janfeb1985

COMMUNICATION ARTS MAGAZINE Editor and designer: Richard Coyne

VOL. 26, NO. 8, JANUARY /FEBRUARY 1985

Executive editor: Jean A. Coyne Associate editor: Dugald Stermer Advertising and production manager: Kurt Klein

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

14

Production: Scott Perry

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

17

Circulation manager: Nancy Hagemann

Wendy Richmond . . . . . . . . . . . . . . . . . . . . . . .

22

Subscription: Georgia J urickovich, Betty Willis

Deborah Sussman . . . . . . . . . . . . • . . . . . . . . . .

28

Traffic: Peter R. March

Arthur Meyerson . . . . . . . . . . . . . . . . . . . . . . .

40

Contributors: Tad Crawford, Nathan Felde, Byron Ferris, Mark Fulton, Barbara Gordon, Larry Klein, Marty Neumeier, Wendy Richmond, Mill Roseman

Wilson McLean. . . . . . . . . . . . . . . . . . . . . . . . .

50

Weymouth Design . . . . . . . . . . . . . . . . . . . . . . .

62

Art posters. . . . . . . . . . . . . . . . . . . . . . . . . . . . .

74

Communication Arts

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

90

Barbara Gordon . . . . . . . . . . . . . . . . . . . . . . . .

94

Book reviews . . . . . . . . . . . . . . . . . . . . . . . . . . .

98

410 Sherman Avenue P. 0. Box 10300 Palo Alto, California 94303 Phone (415) 326-6040 Materials, available literature. . . . . . . . . . . . . . 100 Call for entries, Illustration Annual ......... 103 Communication Arts Magazine (ISSN 0010-3519) is published eight times a year, January/February, March/April, May/June, July, August , September/ October, November, December, by Coyne & Blanchard, Inc., 410 Sherman Avenue , Palo Alto, CA 94306.

Clubs, Conferences, Seminars ............. 110 Index to Volume 26 ....................... 113

Copyright 1984 by Coyne & Blanchard, Inc .

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

Subscription rates : U.S.: one year-$42; two years-$80.

Canada: one year- $45 (U.S .); two years-$84 .

Other: one year- $52 (U .S.); two years-$100.

Single issues: $5 except Illustration Annual (July) at $12, Photography Annual (August) at $12, Design Annual (November) at $14 and Advertising Annual (December) at $14 .

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 self-addressed stamped envelope adequate to return material.

Cover photograph by Arthur Meyerson

Process color reproduction of PANTONE• identified colors may not match solid color standards. Use current

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Now is the time to replace your old PANTONE~Color Specifier.

Your old PANTONE Color Specifier isn't what it used to be. Colors change through aging as well as handling and exposure to light. Accurate color specification and reproduction can exist only if designer, client and printer all use up-to-date PANTONE Color Reference Manuals.

That's why now is the time to replace your old PANTONE Color Specifier ... with the new edition of the PANTONE Color Specifier.

Your new PANTONE Color Specifier, published in a looseleaf binder, contains six tear-out perforated chips of every PANTONE Color for a total of more than 6,000 color chips. Each color is printed on coated and uncoated paper, and every chip carries a PANTONE Identification Number.

When it comes to specifying and matching color, the PANTONE Color Specifier goes a long way toward assuring color fidelity. PANTONE MATCHING SYSTEM is a language of color used worldwide, and attaching a PANTONE Color Specifier chip to your job is the surest way to accurately communicate the color you select.

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EDITO~S COLUMN All of us here at CA are looking forward to the new year.

This is not necessarily an appraisal of our expectations as it is an expression of relief that the past year is behind us.

It's been a strange year, some good, some bad, some both.

On the good side, it was our 25th anniversary. The Portland Chapter of the ASMP and the Designers Roundtable had an affair for us, including a cake baked in the shape of a C and an A. I wasn't tempted to adapt it as a new logo for CA, but the sentiment behind it was terrific. The ADLA staged an evening in Los Angeles where Gerry Rosentswieg and others put together a slide presentation of the magazine's images over the 25 years. The STAin Chicago made Jean and me honorary members and presented us with a handsome green marble plaque.

Our anniversary issue, a tribute to the people who had served on our Annual juries, was another neat experience.

It put us in contact again with all of these great people, some of whom we hadn't heard from in a long time.

It was also a year of the hardest work I can remember since the earliest days of the magazine, the first year with four jurying sessions and four annuals. However, that's a decision I don't regret because the quality and number of entries warranted the additional pages, but it did put a considerable strain on our small staff and we never seemed to crawl out from under the work load to catch our breath.

With the year's experience, we've learned a lot that I hope will allow us to control our work flow and add some people. Like any design operation, it's difficult to staff up for the peaks and keep everyone happy during the valleys.

Something else compounded our problems, and again it was our own doing. We embarked on a major addition to, and remodeling of, our building. For the past nine months we've been working in the middle of a construction project.

It took a while to adapt to temporary entrances, blocked halls, gypsum dust, sounds of hammers, power tools, concrete trucks and other equipment. But 1984 is behind us and soon we'll have a great new building and be telling funny stories about our experiences, like the time a portion of the roof was exposed and we got hit with a surprise early morning downpour. It wasn't just raindrops, we had streams of water, ceiling panels and light lenses falling on our heads, and we were down for a couple of days while the mess was being cleaned up.

During the peak load of the last four months (three issues, 568 pages) we let a monumental goof slip by us. We can't explain how it happened but the color film from page 5 and page 46 of the Advertising Annual got transposed in the stripping process. As a result the credits have no relationship to the images. So, if you're looking at the awardwinning ads on page 5, please turn to page 47 for the credits. Page 46 will match the credits on page 4. My sincere apologies to everyone whose work was involved.

14

Communication Arts January I February 1985

Here's an item that reached us too late to be included in the Clubs, Conferences, Seminars column, which is already on film at the time of this writing. I can squeeze it in here because the production manager has provided a full page window for these words, to be dropped in at any time before the plates are burned. I wouldn't want to admit that this is a regular routine, but all of the layout, copy, captions and page make-up needed to keep the system working have a higher priority.

The University of California is initiating a series on design history. The first of the series, a one-day symposium on Saturday, March 16, sounds terrific. Saul Bass, George Nelson and Paul Rand will be the speakers. The information states "separately and together the designers lead lecture, slide and film presentations on the history of design and how it has evolved throughout their careers." I wonder what the University will do to follow this act? The program is from 9:30a.m. to 4:30p.m. at Lewis Hall, UC Campus, Berkeley. The fee is $55. Unfortunately, attendance is limited to 300. Send your reservation (and fee) to Carol 1. Thompson, Program Specialist, University of California Extension Center, 55 Laguna Street, San Francisco, CA 94102. Telephone (415) 861-7720.

D The Bea Feitler Art Award was established by the Bea Feitler Foundation for The School of Visual Arts and the winner of the second annual award will be selected in March, 1985, from a group of candidates who are between their junior and senior year at The School of Visual Arts in New York. The winner will receive a full scholarship for the senior year and a paid summer internship in editorial design which alternates yearly between Conde Nast Publications and Rolling Stone. At the time of her death in 1982, at the age of 43, Bea Feitler was design director of Vanity Fair. Prior to that she was art director of Rolling Stone. Feitler also created the design of Self and Ms. magazines. She was a teacher at The School of Visual Arts, as well as a designer of books, posters and costumes during her career. Those who wish to contribute to the foundation may send their contributions to: Ms. Vera Newman, Bea Feitler Foundation for The School of Visual Arts, 211 East 70th Street, New York, New York 10021.

D With this paragraph we close Volume 26, our anniversary year. Looking back over the 25 years, the greatest thing that has happened to us is all the terrific people we have made contact with, personally or through the pages of the magazine. Thank you for your wonderful support that has made these years of CA possible.

-R.S.C.

Family Album

We asked our photographers to do a photo essay on "family" for our stock photography collection.

"Shoot your own families, your friends and neighbors.

Those you know and care about," we said.

The result was absolutely stunning and truly moving

... a labor of love. They sent us their pregnant wives, their babies, their parents and grandparents. Real people in real situations.

We have put together a catalog with a generous sampling ... more like our "family album." We have thousands more. And our

collection covers every other subject as well. All conceived, styled and photographed with the same care and artfulness.

It's the only way we know.

FburByFIVe The Best is Getting Better

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After exhaustive testing , it became obvious that only a small number of PANTONE Colors could be "matched" with the limitations of conventional 5% or 10% screen tints. Therefore, a new 26-step system, using 24 NEW screen tints, had to be developed to obtain the best results. These new PANTONE Screen Tints are in uneven fractional percentage Process color reproduction of PANTONE" identified colors may not match solid color standards. Use current PANTONE Color Reference Manuals for accurate color.

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•

CALL FOR ENTRIES 1985 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, 1984 and March 21, 1985 is eligible to be selected for the 1985 Photography Annual.

A distinguished, nationally representative jury of designers and art directors will select the 1985 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.

60,000 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 wili carry addresses of the photographers.

DEADLINE FOR ENTRIES Is MARCH 21st, 1985 Communication Arts also sponsors another annual c'o mpetition, CA-85, where the entries are judged on the overall concept and execution in all areas of advertising and design. The closing date for CA-85 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, 1985.

N 0 RETURN OF ENTRIES

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 1985 Photography Annual.

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

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

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.

CATEGORIES A/ 1

Advertising (ad, poster, record jacket, packaging, etc.) ($10)

A/ 2

Advertising series-five or less ($20)

B/ 1

Book (cover, jacket, interior) ($10)

B/ 2

Book series-five or less ($20)

E/ 1

Editorial (consumer or trade magazine, ·newspaper) ($10)

E/ 2

Editorial series-five or less ($20)

F/ 1

Work produced for sale (poster, print, note paper, greeting card, etc.) ($10)

F/ 2

For sale series-five or less ($20)

1/ 1

Institutional (company I association publication, annual report, facilities booklet, catalog, etc.) ($10)

I/ 2

Institutional series-five or less ($20)

S/ 1

Self-promotion (printed pieces for artists, studios, agencies, printers, paper companies, etc.) ($10)

S/ 2

Self-promotion series-five or less ($20)

U/ 1

Unpublished ($10)

U/ 2

Series of unpublished-five or less ($20)

Eligibility Photography produced or published between March 22, 1984 and March 21, 1985 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.

No return of entries Entry fees Single units ... $10.00 each. Series ... $20.00 each series.

Notification of acceptance

Mail entries to:

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.

The Photography Annual Communication Arts P. 0. Box 10300 Palo Alto, CA 94303

Awards

or

Award of Excellence certificates for the photographer, client and art director of each accepted photograph will be mailed in September, 1985.

Air Express entries to: The Photograp~y Annual Communication Arts 410 Sherman Avenue Palo Alto, CA 94306

DEADLINE FOR ENTRIES IS MARCH 21ST

A

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."

B

This form and fees must accompany entries submitted to Photography-85

P. 0. 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-85 (no paper clips).

COMPANY

For senes only

ADDRESS

This is No _ _ of _ _ .

Photographer --------------------~

ZIP

STATE

CITY _ _ Single Enlries .

. $10 Each

_ _ Series

$20 Each

. $._ __

Art d i r e c t o r - - - - - - - - - - - - - - - - - - - - -

No return of entries

Total$, _ __

Client----------------------Explanation of function · IFORCAUSEI

LDATE PROCESSED-J

B

'

Tape this form (or facsimile) to the back of each piece submitted to Photography-85 (no paper clips).

For series only

I

B

[

Self-addressed. stamped envelope included for acknowledgment

Tape this form (or facsimile) to the back of each piece submitted to Photography-85 (no paper clips).

