the many annuals in making a choice about out-of-town photographers. Once again, there was a dislike for large format or poster-size mailers.

my work?" The New York buyer wants you to call and say, "I'm Joe Doe, still life photographer, with expertise in special effects. I've done a lot of corporate work and have a whole series of black and white photographs on oil drilling equipment, etc." By being precise the prospective buyer ean determine immediately if your work is appropriate to them. Time really is money in this business. Their second biggest gripe was about the free-lancer or rep who talked too much, especially about their personal problems. The art directors felt in a business meeting only matters pertaining to business should be discussed.

In the financial area prices are always based on usages, complexity of the shot, expertise of the photographer. At most major agencies one can usually make some arrange~ent for some form of advance against expenses. All negotiations must be firm before the assignment is given out and everyone should be clear on their responsibilities and liabilities on each job, once again before starting the job.

The bottom line on all of this is that the New York buyer is receptive to the out-of-town photographer especially in location photography and everyone is always eager to find those few, distinctive, creative photographers whose works become classics, no matter where they reside. One New York buyer summed it all up when he said, "I look at everyone, no matter where they live, you just never know where you're going to find a diamond in the rough."

The art buyers pet peeves about free-lance talent in general? Free-lancers who were non-specific, the person who called and said "I'm Joe Doe, I'd like to show you

The "Big Apple" is really just a small town after all, at the core.

tive photographer will find a way to do something that is not only artistic, but cost effective as well. Bidding, they felt, was just another way of determining the photographers creativity since it is a form of problem solving. So even the bidding process can be turned into a selling tool.

Bidding is always done between photographers of equal expertise.

-B.G.

7

..................................

Isn't it about time you found out?

Syracuse University's Independent Study Degree Program gives you an opportunity to work toward your MFA in Advertising Design or Illustration while you're wo rking full time. And you study face-to-face with the top designers and illustrators in the industry.

For two weeks each summer (for three summers) you study with superstars like the former faculty listed below. The rest of the year you 're working on independent study assignments and making a few longweekend field trips to study with th e top communicators right where they live and work. Places like New York.

Toronto. Chicago and London .

You 'll find out more about how the pros work . you 'll make more connect io ns and you 'll learn more than you can possibly imagine .

For information contact : Director.

Syracuse Un iversity ISDP I Room 10 61 0 E. Fayette Street I Syracuse. N.Y. 13202 I (3 15) 423-3269 .

Study with the pros ALLAN BEAVER. JOE BOWLER . TOM CARNASE. MIL TON CHARLES . STEVE COSMOPULOS. PAUL DAVIS. LOU DORFSMAN , GENE FEDERICO. DICK GANGEL .AMI[, GARGANO. BOB GROSSMAN . DICK HARVEY. BOB HEINDEL. DOUG JOHNSON . DICK HESS. HELMUT KRONE .

HERB LUBALIN . WILSON McCLEAN . JIM McMULLAN . JACQUI MORGAN . DAVE PASSALACQUA. ARTHUR PAUL . LARRY PLAPLER . SHIRLEY POL YKOFF. HEID I RICKABAUGH . SAM SCALI , EILEEN HEDY SCHUL TZ .. ISADORE SELTZER . BERT STE IN HAUSER . MURRAY TINKELMAN . DON TROUSDELL & ROBERT WEAVER

108

Communication Arts January I February 1984

MATERIALS "Z" DRAWJNG TABLE The Italians have reached the forefront in the design of drawing furniture; at least so it seems from the literature we've seen. This new development is called the "Z" drawing table and is available from Charvoz. It is constructed of tubular steel, the tabletop is available in four sizes, and it is fully adjustable in height and angle. For information, write Charvoz-Carsen, 5 Daniel Road East, Fairfield, New Jersey 07006.

SOLID OAK TABORET

From the photograph, this looks to be a relatively handsome new piece of useful furniture, especially within a studio of more traditional decor. It features a hinged top in either white melamine or oak, three drawers for drawing tools, and a bookshelf at the bottom. For information on this, as well as the other oak drafting furniture in the line, write Mayline Company, Inc., 619 North Commerce Street, Sheboygan, Wisconsin 53081.

SOUND I SLIDE PROJECTOR

The audio visual division of the Dukane Corporation has just announced its Pro-120 portable sound/slide projector, small enough to slip under an airline seat. It is controlled by microcomputer, and projects up to eighty slides from a standard carousel tray. It also has its own built-in 6"x 9" high brilliance screen. The sound comes from a 3"x 5" speaker with a 5 watt RMS amplifier. A useful accessory, the Random Access Remote Control, allows for access to any slide in the carousel within four seconds or less. The unit comes packed in a heavy guage suede vinyl protective cover. For information on this new projector, write Dukane Corporation, Audio Visual Division, 2900 Dukane Drive, St. Charles, Illinois 60174.

WIIlTE BALL

No, this is not a Ku Klux Klan coming out party, but a new roller ball disposable pen with a white barrel, manufactured by Uchida. At a cost of $1.29 each, these are quite a bargain, coming in four ink colors and featuring a strong, tapered steel point. For information on this new pen, write Uchida of America, Corporation, 69-34 51st Avenue, Woodside, New York 11377.

imprinted on any order over twenty five. We do not intend to test the guarantee implicit in its nomenclature, but that shouldn't matter; the company offers a "LifeTime" guarantee, so buy when young. For information, write American Thermoplastic Company, 622 Second Avenue, Pittsburgh, Pennsylvania 15219.