CFORCAUSE~

For ser1es only

Th1s IS No _ _ of _ _

CFORCAUSE~

Th1s 1s No _ _ or _ _

Photographer~---------------------

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

Art d i r e c t o r - - - - - - - - - - - - - - - - - - - - - - -

Art d i r e c t o r - - - - - - - - - - - - - - - - - - - - -

Client------------------------

Client-----------~~----~-----

Explana11on of funct1on

Explana11on of function

B

Tape this form (or facsimile) to the back of each piece submitted to Photography-85 (no paper clips).

B

Tape this form (or facsimile) to the back of each piece submitted to Photography-85 (no paper clips).

For senes only

For series only

Th1s 1s No _ _ of _ _

ThiS IS No _ _ of _ _

Photographer--------------------Art director _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ __

CFORCAUSE~

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

Art d i r e c t o r . : _ · - - - - - - - - - - - - - - - - - - - - -

Client-----------------------

Client-----------------------

Explana11on of func11on

Explanation or funct1on

II

•

COMMUNICATION ARTS

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

Uf?ndy Richmond

TRADE SHOWS Wandering through your first graphic arts trade show is like traveling in a foreign country; it's strange and overwhelming, and you feel like you can't possibly take it all in. But when you get home you realize how much insight you've gained.

A trade show is the best way to get an overview of the latest graphic arts technology. These shows are for exposure: exhibitors can display new equipment to hundreds of potential customers, and attendees can do extensive comparative shopping, all within a few days. A trade show is one of the few places that designers can get a close look at a lot of new and expensive equipment.

The most visually exciting examples of new technology are the workstations for assembling pages. I went to a trade show recently where there were more than twenty companies-some wellestablished, some start-up-exhibiting "pagination (page layout) video terminal systems." Each company's workstation has a video screen showing type and illustrations. You can manipulate these elements interactively, that is, specify actions, like moving a block of text or changing a point size, and see the results immediately.

These companies are focusing on prepress tasks that are labor intensive.

They're developing computer-aided methods for specifying type, sizing and cropping line art and photographs, making layouts, paginating, proofing, editing, correcting, pasting up, airbrushing, masking, stripping ...

Each company makes broad claims.

How can you qualify the differences between the workstations? Which differences are superficial, which are profound?

The best way to understand this equipment is through your own experience.

These workstations are being developed for the production of printed material.

As I went from booth to booth, watching rehearsed demonstrations and 22

collecting pounds of literature, I considered each product's application. The page make-up workstations fell into three categories: first, technical publishing (long documents), second, black and white ads (or complicated single pages), and third, four color ads (or complicated single pages).

Workstations for technical publishing are designed to handle large amounts of text. They emphasize pagination; a long manuscript automatically flows into a specified grid, jumps over illustrations, and breaks at the end of a column, page or chapter, with no orphans or widows.

Remove an illustration or add a paragraph and the text automatically reflows, incorporating all changes. But there are only a few type styles on the screen, called generic fonts, that represent the larger assortment on the typesetter-if there is an interface to a typesetter.

Black and white ad layout (single page layout) terminals feature easy manipulation of individual elements. You can change a text block's typeface, point size, rotation, and column width, or create decorative borders, line art, reverses and overlaps. But these workstations are inefficient at processing large amounts of text.

The color workstation demonstrations are fascinating: the operator airbrushes away a pair of glasses and changes skin tones. The typefaces are true and the pictures will be accurately made into fourcolor separations. But the text is not handled with the interactive ease and speed of the black and white systems.

Look at each workstation in the context of the big picture. Does it connect to the necessary word processor, image scanner, typesetter, imagesetter, or proof printer? Some companies are addressing disparate tasks in one big workstation.

Are they considering the different professional experience necessary for each task?

How much does it cost?

Communication Arts January I February 1985

Finally, does the product really exist?

Because the planning of a trade show starts a year and a half in advance, a company has to make a commitment to exhibit long before it has a completed product. Typically the company doesn't quite meet the deadline. The equipment is still in "prototype" form, and the technical staff is on hand to fix whatever breaks. It reminds me of the Wizard of Oz: "Pay no attention to the man behind the curtain."

It helps to do some research before you go to a trade show. Telephone the organizers to find out exactly what the show is covering, and which companies will be exhibiting. Request preview material so that you can read about who's showing what. Here's a list of shows coming up in the near future: Seybold Seminars (213) 457-5850 (mostly seminars, some exhibits) Ma rch 4-8 Santa Monica Print '85 (703) 734-8285 (500 exhibito rs) April13-20 Chicago Computer Graphics '85 NCGA (703) 698-9600 (200 exhibitors, 70 tutorials) April14-18 Dallas Computer Graphics for Design (914) 592-1155 (mostly seminars, some exhibits) May 18-19 New York City ANPA (American Newspaper Association) (703) 620-8900 (advertised as the "largest newspaper exhibit in the world," it has a wide range of new pre-press technology) June 8-12 New Orleans Gutenberg Europa (714) 832-0628 (200 exhibitors) July 11-14 Frankfurt, Germany SIGGRAPH (Special Interest Group on Computer Graphics) (312) 644-6610 (over 200 exhibitors) July 22-26 San Francisco Type-X '85 (617) 658-6876 (40 to 50 exhibitors) August 16-18 Washington , DC

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~1 • 1-: •·ll • ·1. • I · N

H 0 P' P E A P A P 6 A S

The wizard, en.chanted by the lady Viviane 1n the Forest of Brocelianile.

LEGENDRY , He first achieved fa.me as a .mad prophet known .to the Welsh as Myrddin. Yet by the 11th Century, he had been elevated to the pantheon of Arthurian myth: Merlin the poet, seer and fabulous shape changer; Merlin, whose feats were extolled' throughout every corner of Christendom.

Great legends evolve.

A~d just a$ great legends evolve, so do great papers.

Consider Hopper Legendry: the creation. oJ its rich, subtle hues; the expansion of its duplex c.oll'ection; the perfection of its supremely printable, luxurious textured. finish, calculated to delight__the eye as well as the tactile senses.

Like "'erlin, Legendry owes its success to the handiwork of mortals. At Hopper, constant improvement is our down-toearth ambition. But would we be truthful if we failed to admit to something else up our sleeves-a dash, pe~haps, of Hopper wizardry?

Legendry.

A little magic from Hopper Papers.

Versatility by Design from

Georgia-Pacific c. 1984 Georc·l·P<Jc fir Cvlpm .!f:>; Pnn:~d or Hoppf'r . f't;,er'dry (lvorv• t 8SIS ( ~~x38·80 lb )

·s;nq1e- color ._r;qendry avdllable 1n 80· pound· text and' c OV"'r

• All ro~ts ~· ervc•J

Typeformance is a happy book.

Typerformance

By Roger Ferriter

Enjoy the fun and surprises that each page offers.

Typerformance is a stimulating book.

Analogies • Drawings& Ftrtterns with letterforms From a collechon 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 FtrulRand 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 \blue Po:ttern& 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 responsible 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, Typerjormance, $12.50.

, - ---- -----------------------l I

CA Magazine P.O. Box 10300 Palo Alto, CA 94303

Please send me _ _ copies of Typerjormance I enclose $12.50 for each copy.

I I I

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Name___________________________________

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Address,_________________________________

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California residents add 81 cents sales tax

I I I

DEBORAH SussMAN Without putting too fine a point on it, Deborah Sussman has succeeded, perhaps subsconsciously, in developing a new sub-category of design, as yet unnamed. It is not twodimensional, as in graphics, nor is it exactly super-graphics; it is not architecture, but it certainly is compatible with architectural design, and carries elements of structure; it is not precisely display design or signing, but it overlaps into those areas; it also contains facets of theatrical set design as well.

Putting this another way, if one were to take her European Jewish heritage with its intellectual and achievement orientation, the heady atmosphere of Bard College and the Chicago Institute of Design in the early fifties, the exhaustingly inventive working atmosphere of the office of Charles and Ray Eames during the sixties, and mix all that with a fascination for Mexican, European and Asian folk art acquired through her extensive travels, then you might have some idea of what her work is like.

Then again, for a synthesis as well as a mental definition of what she does, just try to remember what the Summer Olympics just past looked like on television; not the

athletes, nor the specific competitions, but rather the background elements that unified the entire series of disparate events into a unified and organic whole. That result, against all odds (see "Designing the L.A. Olympics," CA Jan/Feb 1984), is how Sussman/ Prejza & Co., Inc. earns its living.

It is usually useful, in profiles like this, to outline the subject's background, if only to fill the space between the pictures. In Deborah Sussman's case it is essential, for the reason given above; she has assimilated her heritage, education, training and experience directly into her work with a clarity as rare as it is entirely instructive.

She was born in Brooklyn to immigrant parents; her father was, according to her mother, "the best airbrush artist in New York." She, in turn, was an accomplished linguist; daughter Deborah speaks four or five languages. She grew up in an environment of hard work and the ambition to achieve, particularly in the arts or humanities.

Like many people of her generation, she started attending college early-at seventeen-mostly on scholarships augmented by earnings from part-time art-related jobs.

Raul Vega

The Sussman/Prejza staff. Front row : Fernando Vazquez, Paul Prejza, Deborah Sussman , Debra Valencia. Second row: Barbara Gordon , Laurie Lusher, Susan Hancock, Stephen Silvestri, Luci Goodman , Gigi McGee, Felice Matare. Third row: Marny Randall , John Barr, Leslie Thompson , Scott Cuyler, Cheryl Anderson , Bettye Sweet , Pamela Jo Winkler. Back row: Mark Nelson, Corky Retson , Chuck Milhaupt, Michael Russell , Jim Simmons (ADZ Productions), Phyll is Eagle Kal ionzes, Eugene Treadwell. Not present for the photograph : Annette Del Zoppo (ADZ Productions), Roger Johnson, Charles Reimers, Kim Burden .

Right: a selection of photographs by Deborah Sussman.

1. Detail of camera box , Mexico, 1973.

2. Cemetery, Yucatan , Mexico, 1979.

3. Cemetery, Switzerland, 1957.

4. Arch itectural detail, Holland, 1958.

5. Cafe window, Amsterdam , 1958.

28

Communication Arts January I February 1985

Although Sussman never quite earned a degree, she attended Bard College, the Art Students League, Black Mountain College and the Institute of Design in Chicago, where she came within a year of graduating. What interrupted that culmination was a summer job in the office of Charles and Ray Eames, a job that was to last for the next four years.

There were other benefits as well; she was constantly being encouraged to pursue her photography, as the making of photographs was integral to the design process the Eames office practiced. She also indulged in the nearly lost art of type indication, an essential skill .in becoming familiar with letterforms and typefaces. During this period the art department at Immaculate Heart College in Los Angeles was flourishing, and Deborah became friends with its guiding spirits, including Sister Corita and Sister Mary. Other influences and mentors (her word) include designer and tireless educator, Lou Danziger, interior designer, Charles Kratka, and Alexander Girard. Charles and Ray also sent Deborah on a working trip to Mexico, her first journey to a foreign country, where she began her permanent attachment to folk and popular arts.

"I guess Charles asked me to stay," she recalls vaguely. "It took me at least two years to get used to Los Angeles, and particularly Venice where the office was. I always loved working there, but Venice was a wasteland then. Los Angeles didn't seem to have any kind of a 'cultural forum' in the fifties, like the Melrose area or even Venice is now."

(It might be argued that a convocation of beat-era poets in Venice is in every way culturally superior to any gaggle of roller-skating airheads, but that is another discussion.)

In December of 1957 she was awarded a Fulbright Grant to study at the Hochschule fiir Gestaltung in Ulm, Germany.

The curriculum and approach of the school was as foreign to Sussman's attitudes toward design as the name of the institution is to us. Its doctrine is and was the "International Style," meaning that it can, no, must be applied to

During the time she spent with the Eames's, she was involved in every area of their work, except furniture design. Sussman worked on the films, displays, packaging, graphics and the marvelous toys invented by Charles, Ray and their staff of sophisticated elves.

2

4

3

5

29

DEBORAH SussMAN

any design problem anywhere, any time. This is called logical and pure by its dwindling group of adherents; to the rest of us it is simply totalitarian and ultimately boring.

Deborah describes her approach as more intuitive and organic, even regional. While this results in design that is the polar opposite of the International Style, that does not mean that it is therefore illogical and impure. On the contrary, is it solidly based on the designer's experience, education, imagination and intellect as applied in working out specific projects. For an illustration of the two philosophies, one need go no further than to contrast the design for the Munich Games with that produced by Sussman (along with many others) for the 1984 Los Angeles Games.

After her grant was up, Sussman spent the next two years working as a designer in Europe, first in Milan and then in Paris. She also did a great deal of traveling about, always taking pictures of architectural details, parades, festivals, outdoor markets and rural landscapes.

Back in the U.S. she again returned to work at the Eames office, this time on a project-by-project basis. This is not as insecure as it sounds, as Charles and Ray seemed to specialize in commissions that took years to complete. Some of those that Sussman worked on were the "Mathematica" exhibit for IBM, the IBM Pavilion for the New York World's Fair, and the Nehru Memorial Exhibit in India.

After spending most of the sixties working at Eames, Deborah opened her own office in 1969. "I always knew, and Charles acknowledged, that I would some day go out on my own. I just never knew when or how. Then Bernard Zimmerman, the architect, came to me directly and asked if I would create the interiors and signage for a series of Standard Shoe Stores he was designing. It was his first free-standing architectural assignment, and my first major project on my own. We worked together for Standard Shoes for a number of years, and that's really what got me started."

"The future is what happens to you when you are making other plans." Sussman didn't say that, but it applies. There were no role models for her to follow-outside of some of the work with Eames-as design as a profession was neatly compartmentalized into rigid specializations, and then subspecializations. Deborah was designing in space and air, as well as on surfaces and to provide information. "Whenever I ran into a particularly knotty problem I would always call John Follis (another Los Angeles-based designer who also figured in the Olympics, as who didn't?). He is a prince; his ideas on design are similar to mine, and he is entirely generous with help and advice."

About this time, one might ask, for the record, where does the name Prejza in the title of the company come in.

The answer is, Paul Prejza is both Deborah's husband and partner, in chronological order. They were married in 30

Communication Arts January I February 1985

1972 when he started to work in the firm, and then they officially incorporated in 1980.

Prejza received his degree in architectural history, but was professionally trained as an architect and planner. He was working in this latter capacity for the city of Los Angeles (and you thought that "planner" and "Los Angeles" were mutually exclusive) when he first met Sussman. She had won a trademark competition run by and for the city, and Paul, having heard of "this mini-skirted designer" (again, her words), volunteered to deliver her designs back to her-an obvious ploy. It worked, both personally and professionally, and Paul provides a balance of deliberation to Sussman's more intuitive, hell-bent, everything at once mode of operation.

In retrospect, 1980 seemed to be a watershed year for Sussman and Prejza. Not only did they incorporate together, they also hired design consultant Dave Goodman to "borrow their watch and then tell them the time." To be specific, Goodman asked the two to introduce themselves to him as if he were a client. They did so and Dave responded by saying, "You know, you're really environmental designers." Deborah says, "We had never really thought of ourselves in that way, but he was right.

He positioned us."

For whatever reason or combination of factors, from that time on to now, larger projects became the norm and no longer the hoped-for exception. And fortunately for Sussman's way of thinking, "regionalism, as opposed to the internationalism espoused by the Swiss and German schools of thought, was attaining importance economically, socially, politically, in many ways."

Back to the Olympics, for a moment: It is characteristic of Deborah to share credit with any number of mentors, factors, clients and staff members when assessing her success. For her, Jon Jerde, the architect with whom she worked on the Olympics project, is given a large share of praise and gratitude, as is Harry Usher, the vice president of the Los Angeles Olympic Organizing Committee. I have stressed this quality because it is far too rare in our business. Many designers, art directors, illustrators and (especially) photographers seem to feel as if they had suddenly burst forth onto the scene fully formed, sans parentage or other heritage, like Botticelli's Venus on the half shell.

Deborah, on the other hand, is thoroughly aware of how she and her work have been informed and shaped by a unique amalgam of ethnic, social and cultural forces.

Finally, Sussman is no overnight sensation with the highly visible Olympics project. She has worked long-a quarter century-and hard to command the respect and commissions Sussman/Prejza now is offered. Whatever she has, she has earned.

-Dugald Stermer

Annette Del Zoppo

DEBORAH SussMAN

1. Logo and sign design and poster panel, 1969, for Standard Shoe Stores. Deborah Sussman , designer; Steve Schuck, assistant. Bernard Zimmerman , architect.

2. Issue No. 32 of The Printing Salesman :S Herald, Champion Papers, featured women in printing, advertising , design and production . Deborah Sussman , designer; Ave Pildas, assistant designer.

3. Environmental design for the Roll ing Stones Concert, Los Angeles Forum, July 1975. Deborah Sussman and Paul Prejza, design ; Steve Schuck, Greg Thomas , Phyllis Eagle Kalionzes, Parke Meek, design team .

2

4. lnterpace Tile poster, 1973. Jim Waterson , art director; Deborah Sussman , designer; Marvin Rand (photographs), Phyllis Eagle Kalionzes (propping), Frank Romero (assistant designer), design team.

5. lnterpace Tile Showroom, Pacific Design Center, 1977.

Paul Prejza and Deborah Sussman , design; Don Swiers, assistant designer.

6. New graphic image for the California Council for the Humanities, 1983. Deborah Sussman , partner in charge , Debra Valencia, design .

7. 1982. Interior color, signing and graphics for Crocker Center, Los Angeles , with 2.5 million sq. ft. of commercial space. Maguire Partners, client; Skidmore, Owings & Merill, San Francisco, architect. Team : Deborah Sussman (partner in charge), Susan Hancock (color), Scott Cuyler (signing), Debra Valencia (graphics).

Mark Schwartz

3

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Communication Arts January I February 1985

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33

Annette Del Zoppo

Annette Del Zoppo

DEBORAH SussMAN

In all of the projects shown on th is spread, Deborah Sussman and Paul Prejza were participants on the design team , usually as partner(s) in charge. Before 1980 the firm was Deborah Sussman & Co., after that as Sussman I Prejza & Co. Other members of the teams are listed with the individual projects.

1. 1979. Logo, exterior color, signing , stationery for Peter's Landing , 100,000 sq. ft. retail/office center, Huntington Harbor. Maguire Partners, cl ient; BisseiiAugust , Newport Beach , architect. Don Kaufman , techn ical color consultant.

Tim Street-Por ter

2, 3. Interiors, signs , menus and collateral materials for CJ Fish Restaurant (1981) and Shogun of Japan (1983) at Peter's Landing .

Teams: Michael Russell (interiors), Susan Hancock (color), Debra Valenc ia (graphics), Jim Simmons (illustration), and Nancy Zaslavsky (menu graphics assistant).

Annette Del Zoppo

4. 1981 Christmas poster/wrapping paper as gift for friends and clients . Becky Tachna, assistant.

5. 1983. Signing, graph ics and exhibits for South Street Seaport , three-block historical retail complex in lower Manhattan . The Rouse Company, client; Benjamin Thompson Associates , architect.

Team: Mark Nelson (project manager), Scott Cuyler (signing).

6. 1984. Logo, signing , color, amenities and tenant sign criteria for Horton Plaza, San Diego. The Hahn Company, cl ient; The Jerde Partnership, architect. Team: Scott Cuyler (signing), Susan Hancock (color).

Annette Del Zoppo

2

7. 1984. New graphic image inCluding toy showrooms for Hasbro-Bradley. Barton Myers Associates , architect. Team : Mark Nelson , Debra Valenc ia.

8. Graphics for A & S Department Stores, New York, Spring '85 promotion reflecting California style. Luci Goodman , design .

Bur ton Pritzker

3

34

Communication Arts January I February 1985

Susan Goldman

4

5

6

7

8

35

36

Communication Arts January I February 1985

DEBORAH SussMAN

1982. Interior and exterior signing , amenities and exhibits for The Grand Avenue , Milwaukee, a four-block retail complex with both arcade and street frontage . The Rouse Company and Milwaukee Redevelopment Corp. , client; ELS Design Group, Berkeley, architect. Design team: Deborah Sussman , Paul Prejza, Debra Valencia (graphics), Mark Nelson (special effects), Scott Cuyler (signing), Phyllis Eagle Kalionzes (displays).

37

Annette Del Zoppo

DEBORAH SussMAN

SussmaniPrejza developed the "look" of the 1984 Olympic games , including color, graphic elements , signing systems, ornaments and other graphic devices. This was applied to twenty-eight sports venues, three Olympic Villages , Exposition Park, the Coliseum , Los Angeles International Airport , the Biltmore Hotel and the forty-three sites of the Olympic Arts Festival. The street banner program and printed graphics program were influenced by and utilized the style, color and elements designed by Sussman I Prejza & Co. Los Angeles Olympic Organizing Committee, client. The design team: Deborah Sussman and Paul Prejza (partners in charge), Mark Nelson (project manager), Debra Valencia (senior designer), John Barr, Dena Blum, Scott Cuyler, Luci Goodman , Susan Hancock, Chuck Milhaupt, Stephen Silvestri , Eugene Treadwell.

Tim St reet-Porter

2

1. Color concept sketch by Deborah Sussman over aerial view hy The Jerde Partnership.

2. Colonnade at Gymnastics. Sussman I Prejza, Daniel Garness with Barton Phelps, architect.

3. The Coliseum. Star-in-Motion design by Robert Miles Runyan & Associates.

4. Souvenir tents and banners in Exposition Park. Tent design by The Jerde Partnership.

5. Street banners. SussmaniPrejza, Hinsche & Associates.

6. Coliseum entrance . Pictogram design by Bright Assoc iates.

7. Exposition Park Tower at night. Tower structure design by Archisystems.

8. Spectator entrance to Swimming and Diving .

The Jerde Partnership, Sussman I Prejza.

Pictogram by Bright Associates.

Ave Pildas

9. Wall banner system at Volleyball .

3

The Olympic photography was coordinated

by Annette Del Zoppo, ADZ Productions .

38

Communication Arts January I February 1985

Ave Pildas

Jim Simmons

5

4

Rick Steadry

Rick Steadry

6

7

Marvin Rand

Rick Steadry

8

9

39

ARTHUR MEYERSON According to Arthur Meyerson, his success as a professional photographer has a lot to do with being in the right place at the right time. The place is Houston and the time was the mid-seventies.

"I backed into photography. It wasn't planned. I wasn't educated for it. But my photographic roots go back to when I was a kid. I used to love Life magazine. As soon as it would come I'd go through it and look at all the pictures. My mother used to get mad at me because I never read it, I just looked at the pictures. And I used to try to draw pictures like every other kid. But I was never any good at it. That frustration probably led me into photography."

His photography didn't progress past the snapshot stage until he was in college at the University of Oklahoma.

"I was majoring in journalism and advertising and in my junior or senior year I had to take a photojournalism class.

It was just your basic black and white processing and · printing course but somehow the magic really kicked off my interest. Of course I still didn't think I'd ever be a photographer. It was just serious fun."

After graduation Arthur began what he calls his "serious amateur" period. He spent two months touring Europe, taking pictures with a 35mm camera. "During this time I began to develop a need to take pictures, and it continued when I got back; but it was time to get on with my lifetime to get a job."