Srnus/ BURNISHER

This hardwood burnisher with a cork-covered stylus on the other end is manufactured by Griffin, and is called the Grifhold #45 Stylus-Burnisher. For information-what could there be?-write Griffin Manufacturing Company, Inc., P.O. Box 308, Webster, New York 14580.

POUNCE WHEEL

Another Grifhold, this one the #12 Pounce Wheel, has just been introduced by Griffin. It features a tapered aluminum handle for easy handling in any tracing and pattern marking effort. The fitted wheel swivels for following curves or locks in place for straight lines. Again, for information, write Griffin Manufacturing Company, Inc., at the address given in the above announcement.

LOCATION BANKLIGHTING

For photographers only: This new banklighting system from Leedal is called Modulite IV, and answers many of the lighting needs met by the professional location photographer. It consists of a series of modular umbrella/ reflectors "which fold small, set up quickly, and are easily combinable to make large banklights." For details and specifications, write Leedal Inc., 1918 South Prairie Avenue, Chicago, Illinois 60616.

ROLLERBALL

Uchida has another pen, actually many of them, but the one under present discussion is called "Rollerball .019," and features "the sharpest and most durable roller pen in the world." They are available in four colors-black, blue, red and green (No "Autumn Haze"?)-encased in a mattefinished gray blue barrel with color-coded caps. For information, write Uchida of America, Corporation, 69-34 5lst Avenue, Woodside, New York 11377.

GRIDSYSTEM

THE LIFETIME BINDER

American Thermoplastic Company has just gone out on a nominal limb by naming its new line of loose-leaf binders "LifeTime." That claim was rendered credible, at least to the manufacturer, because the three prongs are made of heavier metal and a stronger construction, and feature a special locking mechanism. Further, the cover is made from 125 gauge polyethylene, secured to the steel spine by ten rivets. Every LifeTime binder comes in a choice of three colors-red, blue and black-and can be custom

Pre-printed grids are proliferating; here's a new one based on Swiss grid models. It was designed by a Dallas designer and design firm owner, Roe Mitchell, and endeavors to give the user maximum flexibility with accuracy. The printed sheets come in non-repro blue on both translucent layout sheets and art production boards. To further allow for variation in design, the sheets do not include spreads but only single pages. For information on this series, write GridSystem, Mitchell/Wilson Corporation, 11500 Stemmons Freeway, Suite 156, Dallas, Texas 75229.

109

MATERIALS

TALKING BOOKS

It is a fact not bandied about much, but some of the work

we designers, illustrators and photographers do is busy work. There are hours spent in the darkroom, or making the marks on a drawing or painting that are unencumbered by thinking. For us, perhaps, Listen for Pleasure offers somewhat abridged books on cassettes for purchase (Books on Tape offers a larger, unabridged selection, but for rent.

For information on cassette rentals, write Books on Tape, P.O. Box 7900, Newport Beach, California 92660). I have become an addict to this form of "reading." Who could resist Christopher Lee reading the short stories of Edgar Allen Poe, or John leCarre reading his own "Smiley's People?" The price per book is $13.95, meaning two cassettes packed together. For a catalog and literature to Listen for Pleasure, write the company at 417 Center Street, Lewiston, New York 14092.

ELECTRIC POINTER

If I had just one free electrical outlet near my drawing

table, I would buy this device, a new automatic lead pointer that plugs in. This Koh-I-Noor product clamps to

the right or left edge of your drawing board and allows you to put a sharp point on a mechanical pencil without twisting it around a few times. For information, see your dealer, or write Koh-I-Noor Rapidograph, Inc., Bloomsbury, New Jersey 08804.

ORGANIZER

This molded polystyrene desk accessory was designed by an architect to hold everything from pencils to a cofl'ee cup, with fitted slots, notches and wells for everything in between, including a calculator, templates, triangles, desk brush, pencil pointer, tape and the like. As is the case with most products of this type, if you do not use precisely the same tools as the man who designed this "Organizer," it probably won't be quite as efficient as it may at first seem.

Nevertheless, it looks to be worth investigating. The suggested retail price is $14.95, and further information may be obtained by writing to Senrac's Original Boardmate, Philip Carnes & Associates, Inc., 3862 Stewart Road, Atlanta, Georgia 30340.

SLIDE DUPLICATION

DGS is the name put on World In Color's new method of cost-effective slide duplication in relatively large numbers.

To be specific, DGS slides are most efficient in numbers of fifty or more. For better quality in lower numbers, World In Color still offers "museum-quality Ektachrome duplicates." The company also has available numbering, captioning and packaging options for both systems. For information, write World In Color, attention Weston H. Jenkins, General Manager, 660 Cedar Street, P.O. Box 392, Elmira, New York 14902.

RT200 Lightweight and compact, the new RT 200 is the table top projector that's easy to use and affordable! Project bright, crisp images directly onto your work surface for effortless tracing ease. Enlarge and reduce logos, photos, artwork even 3- 0 objects. On display at your local art materials store.

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

Dept. CB-RT 2626 N. 2nd St. Mpls., MN 55411 (612) 521 -2233

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send brochure with complete specifications and

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Artog raph, Inc .. 2626 N. Second St., Minneapolis. MN 55411

Communication Arts January I February 1984

1- 2-84

J

The Monster . .. is in reality a two volume type specimen book, so dubbed by its publisher, ArtintypeMetro (That isn't a typo), because of its size, 16 pounds and over 2,100 pages. One volume is devoted to text faces, the other to headlines, and both may be purchased together or separately.

There were no prices given with the release, so for that and other details, write Susan Gould at ArtintypeMetro, 352 Park Avenue South, New York, New York 10010.

Rubber Stamp Newsletter ... Better late than never; we have finally, after almost three years of its being published, noticed a fascinating publication, Stampola, the trade paper of rubber stamp enthusiasts. We are just now looking at Volume Three, Number Three, published in late summer, 1983, and are totally enthralled. The tabloid is said to come out quarterly, whether we need it or not. I

L~-··

/

Standard Range

~9incoutt

Blacfimoor

Antique Olille eompact 1ta1ic

BelOD

eo1d condensed 1ta1ic

Bramley

Bold condensed

Corinthian

Celebrate Nilh ITC Eras

Bold condensed

Edwardian Edwardian Edwardian Edwardian Edwardian Light

ITC Eras

Light Italic

ITC Eras

Medium

Bold

Extra Bold

Exeter ITC Galliard

Goudy

Black 1ta1ic

Handtooied

Impress

Isometric \~a"'~~\c Dbliq Light

Obliq

Medium

Steue

TANKARD University Roman

Book

Display

Hew

Typefaces!

Letraset's new typefaces are definitely worth celebrating.

You 'll find exciting high tech styles, new script and casual faces and a big selection of new, unique designs that are sure to be instant favorites.

Stop by or call your local Letraset Dealer and ask for the Letraset 1984 New Products Brochure. He also has the New Letraset Wallchart showing all 560 typestyles. It couldn't be a better time to call and join the celebration.

Medium

u1tra

ITC Luballn

Graph Bold oblique

Pap~rus

Roslyn Hogs Tango Goth ic Bold

12 eondensed italic

lllJllllEll S'li\~II>

.Santa9£ Transmission Letraset USA 40 Eisenhower Drive Paramus, NJ 07652 ~ Letraset USA 1984

® ESSELTE LETRASET

MATERIALS

suggest that we need it and therefore, to subscribe, send ten dollars for a year's worth to Stampola, P.O. Box 1493, Eureka, California 95502-1493.

T)'pe Swatchbook . . . I don't know whether this is an idea whose time has come or not, but at least two typography companies seem to think so. Mercury Typography of San Francisco and Syntax International of York, Pennsylvania, have both come up with the idea of presenting their type specimen books in what might be called the PMS Swatchbook format. They are both 2"x8 Yi :' drilled and screw bound, capable of being fanned out for comparison. The Mercury edition is in two volumes, while the Syntax is contained in one. For a copy or copies, write to Mercury 'fypography, care of Gary Carter, 1050 Sansome Street, San Francisco, California 94111, or to Syntax International, P.O. Box 2695, York, Pennsylvania 17405.

Design Directory . .. ICOGRADA, the International Council of Graphic Design Associations, has compiled a "World Directory of Schools Offering Courses in Design."

In its 142 pages, the publication lists and describes 440 schools in 38 countries. Information includes the status of

Sir, Washington's demand for surrender is on OLD COUNCIL TREE®Bond.

~

each institution, possibilities for foreign students, qualifications awarded and international exchange programs. For a copy, write ICOGRADA, Maarten J M Regouin, Education Working Group, Stichting Bureau Kunstonderwijs, Drift 23, 3512 BR Utrecht, The Netherlands. By the way, it costs $18.00.

Champion Reference .. . The Champion Paper Company has issued a new series of swatchbooks, each sized to fit into a #10 envelope. For copies, ask for "Fast Facts" from your Champion Paper Merchant.

Hammermill Colors ... There are four new colors in the Hammermill line of printing papers, and these are being promoted by a new brochure. The colors are named Beige, Sand, Brown and Sky Blue, and that's about all I can think of to say about the subject, except that for a copy you might ask your Hammermill merchant, or write Hammermill Papers Group, Erie, Pennsylvania 16533.

Fine Print ... I have no idea why I haven't mentioned Fine Print, subtitled "A Review for the Arts of the Book," before, as it is a uniquely worthy publication. For a piddling thirty dollars, you may recieve four issues of intelligent, elegant and handsome critiques of contemporary fine bookmaking, from design through typography, papermaking, illustration and binding. It is highly recommended that you subscribe by writing Fine Print, P. 0. Box 3394-S, San Francisco, California 94119.

Marsmatic Technical Pens . .. J. S. Staedtler, Inc., has just published a booklet describing the "Marsmatic 700 Function, Handling, and Care" (That is both the content and the title). The Marsmatic is, from experience, a fine technical pen, and this 20-page booklet is both informative and helpful as to its use. For a copy, write J. S. Staedtler, Inc., P.O. Box 7102, Canoga Park, California 91304.