Arthur soon found out that getting a job wasn't going to be easy. The economy was in recession and more people were losing jobs than finding them. "I ignored the journalism part of my degree because I knew I didn't want to work for a newspaper and went out looking for something in advertising. It certainly wasn't the rosy picture they had painted for me in school. I got lots of encouragement but no offers. Nobody wanted a new kid with no experience.

"I knew I had to do something. My parents were pressuring me to do something-especially to get out of the houseand I wanted to get out of the house. So I decided to make an attempt at the family business here in Houston, which is construction, mostly commercial construction."

He continued to take pictures in his spare time, and as his photographic skills progressed, his frustrations with the construction business grew. "I really tried, but it just wasn't right for me. The thing that sticks in my mind was the number of things you couldn't control-so many factors. I wanted to work with something where I could 40

Communication Arts January I February 1985

control the factors. I finally decided that if there was any way at all for me to make a living in photography, I'd try it."

Sometime prior to this decision Arthur had been introduced to Joe Baraban who was beginning to build his freelance photographic career. When Arthur told Joe of his desire to begin working as a photographer, Joe suggested that he come and share studio space with him. This arrangement lasted five years. "That was a good time for me. It gave me time to get my feet on the ground, to mature as a photographer, and gain some confidence."

To support himself in the beginning he had to take a variety of part-time night jobs while he continued to shoot for himself and to prospect for clients during the day. "The one thing I knew right from the start was that I wanted to work with the very best people, that is, the best designers and art directors. And the best clients. That meant getting better myself. I still shoot for myself every chance I get.

This is for two reasons. First is because I enjoy it-if the day ever comes when I don't I'll get into some other line of work-and the second is because the more you do something the better you do it."

Over time both Arthur's and Joe's businesses developed and grew in volume to the point where it became impractical for them to continue to share space. "As a matter of fact the studio was really too small for one person-and became impossible for two." Joe moved out of the cramped quarters. Arthur stayed on for a while and then he moved. Probably as a result of their original studio, both now have large, open facilities.

Arthur has two assistants, one who travels with him on assignments and does his black and white processing and printing, and another who maintains his stock photo files and helps out with studio operations. Arthur's wife Linda operates the business side of the studio. "She's my partner and best critic. Or worst critic, depending on how you look at it. But there's no way I could have gotten as far as I have without her. The fact that she completely understands the business, what I do, and how I work, is important to the personal side of our relationship too." Arthur jokes that the fact that he's away much of the time on location also helps their relationship.

Even though he maintains a large Houston studio, and is planning to build or buy a new one, most of Arthur's work Personal photograph of clothesl ines in Singapore.

41

ARTHUR MEYERSON

is done on location and most of his business comes from outside the Houston area. He shoots in both black and white and in color depending upon what the situation calls for. His work falls into three general categories; advertising, corporate and editorial. And that is about as technical as Arthur will get when talking about his work. "Nothing is more boring than sitting around talking technical photographic talk."

Arthur is a firm believer in the creative team concept, and includes his clients in that team along with the art directors, designers and printers. "A good client is one who lets you do what he hired you to do. The projects that I've been most pleased with have been the ones where the combination of people involved has worked best. And I like to be involved all the way. It seems that the usual attitude is once the photographer has taken the shots, processed the film, done the editing, and sent the pictures to the art director, his job is done. But I've always found that I'm much more involved with a project. I like to go on a press check if I can. And the times that I have gone have always been interesting for me. Plus it's nice to be thought of in that respect, where the designer or art director wants me to be there to check color or maybe just to see what's going on."

He likes his photography to be spontaneous. "I never go out with a preconceived notion of the way I'm going to shoot. If a picture looks like something I just happened upon, that's great.

"It seems like when you first start out you're really con-

cerned with style, but the longer you're at it, the harder you work, you discover that style takes care of itself.

When I lay slides out on the light table and start looking at them I find similarities between what I took yesterday and what I might have taken ten years ago. The bottom line is that you're only as good as your last shoot."

-Mark Fulton

Arthur Meyerson.

Personal photograph , Mexico.

Right: Men working on roofs , 1981 National Gypsum annual report.

Woody Pirtle, art director; Pirtle Design , design firm.

Computer operators , Shell Oil annual report. Jim Groff, designer.

42

Communication Arts January I February 1985

43

44

Communication Arts January I February 1985

ARTHUR MEYERSON

Left: front end coal loader, New Orleans, taken on assignment for Houston Natural Gas annual report, Kenny Ragland, designer; Baxter & Korge, design firm.

Photograph ofT. Boone Pickens for an article in Fortune. Alice Rose George, picture editor.

Shell and rocks, Malibu , California, for Shell Oil annual report. Jim Groff, designer.

Personal photograph , South Padre Island, Texas.

Personal photograph of farm house in Holland.

Personal photograph of a vineyard worker in Beaune, France.

This page: research scientist behind wired glass for 1983 National Gypsum annual report.

Woody Pirtle , art director; Pirtle Design, design firm.

Personal photograph of boats, Galveston .

Personal photograph of grain elevators in Oklahoma.

45

ARTHUR MEYERSON

Annual report cover photograph for the Port of Corpus Christi.

Barbara McDowell, art director.

Marching band in Houston, calendar photograph for Printing Resources. Kenny Ragland , designer; Baxter & Korge, design firm .

Right: personal photograph of a street in San Francisco.

46

Communication Arts January I February 1985

47

ARTHUR MEYERSON

Stallion photograph for Rotan Mosie annual report. Ben Carter, art director; Maggy Cuesta, designer; Ben Carter & Assoc iates, design firm .

Tank photograph taken on assignment for a capabilities brochure, Dannenbaum Engineering .

Dan Glidden , designer.

Man working on a propeller, St. Louis, taken on an annual report assignment for Houston Natural Gas. Kenny Ragland, designer; Baxter & Korge, design firm.

Right: images from a self-promotion book of Meyerson 's photographs of Japan. Lowell Williams and Bill Carson , designers; Lowell Williams Design , design firm .

48

Communication Arts January I February 1985

49

W ILSON McLEAN He may have his origins in Scotland and England, but it was America that captured Wilson McLean's imagination and New York that recognized his talent and gave him the opportunities for the success he wanted so much.

His long and virtually self-taught process to becoming one of today's most successful mainstream illustrators began in the mid 1950s. Working as a messenger in London he discovered that people actually earned a living making art. While on his rounds he was offered a job by a studio that turned out a rock and roll magazine, and he was soon doing everything from drawing comic strips of rock stars to generally putting the magazine together. He went from there to Woman 3- Own, the English equivalent of Ladies Home Journal to do pasteups and mechanicals. It was there he first saw American illustration, art that would indelibly shape his vision as an artist. "I began looking at every Ainerican magazine I could lay my hands on. Colliers, Saturday Evening Post, Redbook, Esquire, all of them. In those days they were full of illustration and I began collecting certain work: Bob Weaver, Tom Allen, Bernie Fuchs, Robert Peak, Joe Bowler, Coby Whitmore, Daniel Schwartz, Harvey Schmidt. I also saw 8 x 10 transparencies of American work for the first time. That was a real eye opener."

Wilson's lack of real art training meant he had to find out almost everything for himself. "The printed page was always my school, and although the transparencies weren't originals they were a revelation. So seductive, and no one in England was doing that kind of work for magazines."

It would be a few years before he'd get the chance to see

originals of the American illustrators with whom he developed such a strong connection, but his obsession with America never wavered. "I only liked American jazz, American movies, American painters, American writers. Everything I wanted was American."

But, it was British Woman 3- Own that gave Wilson his first opportunity to do an illustration for a magazine, which he freely admits was 'highly influenced' by Bob Peak. Wilson gained confidence from doing other illustrations for the magazine and when he was about 23, decided that he needed to be on his own. A friend suggested a visit to Copenhagen and while he was there, a publishing house offered him a timely contract. Work he was doing that was not right for London was received enthusiastically by the Danes. Wilson spent a year living comfortably there and most importantly, learning to paint.

When he returned to London he was more experienced, more confident and spent four years working professionally as an illustrator to prepare for America. In an article from 50

Communication Arts January I February 1985

Design and Art Direction, a British graphics magazine, Wilson talked about that time. "I wanted success, but I also wanted to grow and evolve as an artist, and the work that was available in London made this impossible. But, it was a very exciting period in America. McCalls, Esquire, and Sports Illustrated all used marvelous artists and gave them lots of freedom. One person's work was not like the next.

An illustration was instantly recognizable as a Daniel Schwartz, a Harvey Schmidt or a Robert Weaver. That's what I wanted for myself. I had to go to New York."

So in 1966, at the age of 27, Wilson McLean came to America for a six week holiday with portfolio in hand, just in case. He met an agent who took him on and two days later returned with two jobs-a spread for Saturday Evening Post and one for Redbook. But it was not to be a sign of overnight success. When he moved to New York there were months without a single job and he watched his savings dwindle, but for Wilson there was nothing to go back to in London.

"It began to change about 1970. When I came here, I was

using acrylics, painting on board, using a lot of techniques that I, frankly, picked up from Bernie Fuchs and others, but Bernie was the strongest influence, no question about it. I didn't really think he was better than everyone else. I did think he was smarter. He was obviously a terrific designer.

He did stuff that wasn't too difficult for the market to accept. He was successful. This was part of my pragmatism.

I always wanted to make money. I didn't want to be someone who did work, even interesting work, but didn't make money. The work had to be good, but to me, making it, being successful and acceptable so you're busy, meant fitting into the marketplace. So I looked at the market very carefully. What fit in, what didn't, how far could I push it. Who fit in while still doing interesting work. Bernie did and Bob Peak, but I was less drawn to Bob's work. At that time, though, they both fit my idea of what illustration should be."

The Wilson McLean 'style' began to evolve. He put aside the acrylics he had learned to work with so well, and picked up Dr. Martin's dyes. He became more "design-y and more decorative, sort of. Flatter, using flat shapes. Dyes were a whole other ball game. I was beginning to understand a different color palette. My work no longer looked like some(continued on page 54) 1970 painting of a black baseball team for Look; Neil Shakery, art director. Acrylic, 30 x 20.

"Cockfight ," 1972 illustration for Sports Illustrated; Dick Gangel, art director. Acrylic, 34 x 23.

51

52

Communication Arts January I February 1985

WILSoN McLEAN

Left: "Drawing Board Still Life" for Society of Illustrators' call for entries poster. Wilson Mclean, art director.

Acrylic, 30 x 37.

Water illustration for Champion Papers. Len Sirowitz, art director; Rosenfeld, Sirowitz & Lawson , agency.

Acrylic, 24 x 34.

Below: gatefold cover illustration for a Citicorp booklet.

Jack Odet, art director. Acrylic, 60 x 24.

Top, this page: another painting for the Citicorp booklet, this one illustrating the point that wherever you go in the world you'll find that Citicorp is involved.

Jack Odet, art director. Acrylic , 20 x 23.

53

WILSoN McLEAN

one else's work, yet I couldn't seem to transcend into advertising. I'd gone through a period of time not only changing techniques, but ideas. I was stronger about the kinds of pictures I wanted to paint. This sounds crass, but I was very, very aware that if you had a style people could recognize you would get work, your name would click to people, you'd get more work and make more money. It seemed to be eluding me, and was very frustrating. What I didn't know was, I was developing a style. And when I went back to acrylics, I didn't paint like Bernie Fuchs. The pictures I designed were different.

"I did a spread on black baseball for Look magazine. I knew I hadn't ever done anything quite that successful. And other people saw it, too, like Dick Gangel of Sports Illustrated."

Wilson had been trying to reach him for years, but now Dick was calling him. An illustration of a cockfight for the magazine won a silver medal in the Illustrator's Show. It was another turning point in his career, but not because of the award. "When I did that piece and one or two others, there were certain details that were reminiscent of Kitaj, a painter I admired. I wanted to continue in that direction, but I had real difficulties. Except for places like Sports Illustrated, when I painted that way, I'd get them back for changes.

They thought they were unfinished. Figures would be left incomplete, something out of scale next to something else, pictorially very logical, but not to the client. I literally had to stop doing it. Left to my own devices, it was a track I may well have gone down. It involved me, I liked it. But I stopped because it wouldn't get me the advertising work I wanted. I also wanted all my pieces to come together as a consistent body of work. I guess I made a decision that left a more personal process out in the cold."

But later in that year, Wilson broke down the last barrier to commercial success, getting high powered representation.

Bob Peak arranged a meeting with Harvey Kahn and Wilson has been with him ever since.

"It's not coincidence that in the last ten years I've done very well. He could open doors, and my portfolio was being seen by people I hadn't been able to get to before."

He won more awards, began getting more exposure and his career took off, but just as things he'd worked so hard for began to come through, his marriage failed and the emotional strain was overwhelming. It was nine months before he could begin working again at top form. But then, the once strictly editorial illustrator was doing mostly advertising. True, the commissions were often boring, clients buying his 'style' rather than taking advantage of his considerable talent for invention. But, he had made that choice, 54

Communication Arts January I February 1985

and the work was very lucrative. The satisfaction was in that, and being highly professional. Things haven't slowed down since then.

What is interesting about Wilson McLean as an artist is this rare combination of talent, ambition and consciousness. His ability to maintain enough energy and excitement to produce good work, even when there is little room for his input, is admirable. But, his ability to seize the moments to innovate when he senses the restrictions by clients might be lifted is more than professional. His Holland American campaign in 1982 is a good example.

Recently, Wilson has felt the need, again, to make some changes in his life and his art. He has just finished a painting for the Air and Space Museum of the Smithsonian for their permanent collection. He has returned to doing editorial work that interests him, artistically. And he's been experimenting with prints and print techniques, as well as working in oils. Out of this period of restlessness, if history repeats itself, we can expect to see another and perhaps very different incarnation of his 'style.' And knowing Wilson McLean, it will be successful.

-Dee/to

Painting of " Knute Rockne and Team " for Sports Illustrated.

Dick Gangel , art director. Acryl ic , 40 x 30.

Illustration of lead smelting for St. Joe Minerals Corporation annual report. Len Fury, designer; Corporate Annual Reports, design firm . Acrylic , 22 x 28.

Illustration of a " Fossilized Woman " for Postgraduate Medicine ; Tina Adamek, art director. Oil, 24 x 29.

55

WILSoN McLEAN

Painting of the Philadelph ia Flyers for an article on the violence in hockey, Penthouse Magazine ; Joe Brooks, art director. Acryl ic , 38 x 34.

Right, above: painting of a Boeing Vertol "Ch inook Helicopter" that is hanging in the Air & Space Museum, Washington, D.C. Oil, 55 X 42.

Ad illustration for Perrier. Hal Golubuff, art director; Mathieu , Gerfen & Bresner, agency. Acrylic , 34 x 43 .

Below: unpublished painting for " Dune," a Universal Pictures film. Burt Kleege r, art director. Oil and acrylic , 66 x 33.

56

Communication Arts January I February 1985

57

WILSON McLEAN

Poster painting , "Samurai and Rocks," for a one man show of Mclean 's paintings, drawings and prints at Von Tobel Gallery, Zurich . Oil, 35 x 39.

Painting for "The Sic ilian ," Playboy Magazine ; Kerig Pope, art director. Oil, 35 x 26.

Right: painting on the subject of "Sleep Disturbance" for a Ciba-Geigy exhibition and portfolio titled " Expressions of Depression ." John deCesare, art director and designer. Acrylic, 35 x 39.

58

Communication Arts January I February 1985

59

60

Communication Arts January I February 1985

WILsoN McLEAN

Left: unpublished painting, "Two Figures in a Japanese Landscape." Oil , 50 x 38.

Horned Guan for Sports Illustrated; Dick Gange! , art director. Acrylic , 30 x 27.

Poster for Holland America Cruises. Four other paintings from this series were shown in the 1983 Art Annual. Bob Dion , art director; Chiat/Day, agency. Acrylic, 30 x 40.

This page: ad illustration for Merrill Lynch ; Jaques Borrin , art director; Young & Rubicam, agency. Acrylic , 40 x 34.

Book jacket painting for " Dog Soldiers"; ian Summers , art director; Ballantine Books, publisher. Acrylic, 26 x 33.

61

WEYMOUTH DESIGN Mike Weymouth photographed for the first annual report he designed, in 1974, and his firm has been doing the bulk of their own photography ever since. The primary reason for this, he says, is the control that it offers.

Since then they have added another photographer, George Simian, to the e~even-person staff.

"We know more about the client's objectives and the statement the report must make, so we can assess the relationship of the photograph to the whole."

"I'm putting my time where I think it's most effective. Sometimes that is in photography, but now I might shoot forty days a year where it used to be sixty. I've shifted a lot of that burden on Larry, he's done the bulk of the shooting this fall.

Frequently the photographs precede the design and, on occasion, almost dictate or greatly influence the design.

"That's why we have a motto here, 'Photos First,"' Mike said. "As long as I know what the client's goals are, I feel safe spending the time and money to take those pictures ahead of some of the other design considerations. That may be unusual. A lot of studios might not go for those pictures before they had things pretty well locked up.

"A comp with dummy photos doesn't make much sense.

In my judgment, it's not efficient to show the president or chairman of the board a photograph that's not his. He won't even look at it. If the guy is a good administrator, he knows he's hired a good designer and he's not going to sit there and nit pick about design things. But when you put the photographs on the table and say, 'This is how I want to show your company,' he's very interested."

The recognition of that first annual report, for Cabot, led to other annual report assignments. And it led Mike to do some serious thinking.

"Gunn used to be the major annual report designer in town, but they were a big studio and they did everything, design, illustration, all types of projects. And a number of others did annual reports as just another project.

"But something had happened. The annual report had become a localized, or at least a regional business. Sure, New York used to be the center for it, but companies that were headquartered in Texas were having their reports done by Texas designers, for the most part. California companies by California designers. In Boston there was no equivalent to Corporate Annual Reports, or Arnold Saks, or Corporate Graphics that just did annual reports. So one day I just proclaimed myself the annual report designer in Boston. All the local people were all-purpose studios."

Weymouth did his work well and his reputation and business grew. His photography was one of his strong selling points.

The time came, however, when it was too difficult for him to personally photograph all of the reports as well as design or supervise the design of these. Then Larry Long joined the firm. He was a designer with a strong corporate communications background and he also photographed. His photography was compatible with Weymouth's. Enough so that when they worked together on a report it would be difficult to tell who had taken the picture.

62

Communication Arts January I February 1985

As the business continued to grow-twenty-two reports this year-Mike found a need to redistribute his time.

"Though there are some accounts that I still handle, my management responsibilities have increased and I am distributing the design work in here a lot more. The idea is to make people independent.

"Larry Long services the total account for a number of clients. Tom Laidlaw has some and so does Mara Kalnins.

We're having a party here in a couple of weeks. I looked over the invitation list and found that I didn't know a lot of the names.

"I just read an article in the Wall Street Journal about a new book on leadership. They were saying that the best kind of leadership is when you generate enthusiasm in people. There was a great expression they quoted: 'You give them enough rope so they can run, but not enough that they can hang themselves with it.'

"It's my philosophy that you hire good people and give them a chance to do what they can do. Of course we've had some people in here who have hung themselves with the rope I gave them, and they're gone. Designers have to know when to come to you and ask for advice. And you have to know when to pop in and give advice. Sometimes they're struggling, and I know exactly what to do with that job, but if I stepped in to tell them, they wouldn't learn. They have to go through that learning process in order for the next job to be easier.

"Most designers are motivated by their own ability, their own pride. If you give them crummy jobs to do, they know the job is crummy and they're not going to flourish under those circumstances. To give them good work to do, \XOrk that is almost beyond them, and then be there when they need help is a damn good formula. Also, I want them to talk to the client because I don't want anybody to design in the back room. I want them all to know that design, good design, is not made on drafting tables. It's made in the board room.

The 1983 Prime Computer annual report focused on the company 's philosophical change from a supplier of high performance computer hardware, where product differentiation was becoming increasingly difficult, to a supplier of computer solutions . The review-ofoperations section illustrated this with a sampling of their diverse customer base. Mike Weymouth , art director; Tom Laidlaw, designer; Peter Arnold, writer; Larry Long , Mike Weymouth and George Simian, photographers.

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27

63

WEYMOUTH DESIGN

My people are good. They work hard and we're efficient here. We keep all of the hours on computer and the weekly average of billing hours, across the year, is way above what many other firms say they are doing. I want the people that work here to have a good experience, to do good work.

Obviously that reflects well on me."

Their client list is quite stable. Weymouth stated that they may lose two accounts and add two or three each year.

Last year we had to turn down Lotus Development and recommended another design firm, but this year we did take them on. In our proposal to them, I outlined the perceptions and misconceptions that people have about software, and where I saw the gaps in the communication story. Because they were the people in front of the wave, Lotus has been referred to in the business as spokesman for the industry, we recommended the 'white paper treatment,' a piece within the annual report that talks about the future of the industry, which really doesn't talk about Lotus. That's not a design decision, that's a strategic positioning kind of decision.

I really wouldn't want to work with someone who didn't involve us in the strategic planning. Sure, there are some companies, Northrop is an example, who are so close to their corporate culture and strategic goals that they don't need that, but most companies can use that help.

A company named Compo just doubled their size overnight with the acquisition of a Dutch company which makes carpet tiles, the largest carpet tile manufacturer in the world.

Obviously the Compo annual report had to be different, so a lot of my time was spent defining their statement. That went right on through to my shooting all the European photography. The way I shot it had a great deal to do with the way we wanted that business perceived.

For example, I wanted to make it clear that carpet tiles are not a low-profit commodity item. They are specified by architects, and the things architects specify have a much higher profit margin. People in the investment community know that. So it was an important first statement in the logic of the picture section to show an architectural office where people are standing near an architectural model and studying tile samples to make a decision."

Their offices are on the edge of the financial district, in a section of Boston where many fine old buildings with years of service in warehousing or manufacturing are being converted to offices or condos. A major feature of their space is the big arched windows that are characteristic of old Boston warehouses. The ceilings are high with heavy beams and exposed pipes and ductwork.

The isometric projection at right shows the highly efficient but livable plan of the office where there is no workspace where you can't see at least part of one of the arched win64

Communication Arts January I February 1985

dows. The administration area (reception, glass-enclosed conference room, Weymouth's office and the office manager's space) is in front. From this area, or even looking down the "clean corridors" that serve as hallways, there is no visible evidence of the activity taking place in the designer offices, slide viewing room, film editing area, photo studio and stat room in the back. Neon strip lighting set against brushed steel runs down the corridors. Tungsten track lighting runs across the work space.

"While these are typical considerations in any studio," Mike said, "we had the good fortune to be able to create an orderly workspace from scratch, and were particularly sensitive to how these areas were positioned within the overall scheme.

"We recognized that designers exist in a state of some paper chaos. As a result, their filing system consists of large, centrally located job boxes. While most jobs are simply stuffed into their boxes, it's preferable to having them float all over the place. This kind of basic handling of material is best separated from any administrative function where the need for order is greater.

"To minimize the mess in the design area, there is very little flat space. I'm of the opinion that too much flat space merely provides more area in which to make a bigger mess.

Neatness for its own sake is· not the goal. In the past we've spent many hours trying to find a slip of paper, or a chrome, that fell between the cracks. In this space, a designer finds it hard to function if he or she is not neat and orderly.