Artistic Airbrush ... is the marketer of an extensive line of airbrush equipment and supplies. The company has just published a 40-page catalog detailing that array, and it may be obtained by writing Artistic Airbrush, P.O. Box 3318, Portland, Oregon 97208.

Neenah Paper 0

1984 K.C.C.

~ Registered Trademark of

Kimberly-Clark Corporation

Don't specify 'til you see the whites of our bonds.

@ Kimberfy-clark Neenah Paper Division

Letterhead Competition . . . This has been mentioned in this space before, but it bears repeating from time to time.

Gilbert Paper Company sponsors a quarterly-and regional-letterhead design competition, open to all letterheads designed for and printed on any of Gilbert's printing papers. For entry forms and rules, contact your Gilbert Paper merchant, or write to Kathy Reiter, Gilbert Paper Company, 430 Ahnaip Street, Menasha, Wisconsin 54952.

-D.S.

112

Communication Arts January I February 1984

Use your lGITechnical ~n to draw lGl any way you see it. Win up to $5,000 cash!

Here's your golden opportunity to win unlike ordinary technical cash or scholarships in FaberCastell's pens, it won't clog.

Unleash Your TG Drawing Competition .

The patented drawing cone .·, · Three times during the year .-.

--:rllil~,..,,. keeps the ink ftowing smoothly we'll award $1000, $500 and and the exclusive Cambi-Seal™ $250 prizes in both amateur cap keeps the pen clog-free ~ and professional categories. when , it's not in use.

Plus a $4000 Grand Prize for the~ , Get an official entry form now most creative entry overall! at your TGl dealer or write to Pick up a TGl Technical Pen and ., FaberCastell. Fill it out, attach ~ffe. ~,,.,, , unleash your it to your drawing and send ---~ "~=~~f:_j7( imagination. Use it it right away for judging by our ...-i~ to draw TGl in realistic, "~---- panel of professionals. f7'? ·J humorous or downright It's a chance to /~,/ outrageous situations. unleash your -~ <· The subject is up to you and talent and win up to $5000! your style. Just be sure a TGl is part of your drawing. You'll love working with TGl because, PO Box 7099, Newark, NJ 07107

Entry Deadlines: First Period - March 311984. Second Period- July 31 1984. Third Period- October 31 1984.

BOOK R EVIEWS THE ART OF NEW YORK Edited by Seymour Chwast and Steven Heller Harry N. Abrams, Inc. 110 East 59th Street, New York, New York 10022

$49.50

NEW YORK AT NIGHT Bill Harris, Introduction by J.C. Suares Stewart, Tabori & Chang, Inc. 300 Park Avenue South, New York, New York 10010

$25.00

There are two books in front of me, both of the coffee table variety, filled with pictures, many in color, and both celebrating the manifold wonders of the same subject, Manhattan. Further, the two authors of "The Art of New York," Chwast and Heller, have collaborated with the designer and introducer of "New York at Night," J.C. Suares. In fact, Suares used to have Heller's present job, Art Director of the New York Times Book Review. For me, the similarities end there, just at the point where the contrasts begin.

Simply put, "The Art of" works in precisely the same ways "At Night" fails . The first is an intelligent, witty, passionate and expressive love song to New York. By comparison, the other is contrived, self-conscious, cliche-ridden and cynically exploitive.

Chwast and Heller have selected an incredible array of pictorial evocations of the city, arid then organized them into a lyrical and rhythmic unity which, while it may not be more than the sum of its many parts, is at least whole and wholly its own; no longer just a collection of paintings and drawings, but something more.

To give a notion of those parts, included among the 233 pieces in "The Art of" are works by Childe Hassam, Georgia O'Keeffe, Mondrian, Saul Steinberg, Edward Hopper, Picasso, Christo, Red Grooms, Claes Oldenburg, Robert Rauschenberg, George Bellows, Joseph Stella, John Marin, Charles Sheeler and many others who have taken their inspiration from Manhattan. If that list of names seems a bit stuffy and off-putting, it should be added that the authors have also included many artists who, while they work on a reputedly less lofty plane, are nevertheless equally expressive; people like Robert Grossman, Milton Glaser, Guy Billout, Jim McMullan, Lou Myers, Robert Blechman, John Held and Chwast.

Chwast designed the book beautifully, he and Heller selected and organized the mix, and Heller is also listed as the producer, which in this case is more than justified. He has been the author of many books and articles relating to graphic matters and has proven to be one of our field's most articulate and knowledgeable historians and writersnot that there is much competition.

114

Communication Arts January I February 1984

"New York at Night" is a collection of photographs, divided, more or less arbitrarily, into chapters titled "City Lights," "Beneath the Streets," "Night Shift," "Great Performances," and such like. They alternate between being predictably glitzy and predictably grainy, with perhaps a couple of dozen fine pictures hidden among the mass of 130 photographs included. (The very last picture is a beauty by Andre Kertesz.)

The writing serving to divide the chapters is coy in the extreme. Author Bill Harris is described on the jacket notes as being "assistant to the promotion manager at the New York Times . .. He is a licensed New York City tour guide and has written 18 travel-oriented books . . ."

Designer Suares has contributed a self-serving introduction. They both write in a kind of early Jimmy Breslin macho style that has never been successfully imitated; parodied yes, but not pulled off as serious prose. This is no exception. As if to emphasize the point, they are pictured together on the jacket flap leaning against a bar, captioned, "engaged in some serious research."

-Dugald Stermer BRIEFLY NOTED:

THE FANTASTIC ART OF ROWENA (Pocket Books, Simon & Schuster Building, 1230 Avenue of the Americas, New York, New York 10020, $8.95). Rowena Merrill is, according to the Pocket Book publicist, "the premiere female fantasy painter in the United States," and we, being mostly ignorant on the subject of female fantasy painters, are not prone to argue. Included in the paper bound volume is a foreword by science fiction author Theodore Sturgeon and an introduction by Boris Vallejo, who might be described by that same publicist as, at least, "a premiere male fantasy painter in the United States."

REALISTS AT WoRK, by John Arthur (Watson-Guptill Publications, 1515 Broadway, New York, New York 10036, $27.50). Any book that shows a decent sampling of the work of artists as diverse as Chuck Close, Ralph Goings and Wayne Thiebaud can't be worthless. If it also describes, in the artists' own words, their working habits and approach, that book is well worth its relatively modest price. That it also includes seven other realist painters is, for me, a bonus.

FOURTH EDITION: THE BEST OF NEWSPAPER DESIGN, 198283 (The Society of Newspaper Design, The Newspaper Center, Box 17290, Dulles International Airport, Washington, D.C. 20041, $20.00). This annual competition has improved steadily from its inception four years ago, and the present edition shows some editorial design which is

both innovative and handsome. Included are examples from the excellent Boston Globe, as well as The New York Times, The Los Angeles Times, The Village Voice, USA Today and many others.

ARTIST'S MARKET 1984, PHOTOGRAPHER'S MARKET 1984 (Writer's Digest Books, 9933 Alliance Road, Cincinnati, Ohio 45242, $14.95, each). As has been stated before in these columns, these two annual volumes, the former containing 3,000 listings and the latter 2,500, are positive bargains for anyone wishing to peddle pictures. Even with the proliferation of "Black Book/Showcase/Art Director's Index/Workbook/RSVP" types of buyer's guides, these deserve a place in your bookcase as they are guides for the seller, and good ones at that.

BASIC DESIGN, by John Adkins Richardson, Floyd w.

Coleman and Michael J. Smith (Prentice-Hall, Inc., Englewood Cliffs, New Jersey 07632, $21.95, paper). This is a textbook for beginning design students, and as such it is probably too general, and generally theoretical, for professionals in the field or advanced students of graphic design.

AN INTRODUCTION To DESIGN, by Robin Landa (PrenticeHall, Inc., Englewood Cliffs, New Jersey 07632, $29.95).

This book, like the one just above, is a beginning text on design, but unlike the previous volume, "An Introduction To Design" concentrates on two-dimensional applications, while "Basic Design" devotes a few chapters to interior, exterior and display design.

LETTERS, by James Hutchinson (Van Nostrand Reinhold Company, Inc., 135 West 50th Street, New York, New York 10020, $9.25, paper). This is a marvelous little paperback, tracing the history of Western letterforms from Mesopotamian Cuneiform Scripts to and through typography. It is so thorough as to serve as a kind of pocket-sized encyclopedia on the subject. That it is also handsomely designed doesn't hurt its cause at all.

DESIGN WITH TYPE, by Carl Dair (University of Toronto Press, 63A St. George Street, Toronto, Canada M5S 1A6, $12.95, paper). This book, first mentioned when it was published in its hard cover incarnation in 1967, is now out in a paperback version. While it contains some fine examples of inventive typographic design, as well as an articulate text, the book could have used some updating and revising since its first publication, as well as an index.

Still, this is a worthy and inexpensive addition to the typographic section of your library.

-D.S.

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115

CLUBS, CONFERENCES, SEMINARS AsPEN

The theme for the 1984 International Design Conference in Aspen is "Neighbors: Canada, Mexico and the United States." The 34th conference will take place from June 17-22. Mexican architect Eduardo Terrazas and Canadian journalist and editor Robert Fulford share honors as cochairpersons. They will be assisted by a steering committee of IDCA Board representatives Ivan Chermayeff, Wendy Keys and Henry Wolf. Registration fees: $330, U.S. Funds, primary registrant; $165, second member of the household; $125, full-time students (proof required). Make checks payable to IDCA % The Bank of Aspen, P. 0 . Box 0, Aspen, Colorado 81611. For further information, contact Deborah Murphy, IDCA, Box 664, Aspen, CO 81612 or call (303) 925-2257.

D ESIGN T OUR

Graphic Impressions, a tour tailored to the interests of visual communicators, leaves for Europe in May 1984. The tour includes visits to leading design studios and publishers in London, Paris, Basel and Zurich. Participants will meet, among others, Walter Herdeg, editor and art director of Graphis; Christian Guillon, art director of Zoom; and Stephen Bayley, director of Terence Conran's The Boilerhouse Project. Visits to the headquarters of Letraset,

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116

Communication Arts January I February 1984

the offices of Pentagram and the 400-year-old Haas fypefoundry are also included. Dinners and other social events are scheduled to provide an opportunity for dialogue and exchange among visitors and their European counterparts.