"Even though our office manager is never without her Walkman headphones, the administration area is a bit more tranquil than the designers' area where a stereo system helps everyone through the long nights and weekends. The neon and argon light I art is also an attempt to make the space a more enjoyable place to work in at night.

"There's very little in the way of bric-a-brac and posters on the wall. The place is decorated with the work we do, which is hopefully always progressive. I have never liked the idea that a designer puts work up on the wall that someone else has done, that is put on a pedestal. There's the potential to do the same kind of work in our business, so why not do it and surround yourself with it?"

-Dick Coyne

Isometric projection of the Weymouth office space.

The staff: Mike Weymouth (in front of table), Jose Lizardo, Mara Kalnins, Lee Massaro, Zander Yaworsky (seated), Elizabeth Spence, Judith Hildebrandt (seated), Larry Long , Elaine Pratt (seated), George Simian and Tom Laidlaw (seated).

65

As the embod.i.ment ol an image, the annual r.port has evolved through a holt ol inft~ Acomp:uoUvegkmc.wat the award-winning r.por11

WEYMOUTH DESIGN

Three issues of Annual Report Trends , published annually by S. D. Warren . Number One, this page, discussed the evolution and state of the art in annual reports. Inset blocks had philosophical statements by designers. The paper mix offered subtle variations of coated stocks. Number Two, top right , discussed the powerful role of photography that " has gone beyond the purely pictorial to approach the realm of art allowing corporations to make a stylistic statement that transcends the actual subject matter." The paper mix was again a range of coated papers and special ink colors and varnishes were more freely used. Number Three, cover and spread at bottom right, featured the trend to the use of matte or dull inks both as solid areas and in dull black and gray duotones.

Michael Weymouth was the art director and Rose DeNeve the writer on all three issues. Tom Laidlaw and Lyn Markey designed Number One and Laidlaw designed the last two.

All of the examples from annual reports used in these were credited in the back of each issue.

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Communication Arts January I February 1985

67

Wyman-Gordon

WEYMOUTH DESIGN

1982 annual report for Wyman-Gordon , a company engaged principally in the engineering , production and marketing of technically advanced forgings . Mike Weymouth , art director; Tom Laidlaw, designer; Jim Gabbe, writer; Mike Weymouth and George Simian , photographers.

Right: cover for 1982 XTRA Corporation annual report.

Mike Weymouth, art director/designer/photographer.

Cover and spread from 1983 annual report for XTRA, a company that leases equipment to the transportation industry. Mike Weymouth , art director; Tom Laidlaw, designer; Dave Bickford , writer; Chris Bing , illustrator; Mike Weymouth , photographer.

A close...., view of t.t.lnfum •sponce'. them•terialto bemeltedond olloyedottho new AerosPK• Alloys Center

68

Communication Arts January I February 1985

69

WEYMOUTH DESIGN

Book cover for Little Brown. Weymouth made a photogram of dill from his garden to facsimilate blood vessels.

Package design, Magic Program for Corning Medical & Scientific Division . Larry Long , art director/designer; Jean-Michel Folan, illustrator.

Right: cover and spread from 1982 and 1983 annual reports for General Cinema Corporation whose major businesses are soft drink bottling and motion picture exhibition . Mike Weymouth, art director; Tom Laidlaw, designer; Newsome & Company, writer (1982); Janine Dusossoit, writer (1983); Lonnie Sue Johnson, illustrator; Mike Weymouth and George Simian, photographers.

1983 annual report for Northrop Corporation. Mike Weymouth , art director; Tom Laidlaw, designer; various photographers.

70

Communication Arts January I February 1985

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thcpoople,theproductsandthcoom·

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mitmcnttoach.ieveaoodraulta.

!::.'1S,7~m:

.........

GENERAL

CINEMA

1983

futurt. lb'lbeGttJdtuue.a sin&leword ol. careu ldvi.cc-''plasticl"-•truck.aresponsi-.oetbord in movie·JOinl aud.iences,as tbc:po~t- war tionp-ew~rapidl y. themovit-JOinlpublic

"hhbyboomen" appi"NCbedadulthoodand

demanded that theatre fare be distJ.n«ul.thable &om what It could view at home on television.

Hollywood produced elaborate, bi.& budact fu .

began askina: their own questi0111about values and meaninp. Some turned to altemuh"t life· sty)ea and • peral defianct: ol coow:ntion.

nue fi lmsforfirst-runlhamexhibitioo, and

Tbcirquesrionins:raisedthecoUecrivecoo·

efficient muld-scrten theaua in larpe. subur-

tdousoeu ol the country. The questions, IDCft

ban malls wue built to better acrYe the

often than not, resulted in • renewed commit·

rDCMe-p:ftncpublic.

Durin& the 601 vmdin& machines polilerated - atroadsideservice statioru, in

menttavalues, uA.mericanscootinuedtO insist on quality in products and ta'Vices.

Astmbecamelncrusins:JyWt·paced.

offices and at recreational facilitiea-olfain&

newways toactthemOitoutolourleiJure

foodandbevetqeato A.mericansincruJin.&ly

ti.medevdoped.Ew:rywherethepbrax " Pq»i

"ontbe ao~·

Later in the 601, doubts vcw about authority md the ability ol this natioo to conuol the

Ceoeration'' cametoai.prifytheactive,aware, dynamic lifestyle ol American youth, the larpt ~qment ol the CONWnin& public. New

Ptod\1!:-nO.moon Tod.tt,thrd•moont.

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71

WEYMOUTH DESIGN

Cover and spread, 1982 annual report of Delmed Inc., manufacturers of parenteral (injected) medical products for use of patients at home and in other non-hospital settings, more than half are dialysis products.

Mike Weymouth , art director; Tom Laidlaw, designer; Newsome & Company, writer; Mike Weymouth and George Simian , photographers. (The 1983 report appeared in the CA-84 Design Annual.)

Right: spread from American Cablesystems Corporation 1983 report. Larry Long and Mike Weymouth , art directors and photographers; Mara Kalnins, designer.

Spread from 1982 Massachusetts Industrial Finance Agency annual report. Francesca Bator, art director/designer; Larry Long, Francesca Bator, George Simian , photographers.

(The 1983 MIFA report appeared in the CA-84 Design Annual.)

from the cycler, now free of

comer is the ESRD patient's

then trained to administer

any treatment responsibilities

doctor, a nephrologist. Our

CCPD to himself, with his

for the day. Again, the patient's

own sales force describes the

blood is being continually

home treatment procedure to

doc.ror's supervision at the clinic.

cleansed, allowing him to feel

the doctor, who can prescribe

better all day, seven days a

it for his patient. Once the

tered the technique at the

week. Recent evidence suppons

patient has received the doctor's permission to receive

self at home. The Company

the Company's belief that inCi-

After the patient has masclinic, he is free ro treat him-

dence of peritonitis is drama-

home peritoneal dialysis , one

then becomes a resource to the

tically reduced with CCPD-

of our customer service repre-

patient, with nurses available

as compared with CAPO- be-

sentatives enters the patient's

24 hours per day by tele-

cause there are fewer connections, and fewer opportunities for contamination.

medical history into a data-

phone, or for personal visits if

bank, along with the doctor's

necessary. When additional

prescription. The patient is

di_sposable supplies are

Delmed is committed to

needed, one of our customer

creating new products for the home peritoneal dialysis treat-

service representatives contactS the patient and places an

ment disciplines. Peritoneal

order. The supplies are then

dialysis offers patients with

delivered to the patient's

ESRD an opportunity to lead an independent lifestyle, away

ery trucks and drivers. The

from treatment centers and hospitals. In addition, patientS feel and look better when their blood is being constantly

home by the Company's delivCH/mtdiJtwNmiutdtornatingnru•prodNrts

nephrologist supervises this

plum. F(W tx~~mplt. 11 pwitonMI dsalysis c"fJH• '"'-llffiJ!It1N , IhrSaf-Lolt ''" Systtm.u·h1rhu.,

team process, and retains the

/(If' homt ptriiO!Ital duzlym 11T4/Mnl dJSII·

ultimate responsibility for the

htlin'tu ·tllsigmf~eantlyrtd~«ttJx thantrof

in[KIIon . u•illhttJdtkdtoDtlmu!JfmJI/IIrt

patient's care. Delmed cur-

lirttill 1983 .

cleansed, simulating the effect

rently serves approximately

of a functioning kidney.

1,100 such patients. ~ food Banking

Through our American Medical Produces division, Delmed is the market leader in CCPD products, and employs a service-<lriven

A

l

Produttr-Blood 'products are the core ofDelmed's high technol-

approach to home peritoneal

ogy parenteral specialty expertise, and are the Company's

dialysis. The patient becomes

original product line. Our

part of a team managing his

technology is very specialized

home peritoneal dialysis treat-

and encompasses sophisticated

mentS. The Company's cus-

materials science, a detailed

12

72

Communication Arts January I February 1985

Amencan Cablesystems has been successful m devel· opmg and clustermgttsclass ac cable operations m ns Southeastern regton, wh1ch com-

pnsesVugmta, WestVtrg:tmaand

Tennessee. Here mWashmgton County, Tennessee, Amencan recently Interconnected Its system scrvmg

Gray and part o£ Johnson Cny w1th stand-alone sys-

tems m Hampton and Erwm. The latter system was acqUlredfrom

WamerCommunicauons in 1983.

Amencan Cablesystems of Tennessec now passes more than 26,000

homesservmg JS,CXIO customers.

Rehobihtat10n elforts rece1ve fa vorab le tax crechts by meetmg federal preservation gu1dehnes. Th1s church,

buill m Taunton in 1888. lS bemg converted

mto ofhce space. Preservation mcludes care-

fully repcnnng and replacmo sta med

glass wmdows.

Spnngheld contmues to rebu1ld 1ts commer-

c•al center, a1ded by

S38 m1lhon an CARD hnancmg . Three ad)a· cent bnckstructures on Mom Street were relurb1shed th1s yea r tocontamolhceand commeroal space. usang a S97S,OOJ bond funded by several local banks. Cooperation ol a rea lending mstltU · Iions a nd busmess and government leaders created Spnnglield's mortgage pool, a model lor successful urban reinvestment.

Amid the strong industrial exp::msion in Massachusetts lies an often unrecognized story of the rebirth of our older communities. These city and town centers, which thrived with activity as the Industrial Revolution spread across the state, decayed with our once declining industrial base. Few people thought anything could be done to reverse the trend. But with the resurgence of industry and government policies focusing on urban development, investors rediscovered these commercial centers. Through MIF.A:s Commercial Area Revitalization District incentives, almost $250 million in bond financing has been invested to build and rehabilitate over 5.8 million square feet of space for retail and office use, a clear sign that city and town centers are attracting more investment and attention.

73

ART POSTERS You may admit to only a passing interest in wall decor, but still you've noticed it. Propagating steadily. Blossoming in the most unlikely retail crevices. Brightening homes, offices and restaurants with their lively urban chic.

average new apartment has sixteen blank walls. Combine that with the fact that only two percent of the American public has ever bought an art poster, and you've got yourself an industry."

In the trade they're known as art posters, and they represent a new wrinkle in the business of decor, if not a fresh chapter in the history of the poster.

Not every commercial artist who ever collected an award can expect to come up a winner in the poster game. In fact, there is enough evidence to suggest that strong communication graphics are weak poster graphics.

Publishers talk of "images," not concepts, and the field is strewn with the remains of those who didn't perceive the difference.

To understand their popularity, you need only think back ten years. If in 1975 you wanted an inexpensive something to hang over your sofa, that something might have been an offset reproduction of a famous painting or photograph.

Fine. Only one problem. Reproductions aren't real. Your friends might think you're tacky.

That's where posters have come to the rescue, since they're supposed to be reproductions. Cheap but honest.

Robert Blue, partner in the· publishing firm of Davis-Blue Artwork, Los Angeles, credits the movie industry for giving art posters their initial push. "If you were to look at old Woody Allen films, for example, in the interior sets for houses and apartments you'd find various framed posters announcing gallery or museum exhibits. The message was clear-this was something hip people did to their homes."

As exhibition posters turned into commercial successes, publishers scrambled to set up shows for their artists, the sole purpose being the creation of a marketable product.

Ironically, they believed that any connection with a museum or gallery, no matter how flimsy, lent the proper credibility.

There were only so many exhibits to be had, of course, and exhibition posters soon gave way to posters more generally related to art. Pioneering pieces included the Georgia O'Keefe series for the Santa Fe Chamber Music Festival, Steinberg's New Yorker poster, Julius Friedman's "Fresh Paint," and the ballet series by photographer Harvey Edwards. By the early eighties it was apparent that art posters could be big business. At $25 a pop, Brian Davis's "Calla I" sold over 40,000 units in 18 months, and aggressive distributors like Bruce McGaw in New York had already begun organizing their products into extensive catalogs.

74

"We've won a lot of awards from art director's clubs in New York as well as on the West Coast," says Alan Drucker, principal of Drucker/ Vincent in San Francisco. "And I'm always flattered when my peers praise something I've published. But for some reason most of our aesthetic successes have been our financial failures. I guess they're just a few notches above the mentality of the market."

With so many designers, photographers and illustrators joining the fray, the business has been likened to the pop music industry, where most of the new products end up in the trash can rather than on the turntable. Therefore publishers tend to search for what Robert Blue terms "the mega poster." Like a hit record, a hit poster bears no resemblance to products with ordinary sales patterns.

A megaposter excites the entire industry, and can create a major publishing company overnight.

If the odds of success are small, so are the financial risks, at least by most standards. For about $6000 you can whip up a poster with competitive production values. The usual specs for a $25 retail poster include 80-pound cover stock, four process colors, one or two PMS colors and one or two varnishes, all trimmed to a 24 x 36 standard frame size. A smaller standard appears to be evolving as well.

When all the votes are in, the industry may wind up with an 18 x 24 junior-size poster which would sell for around $15. From a publishing standpoint, silkscreened posters offer certain advantages, the most notable of which is a lower first-run investment. For a few thousand dollars you can screenprint in small quantities as a hedge against

Once the idea caught fire, American posters swiftly jumped the borders into Canada, England, France, Germany, Italy, and most recently into Australia, New Zealand and Japan.

Two Olympics posters by Charlie Wh ite Ill and John Van Hamersveld; distributed by Graphique de France , Boston .

Chances are the trend will someday burn itself out, but as publisher and distributor David Lawrence points out, "The

Two flower posters by Brian Davis; publ ished and distributed

by Davis/Blue Artwork, Los Angeles.

Communication Arts January I February 1985

75

ART POSTERS

failure. And in the case of only minor success, you can re-run a silkscreen in such quantities as the market will bear. Most publishers, the first time with a new image, will shoot for a run of 3000 with offset, or a run of 500 with silkscreen.

If you're like the majority of poster artists, however, you'll

trust the marketing acumen of an established publisher and let them take the lion's share of the risk in return for a royalty agreement. Royalties are somewhat negotiable, but they hover around lOOJo of the wholesale price (or about $1.25 per poster), and are sometimes preceded by a modest advance to cover design costs.

Is it possible to predict what will sell? No, replies Scott Slater of Graphique de France, a publisher and distributor in Boston. "Well," he says, "it's a little easier after you see it. The problem is, once an artist recognizes a trend, it's already too late. They don't realize that people like myself have already seen twenty million of the same thing done by other artists who have just recognized the trend. It's better to direct your energies into the different and the new."

Robert Blue relies on a simple form of market testing to help predict sales, first by reviewing thumbnails and transparencies with his network of dealers, and then by displaying full-size comps at trade shows. Though a veteran trend-spotter, Blue remains wary of trends. "It would be as if I were a TV producer and realized that I could get a couple of very sexy actresses and some fast cars, work them into a detective series with a lot of action, and probably interest some advertisers right out the door.

The danger lies in competing with other formula situations, and in hoping that the same old formula will work one more time. The real success comes from someone going out on a limb and creating something we haven't yet seen, like Spielberg with ET. That's when the big bucks come crushing down on you. In my view jumping on a trend is almost as risky as trying to do the next brand new thing yourself."

contemporary poster makers. Drucker/ Vincent does strictly client work, and a separate company, Loft Publishing, produces posters expressly for the gallery market. Type is important in that it gives the poster an anchor. It can also ruin it, too, if it's not right. When we came out with the first flower posters, people objected to the type. Only they called it 'writing.' Now it's the type that gives it credibility, and it's come to the point where just an artist's name makes it a legitimate poster."

Scott Slater, along with others in the business, voices concern over the number of publishers crowding into the industry. "There's bound to be a shake-out. Yet there's still a need for more illustrators, photographers and designers-anyone who can offer a quality graphic product. And from the artist's point of view, it's a great way to establish a reputation among the general public."

Says Robert Blue, "Until now the walls of establishment art were so lofty that they excluded thousands of talented people. The poster field gives creative people a chance to compete head to head in the open market.

"I see this as a sort of renaissance, a golden age if you will, in the history of posters. Actually, it's quite an exciting idea to have art that can entertain us for three or four years, yet be cheap enough so we can change our tastes with the seasons."

And if our tastes change away from posters completely?

"Posters are just art prints with some type at the bottom," shrugs Blue. "It would be very easy for publishers to go back to making art prints. We would simply call our dealers and say, 'listen-they're a little shorter,' and with a sharp X-acto knife we could make the change."

-Marty Neumeier

David Lawrence doesn't mind trends so much, but he avoids what he calls "wallpaper" posters. "I look for posters that pop out, that will evoke an emotion or change someone's life. One practical reason is that I'm up on a wall competing with 60 or 70 other images."

The typography portion seems to be of less importance than the image itself, except in the case of more conceptual pieces. Alan Drucker publishes both kinds, and also accepts commissions from clients. "We consider ourselves 76

Communication Arts January I February 1985

Two posters by Nicolas Sidjakov; publ ished and distributed

by DruckerNincent, San Francisco.

Dance poster, Brune/Stivers/Kl imek ;published and distributed

by Davis/Blue Artwork, Los Angeles.

BEAR

RUBBER DUCKY

77

ART PosTERS

Poster by Marty Neumeier; published by Gazelle Editions, Santa Barbara.

Poster by Seymour Chwast; distributed by DruckerNincent, San Francisco.

Right: poster designed by Julius Friedman , photograph by Warren Lynch . Published by Images, Louisville.

NEW YORK ART EXPO !APRIL 1983

78

Communication Arts January I February 1985

79

ART PosTERS

Los Angeles poster by Benjamin Cziller; published and distributed by Mirage Editions, Santa Monica.

Partners poster designed by Michael Mclaughlin , photograph

by Stephen Yeates; distributed by Graphique de France, Boston.

Right: poster by Paul Paree; published and distributed by DruckerNincent, San Francisco.

Dance poster, J. Stephen Hicks/Charles Smith/Arpeggio; published and distributed by Davis/Blue Artwork, Los Angeles.

Tyler Dean poster; published by Mirage Editions, Santa Monica.

80

Communication Arts January I February 1985

81

DOVIMA WITH ELEPHANTS PARIS 1955 PHOTOGRAPHED BY RICHARD AVEDON 82

Communication Arts January I February 1985

ART POSTERS

Left: "Dovima With Elephants " poster by Richard Avedon ; distributed

by Andrew Grenshaw, New York.

Poster by Tom Kamifuji ; published and distributed by DruckerNincent, San Francisco.

Nastassja Kinski poster by Richard Avedon. Distributed by Andrew Grenshaw, New York.

NASTASSJA KINSKI AND THE SERPENT PHOTOGRAPHED BY RICHARD AVEDON 83

ART POSTERS

Airbrush poster by P Coulon ; distributed by David Lawrence Editions, Malibu.

Harris Gallery poster by Ed Mell ; published and distributed by Davis/Blue Artwork, Los Angeles.

Right: "Jazz in the Wine Country" poster by Casado Design ; published and distributed by DruckerNincent, San Francisco.

Sailing poster, photograph by Morris Rosenfeld; distributed

by Graphique de France, Boston .

Apollo poster, photograph by Aaron Jones & Lis DeMarco; published and distributed by Graphique de France, Boston .

84

Communication Arts January I February 1985

FLYING SPINNAKERS - 1939 "A Century Under Sail" Morris and Stanley R osenfeld, Plwtographers

85

ART POSTERS

Major Felten poster; published and distributed by Davis/Blue Artwork, Los Angeles.

Patrick Nagel poster; published and distributed by Mirage Editions, Santa Monica.

Right: Monet poster by Milton Glaser; distributed by Graphique de France, Boston .

86

Communication Arts January I February 1985

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87

I

THE SCHOOL OF VISUAL ARTS MASTER OF FINE ARTS DEGREE PROGRAM

Illustration as Visual journalism Our Master's Program in Illustration as Visual Journalism is not for all illustrators.

We are interested in artists who seek an alternative to the trad itional, commercial illustration or fine arts career.

We are looking for those applicants who are figuratively based and who want to explore their process in a professional environment wh ile in the company of a selected group of similarly motivated artists.

The discontent of many of today's talented illustrators stems from the strong emphasis on technique and style, in preference to using the artist for a unique, personal observation of reality.

The Visual Arts Master's Program in Illustration as Visual Journa lism focuses on developing the artist's ability to observe and record .

It stresses information gathering and documentation as the first stage of any imaginative rearrangement of reality. We ask for highly developed skills in drawing and painting, as well as an ability to commun icate simply and clearly in writing.

We expect the artists chosen for this program to be cha llenged by our intense course of study which includes studio work, weekly sem inars and continuing personal evaluation of work progress by an extraordinary faculty.

lfi§ii(fij

Marshall Arisman, Chairman Steven Heller, James McMullan, Robert Weaver There are very few graduate programs in the field of illustration and for good reason . There's little need to stay in school longer if one wants a traditional illustration career. However, this program is structured for artists who seek alternative areas for personal expression that may fa ll outside the current market for mainstream art. If you feel you can benefit from reconsidering your personal process in this kind of program, we'd like the opportunity to get to know you better.

For further information call the Office of Graduate Admiss ions or write to Marshall Arisman, Chairman of the Master's Program in Visua l Journalism.

SCHOOL OF

VISUAL ARTS 209 EAST 23RD STREET, NEW YORK, N.Y 10010, (212) 679-7350 or 683-0600.

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THE RIGHT OF PRIVACY: THE '~RRINGTON'' CASE Communications professionals must be wary when using the image or name of a living person for purposes of advertising or trade. Releases are invariably obtained from models whose pictures will be used for an advertisement or product packaging (which is a common "trade" use). The release must protect everyone who will work with that image, since an invasion of privacy lawsuit can be brought against anyone who took part in causing the invasion of privacy. A designer may prepare an advertisement for a client based on an illustration which used photographic source material. In such a case, the model's release should protect the client, the designer, the illustrator and the photographer. However, the right of an individual to maintain his or her privacy may conflict with the right of the press to publish information that is newsworthy or in the public interest.

New York pioneered in the area of privacy in 1903 by enacting the first statute protecting privacy. Since that time nearly every state, by either statute or court decision, has followed the lead of New York in protecting its citizens' right to privacy. Because of its leadership role and its importance as a media center, privacy decisions in the courts of New York have national impact and influence the decisions of other courts.