The two-week tour leaves for Paris on May 11 and includes airfare, lodging and ground transportation in Europe.

Participation is limited to forty people. For more information write: Travel By Design, 2260 Market Street, San Francisco, California 94114 or call collect (415) 864-6604.

I CO G RADA At the 10th International Council of Graphic Design Associations General Assembly held in Dublin, Ireland, during August, the new ICOGRADA Executive Board was elected as follows: president Raymond Kyne, Ireland; immediate past president Stig Hogdahl, Sweden; president elect Jorge Frascara, Canada; vice presidents P. Haig David-West, Nigeria, Niko Spelbrink, The Netherlands, Susumu Sakane, Japan; treasurer Mervyn Unger, England; secretary general Marijke Singer, England and member Philippe Gentil, France. Secretariat, 12 Blendon Terrace, Plumstead Common, London SE18 7RS, England.

MAGNES MUSEUM

The graphic art collection of Berkeley's Judah L. Magnes Museum makes its public debut in an exhibition entitled "The Jewish Experience in Prints and Drawings" from February 12 through May 13, 1984. Graphic art curator Florence Helzel has selected 63 drawings, etchings, lithographs, woodcuts and watercolors from the museum's collection of over 2,000 works on paper by Jewish artists from Europe, the United States and Israel. Both secular and religious themes of Jewish life are explored in works by artists such as Ben Shahn and Leonard Baskin. The public is invited to the opening reception on Sunday, February 12 from 2 to 5 p.m. Magnes Museum, 2911 Russell Street, Berkeley, CA 94705.

NEwYoRK The Society of Illustrators has elected D.L. Cramer as its 38th president. His term will run through June, 1984. Dr. Cramer, an artist and scientist, received his doctoral degree in anthropology from the University of Chicago. He is currently director of the Anatomy Labs at the New York University School of Medicine in New York. Also serving on the current executive committee are: Walter Hortens, Art Weithas, Ned Glattauer, Georgia Froom, Betty Fraser, Jerry McConnell, John Witt and Charles Guggenheimer.

Stevan Dohanos continues to serve as honorary president.

Terrence Brown has been appointed to the post of director and he in turn announced the appointment of Frederic Taraba as his assistant. Society of Illustrators, 128 East 63 Street, New York, New York 10021.

COMMUNICATION ARTS INDEX VOLUME25 MARCH/APRIL 1983 - JANUARY/FEBRUARY 1984

Abercrombie & Bastiansen (illustrator) Article/ portfolio on Pete Bastiansen: Vol. 25, #2 (May/ June), page 82.

Felde, Nathan (designer) Opinion/commentary "Why A Computer?": Vol. 25, #1 (Mar/Apr), page 92.

Nelson, Bill (illustrator) Article/portfolio: Vol. 25, #1 (Mar/Apr), page 40.

Angeli, Primo (designer) Article/ portfolio: Vol. 25, #4 (Sep/Oct), page 50.

Ferris, Byron (designer) Annals of design: "Forces and Philosophies": Vol. 25, #4 (Sep/Oct), page 90; "America 18501950": Vol. 25, (Jan/Feb), page 66.

North Charles Street Design Organization (design firm) Article/portfolio: Vol. 25, #2 (May/June), page 52.

Black, Roger (designer) 1YPe selections: Vol. 25, #4 (Sep/ Oct), page 72.

Borders, Perrin and Norrander (advertising agency) Article/ portfolo: Vol. 25, #1 (Mar/ Apr), page 28.

Bradford, Peter (designer) 1YPe selections: Vol. 25, #4, (Sep/Oct), page 72.

Communication Arts Annuals 1983 Art Annual (Illustration & Photography): Vol. 25, #3 (July/ August); CA-83 Design: Vol. 25, #5 (November); CA-83 Advertising: Vol. 25, #6 (December).

Cooper, Heather (designer/ illustrator) 1YPe selections: Vol. 25, #4 (Sep/Oct), page 72.

Corning Glass Works Article/portfolio: Vol. 25, #4 (Sep/Oct), page 78.

Coys, The (design firm) Article/ portfolio: Vol. 25, #1 (Mar/ Apr), page 50.

Crawford, Tad (attorney-at-law) Columns on law concerning artists: "Copyrights: The Issue of Work For Hire": Vol. 25, #2 (May/June), page 10; "Reference Files: The Risk of Copyright Infringements": Vol. 25, #4 (Sep/Oct), page 18; "Artists' Rights Legislation": Vol. 25, #7 (Jan/Feb), page 22.

Design, Annals of "Forces and Philosophies": Vol. 25, #4 (Sep/Oct), page 90; "America 1850-1950": Vol. 25, #7 (Jan/Feb), page 66.

Dillon, Leo & Diane (illustrators) Article/portfolio: Vol. 25, #2 (May/June), page 42.

Eastman Kodak "Short Run Color Printing": Vol. 25, #4 (Sep/Oct), page 26.

Fasolino, Teresa (illustrator) Article/portfolio: Vol. 25, #4 (Sep/Oct), page 42.

Friedman, Julius (designer) 'JYpe selections: Vol. 25, #4 (Sep/Oct), page 72.

Gordon, Barbara (artist's representative) Columns on free-lance scene: Vol. 25, #1 (Mar/Apr), page 26; Vol. 25, #2 (May/June), page 23; Vol. 25, #3 (Jul/Aug), page 22; Vol. 25, #5 (Nov), page 170; Vol. 25, #6 (Dec), page 180; Vol. 25, #7 (Jan/Feb), page 106.

Olympics 1984 "Designing the L.A. Olympics": Vol. 25, #7 (Jan/Feb), page 28.

Paul, Greg (art director) 'JYpe selections: Vol. 25, #4 (Sep/Oct), page 72.

Phillips Photographers Article/portfolio on Jerry Poppenhouse and Kurt Maurer: Vol. 25, #2 (May/June), page 70.

Graham, Diana (designer) 'JYpe selections: Vol. 25, #4 (Sep/Oct), page 72.

Poppenhouse, Jerry (photographer) Article/portfolio: Vol. 25, #2 (May/June), page 70.

Heffernan, Terry (photographer) Article/portfolio: Vol. 25, #1 (Mar/Apr), page 60.

Poster portfolio Posters selected from reproductions in past issues of CA: Vol. 25, #1 (Mar/Apr), page 72.

Hidy, Lance (designer/illustrator) Article/portfolio: Vol. 25, #7 (Jan/Feb), page 76.

Sadlon, Jim (photographer) Article/portfolio: Vol. 25, #1 (Mar/Apr), page 60.

Hoyem, Andrew (pressman/designer) 'JYpe selections: Vol. 25, #4 (Sep/Oct), page 72.

Siegel, RitaSue (design personnel placement) Opinion/commentary "The Gap Between Designers and Top Management": Vol. 25, #1 (Mar/Apr), page 14.

Johnson & Simpson (design firm) Article/portfolio: Vol. 25, #7 (Jan/Feb), page 54.

Jones, Bob (private press proprietor) 'JYpe selections: Vol. 25, #4 (Sep/Oct), page 72.

Kelley, Gary (illustrator) Article/portfolio: Vol. 25, #7 (Jan/Feb), page 44.

Light Language (photographers) Article/portfolio: Vol. 25, #4 (Sep/Oct), page 60.

Uewellyn, Robert (photographer) Article/portfolio: Vol. 25, #1 (Mar/Apr), page 60.

Lustig, Alvin (designer) Article/portfolio: Vol. 25, #2 (May/June), page 90.

Maurer, Kurt (photographer) Article/portfolio: Vol. 25, #2 (May/June), page 70.

Smith, Tyler (designer) 'JYpe selections: Vol. 25, #4 (Sep/Oct), page 72.

Sommese, Lanny (designer/illustrator) Article/portfolio: Vol. 25, #2 (May/June), page 60.

Summerford, Jack (designer) Article/portfolio: Vol. 25, #4 (Sep/Oct), page 32. TYpe selections: Vol. 25, #4 (Sep/Oct), page 72.

Type Faces Opinions and examples of type faces used by various designers: Vol. 25, #4 (Sep/Oct), page 72.

White, Ken (designer) Article/portfolio: Vol. 25, #2 (May/June), page 32.

117

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CA back issues 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 (1977 on), a hundred or less of others, and none of a few. That's why we have to reserve the right to refund the money on any that have sold out on a first-come , first-served basis . All orders must be accompanied with payment.

We pay the postage, second class mail, so allow up to three weeks to get the magazines. Foreign orders will take longer.

Issues not listed are no longer available.

MAY/JUN , 1977 Vance Jonson ... Al Parker ... ASU Graphic Design Workshop .. . Margaret Cusack ... Norman Perman ... Cheryl Rossum ... Cole Henderson Drake ... Push Pin Graphic ... . ...... $5 JUL/AUG, 1977 The ART Annual 1977 . ......... .. . ..... $12 NOV/DEC, 1977 CA-77, Annual Exhibition .. ..... . ... . ... $18 JAN/FEB, 1978 Arnold Saks . . . W. B. Park ... Loucks Atel ier .. .

Don Weller . . . McCall 's Rockwell Christmas .. .

Oregon Rainbow . . . RitaSue Siegel opinion/ commentary ... Roots of Design . .. . ... .. $5 MAR/APR, 1978 Paul Davis ... Implement, Ltd .... Ciba-Geigy exhibit . .. Ron Anderson/Tom McElligott .. . Art Kane ... Jann Church ... Will i Baum . . .. .. $5 MAY/JUN , 1978 Linda and Kit Hinrichs ... Robert Weaver . ..

Barton-Gillet . .. Egyptians/George Meinzinger . . . Charles Saxon . . . The Colorpedia . .

Amil Gargano ...... . ................ .. $5 JUL/AUG, 1978 The ART Annual 1978 .. .. . . .......... .. $12 SEP/OCT, 1978 Special issue on museum design, guest edited

by Nick Sidjakov and Jerry Berman . ..... . .$5 NOV/DEC, 1978 CA-78, Annual Exhibition ... .. ......... .$18 JAN/FEB, 1979 Isadore Seltzer . .. Robert Overby . .. Peter Rogers . .. Sheldon Seidler ... Westways ... William Accorsi ... Phil Marco .. . Paul Rand ... . .. $5

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Communication Arts January I February 1984

MAY/JUN, 1979 RVI Corp ... . John Thompson ... Brian Harrod ...

Lisi Denn is ... Lloyd Crider ... Cook & Shanosky ... Crate & Barrel ... CSU Poster exhibition .. .

George Mack opinion/commentary ... . .... $5

JAN/FEB, 1982 Gernsheimers/Partners Design Studio ... Carol Wald ... Jerry Herring ... Sahlan Cherpitel ...

Michael Schwab ... Bank of Kuwait Identity Program ... Corporate photography panel .. ... $5

SEP/OCT, 1979 Harald Sund .. . Michael Vanderbyl ... Robert Peak ... Bright &Agate ... Carmichael-Lynch .. .

Chicago Packag ing Design ... Aspen 79 . . .

Offices of Gregory Fossella Assoc . ... ... . .$5

MAY/JUN, 1982 William Rivelli ... Sheila Levrant de Bretteville ...

Bill James .. . Vickers & Benson ... Photomontages by Scott Mutter ... Ford, Byrne & Associates . .. Portfolio of Trademarks .......... $5

NOV/DEC, 1979 CA-79, Annual Exhibition .............. .$18

JUL/AUG, 1982 The ART Annual 1982 ............ ...... $12

MAR/APR , 1980 Special issue on vanishing creatures featuring wildlife painting and photography ... whale illustrations by Larry Foster . . . A Bestiary, endangered species of the communications arts .. $5

SEP/OCT, 1982 Michael Manwaring ... Bruce Stromberg . ..

Tyler Smith .. . Richard Nodine .. . Marshall Arisman . .. Phillip Snyder's Christmas Cards ...

Barbara Gordon/Free-Lance Scene ... The Designer and the Technology Explosion ... Aspen '82 ... . ............. . ...... . . .. .. . . .$5

MAY/JUN , 1980 Hal Riney ... David Wilcox . .. John Running ...

Ariel Severino ... Louis Grubb .. . Woody Pirtle .. . Landor Design Offices . . . Nine ways to improve an ad ........... . .... . ... . ... . .$5 SEP/OCT, 1980 Polaroid design .. . Robert J. Shay ... Farrell Grehan ... Diana Graham ... 1984 Olympics design presentation ... Palo Alto design community . .. Exhibit design . . . How to Survive in the Free Lance Jungle. . . .. ... .. .... . .$5 NOV/DEC, 1980 CA-80, Annual Exhibition ............... $18 JAN/FEB, 1981 Anthony Russell . . . Dick Brown .. . Eric Meola . . .

Clarence Lee ... Jozef Sumichrast ... Exhibit design (2) . . . Offices of Pentagram/New York . . .............................. $5 MAR/APR, 1981 Lesniewicz/Navarre ... Gary Braasch ... Muir Cornelius Moore ... David Grove ... John Brown & Partners . . . Exhibit design (3) ... Panel discussion printers/designers .. ...... . .... . . . .. $5 MAY/JUN , 1981 Greg Paul . . . Richard Leech . . . Dennis Manarchy . .. Ellen Shapiro . .. Jerome Gould .. .

John Robinette ... Selling Your Graphic Design and Illustration . ...... . ... . .. .. ..... . .. $5 JUL/AUG, 1981 The ART Annual 1981 .. . .... .. .. ... .... $12 SEP/OCT, 1981 Lou Dorfsman ... Kinuko Y. Craft ... Dick Durrance II .. . Levis Billboard Trucks ... Corporate Annual Reports ... " Revealing Illustrations," James McMullan ... Atari Design ... Letterheads ......... ... ................... $5 NOV/DEC, 1981 CA-81 , Annual Exhibition ............... $18

NOV/DEC, 1982 CA-82 , Annual Exhibition ............. . .$18 JAN/FEB, 1983 Japanese Design . . . Richard Saul Wurman/ Access Press ... Sharleen Pederson .. . Graphic Designer 's Product ion Handbook . . . Clint Clemens .. . Index to Volume 24 ... . ...... $5 MAR/APR, 1983 The Gap Between Designers and Top Management ... Borders, Perrin and Norrander ... Bill Nelson ... The Coys ... Robert Llewellyn .. .

Posters ... Why a Computer . . . . ...... ... $5 MAY/JUN, 1983 Ken Wh ite ... Leo & Diane Dillon ... North Charles Street Design Organization . . . Lanny Sommese . .. Phi llips photographers . . .

Abercrombie & Bastiansen . . . Alvin Lustig remembered .. . Computer-aided graphic design ............ . ............ . .. . .$5 JUL/AUG, 1983 The ART Annual 1983 . . . . .............. $12 SEP/OCT, 1983 Tad Crawford ... Short run printing ... Jack Summerford ... Teresa Fasolino ... Primo Angeli ...

Light Language ... Consensus on type ... Corning Glass Works .. . Annals of design ... Forecast of advertising billings . ...... ... ......... $5 NOV, 1983 CA-83 , Part One: Design .. .... ......... $12 DEC, 1983 CA-83, Part Two: Advertising ............ $12 INDEX CA Index for Volumes 18-23 (March/April 1976-January/February 1982) ... . .. . ..... $3