The Arrington Case Arrington v. The New York Times arose from troubling facts. Clarence Arrington, a black, was photographed without his knowledge while walking along a street in New York City. This photograph was then used on the cover of The New York Times Magazine in connection with an article titled "The Black Middle Class: Making It." This widely circulated article probed the issue of whether middleclass blacks felt divorced from the problems affecting less fortunate blacks. Arrington, a financial analyst at the time the photograph was taken, was indeed a member of the middle class. However, he had never consented to the use of his image; indeed, he was never asked by The New York Times for his consent. Although he was not mentioned by name in the article, he felt the article degraded not only the black middle class but himself as its apparent exemplar.

He did not share the views of the article and also said that his acquaintances assumed that he had at least partly changed his vocation to that of a professional model.

New York's highest court, the Court of Appeals, reiterated its earlier holding that a "picture illustrating an article on a matter of public interest is not con~idered used for the purposes of trade or advertising within the prohibition of the statute ... unless it has no real relationship to the article ... or unless the article is an advertisement in © Tad Crawford 1985

90

Communication Arts January I February 1985

disguise." If the picture had no real relationship to the article, it would not serve the public interest. Such a picture would simply be used to sell more copies of the magazine and this would be a trade use. A classic example of this involved a suit won by Muhammed Ali against Playgirl magazine. Playgirl ran a picture of a nude black sitting in the corner of a boxing ring with his hands taped.

Although Ali's name was not used and the picture was titled "Mystery Man," it clearly referred to Ali as an accompanying verse used the phrase "the Greatest." No article was used with the picture, which in itself served no newsworthy or public interest. It was simply designed to make more people buy the magazine. In this way, it became like product packaging-a trade use.

The Court of Appeals concluded that the photograph of Arrington was related to the article about the black middle class. In the struggle between freedom of the press and the individual's right to privacy, the press emerged victorious.

However, The New York Times had not been the only defendant in the suit. Other defendants included Gianfranco Gorgoni, the free-lance photographer who took the photograph on assignment for The New York Times; Contact Press Images, Inc., the photographic agency which handled the sale from Gorgoni to The New York Times; and Robert Pledge, the president of Contact.

If liability were found, the corporate shield would not protect an officer from being personally at risk.

In a decision that caused great concern among visual communicators, the Court of Appeals stated that the case against The New York Times was properly dismissed, but " ... it cannot be said that plaintiff has no claim under these statutes against defendants Gorgoni, Pledge or Contact." The Court reasoned that these defendants might be found to have made a sale of the photograph without Arrington's consent. Not being publishers, the photographer and his agency might be liable despite the fact that The New York Times was protected by the First Amendment. When the case would be sent back to a lower court to determine the facts, the lower court might well find that the defendants, operating independently from the publisher, had commercialized the photograph by the transfers leading to the publication by The New York Times.

An Absurd Result This ill-reasoned decision led to an absurd result. A freelance photographer working for a publisher would be liable for an invasion of privacy in this situation when the publisher would not be. Likewise, a free-lance photographer might be liable for an invasion when an employee of a publisher taking the same photograph would have no liability. The employee-photographer would be protected

s

"Fishing in A rgentina" for Art Jorts Illustrated !rector: Harvey G rut

1985 Mohawk © Robert Gra M ..Cunningham phlcs Collection

This year, the work of illustrator Robert M. Cunningham joins the prestigious Graphics Collection at Mohawk Paper Mills.

Bob was born in Kansas, and now lives and works in New York. His work has been published and displayed internationally, and has won (among other awards) Gold and Silver Medals from the Society of Illustrators, and the 1983 Hamilton King Award.

"The field for illustrators is so broad today," Bob comments, "it's a great time for an artist. A lot of variety is open to us. That wasn't true thirty years ago, I think. The public today is more aware, more sophisticated.

"I was a slow starter myself, and I'm still not a terribly

efficient worker. I got started late as an illustrator, but everything I've done along the way has been helpful.

"I'm very interested in photography, and even considered at one time being a photographer. It's extremelY. helpful for

reference work. I couldn 't do without it, especially for sports illustrations. And there are so many great photographs today, and so many good photographers, that as an illustrator you have to do something different.

You can't compete directly with photography.

"As an artist, you just do the best you can , and you 're very fortunate if someone happens to like your work enough to buy it. I consider myself very lucky. I've had many good clients who have given me a lot of freedom in my work.

"I don't know what I'd do if I weren 't an artist. But I'm very happy as an artist. I wouldn 't want to do anyth ing else."

Mohawk's happy you don't!

~~y~j9&w!:!~!~!!Jg~~£QY~r leading uncoated cover paper on the market today. There are several reasons. Dependable quality is one-Mohawk has been producing this velvetsmooth paper for forty years, and printers have come to learn they could always count on its ability to carry an image. Another reason is the blend of fine pulps and high-alpha cellulose

uniform printing surface of unmatched clarity. And then there's color. This page is 65 lb.

Blue-White. Mohawk makes two more whites, a black, and fourteen strong , brilliant colors in 50, 65 and 80 lb. (whites only) weights.

Mohawk Fieldstone Cover is Navajo with an embossed textured surface. It's made in

Lithog raphed on Blue-White Navajo Cover, 65 lb.

seven colors , all of which are available in 65 lb. cover.

Mohawk is putting together a portfolio of Bob Cunningham 's work, all printed on Navajo paper, in various weights and colors . Ask your local Mohawk distributor for a copy. See why "the printers' cover paper" is also the artist's friend.

Mohawk Paper Mills, Inc., Cohoes, NY 12047

TAD CRAWFORD

by the employer's First Amendment freedom of the press.

Not only would this decision place free-lancers in a precarious position, it would constrict the flow of imagery to the media. Indirectly, it would inhibit freedom of the press.

Publishers and visual communicators alike were outraged.

Joining forces, they decided to lobby for a bill to overturn this aspect of the Arrington decision. The American Society of Magazine Photographers and the Graphic Artists Guild played important roles as this coalition formulated draft legislation and a strategy for guiding the legislation through both houses of the New York legislature.

The Arrington Bill The bill took the form of an amendment to the privacy statute in New York State. The amendment provided that if a use protected by the First Amendment is the purpose of the sale or transfer of an image from a photographer to an agent or an agent to a publisher, all the parties in the chain of transfers will be protected by the First Amendment.

No opposition formed against the bill. In one year it passed both the Assembly and Senate, and was signed into law by Governor Cuomo. So free-lance photographers and their agents now enjoy the same protection that publishers and employee-photographers enjoy with respect to the Arrington factual pattern.

Implications of the Arrington Case Some may question whether a man walking on the street should be fair game for the photographer who wishes to illustrate an article about a group or class to which that man belongs. Once we accept that the media should be free to use such images, it follows inevitably that there should be protection for all parties in the chain of transfers leading to the media use. Beyond this, the user of images must always keep in mind the individual's right to privacy. Publisher, advertising agency, corporation, graphic designer, illustrator, art director, photographer and agent all risk liability in a suit brought for an invasion of privacy.

In common commercial situations, releases are used as a matter of course. However, the Arrington case points to the borderline area where distinctions blur between what is a use for private gain and what is a use for the public interest. In such situations, the only safe course to adopt is the securing of a release. Taking the Arrington case as cautionary, the professional visual communicator will at all times make certain that images being used do not invade any individual's right of privacy.

Tad Crawford is an attorney and author who has lobbied for legislation benefiting visual creators. With Arie Kopelman, he is co-author of Selling Your Photography: The Complete Marketing, Business and Legal Guide and a companion volume titled Selling Your Graphic Design and Illustration (St. Martin's Press).

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93

Barbara Gordon

SELLING IN THE EIGHTIES We are currently in a market where we have more freelance illustrators, photographers, designers and representatives than we have ever had in the history of the business. Some of this is attributable to the baby boom generation coming of age in such large numbers that the traditional job markets could not accommodate this multitude, and some of this phenomena has come about because there is also a decided shift in this country from large corporations to small business and individual entrepreneurship. But whatever the reasons, the large numbers of freelancers competing in today's marketplace have dramatically changed the ways of doing business. Survival and success in the freelance marketplace is going to depend, in large measure, on the individual's ability to adapt and even take advantage of this changing situation. I'd like to comment on how some of the changes in the marketplace affect the way we sell in the freelance business today.

Increased reputation usually means increased fees, so this enhancement of image or reputation of the freelancer becomes important in the selling process.

We still use the personal sales call, but it's not as prevalent or effective as it used to be. Because of the sheer numbers of freelancers vying for their attention, most clients have instituted the hated "drop off" policy, where one drops off a portfolio one day to be viewed and returned the next day.

This policy has made the editing and assembling of a portfolio critical. It has also given rise to the multiple mini-portfolio, where an individual will make up several mini-portfolios (some of them on specialized subject matter) for "drop off" to many clients at one time.

We're starting to sound like advertising agencies when we talk about "positioning" a talent's style or abilities in the marketplace, "packaging" the portfolios for a particular segment of the market or markets, getting the "right exposure" in certain mediums, assembling the right "media mix" for the advertising and promotion of a talent's work, adapting a selling approach to correspond with the latest results from our "market survey of how art and photography is purchased." But it is all part of the new way of doing business. Plus everyone is waiting to see if, how and when, all the wonderful new technology will affect our field, and how we can use it to further help the selling and marketing process.

With the depersonalization of the marketplace, advertising and promotion have also become more important than ever, which explains the wide proliferation of directories.

It has now almost become critical for a freelancer to be represented in some kind of directory. But directories alone are not enough. It is also equally important to advertise in trade journals and utilize direct mail promotions as a way to keep the freelancer's name and current work before the buying audience. A larger proportion of the freelancer's dollar is going into advertising and promotion, and there appears to be no end in sight.

Quite simply, the freelancer of the eighties can no longer be content with just learning his or her craft. Today's freelancer, to even be competitive, and obviously to be successful, is going to have to learn a wide variety of business skills, from accounting and tax law to selling, marketing, business practices, merchandising, research, long range planning, credit and cash flow management. In other words, become a self-sufficient business organization to make it in today's marketplace. To sum up the freelance business of the eighties-"It isn't just showing pretty pictures anymore." That's only the beginning.

This overcrowded marketplace has also caused us to use a wide variety of selling techniques employed in other businesses, but never before employed by the freelancer.

We're using sales letters, public relations, market research, portfolio packaging, exhibits, and sophisticated pricing packages to develop new markets and expand on existing ones. It is also extremely difficult for a reputation to be made in today's super competitive marketplace. We no 94

longer have those few select national magazines with large audiences (Life, Look, Saturday Evening Post) that showcased a talent's work on their covers week after week or month after month . Instead we have a wide variety of special interest magazines that use an equally wide variety of talent on its covers and pages. Therefore, the freelancer who wishes to be "discovered" must resort to the "tools of the trade," getting a book published of their work, even if it means publishing it themselves, using paid publicity people on their behalf, and any other methods that increase their exposure.

Communication Arts January I February 1985

-B. G.

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state

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Why would a company that has sold stock photos to 10,000 art directors change its name?

The Answer Is Simple Our name confuses people.

Too many companies wtth "Photo" in their names have sprung up. PhotoThis. PhotoThat.

And us.

Photofile International.

But the others aren't going to change their names. So we're changing ours. To COMSTOCK. Because, frankly, we want to keep our good reputation and satisfied clients to ourselves.

We've commissioned worldclass photographers to shoot stock that satisfies you.

The Creative.

A Million Choices COMSTOCK is your natural selection for your next job.

After all, Comstock has a million assignment-quality photos on file. Not one of them an outtake.

Phil Lieberman , D 'Arcy MacManus & Masius

You already know our reputation for effective photography if you've seen our spectacular color catalogs. And if you've worked with us, you know we've got the most efficient service in the business.

By dedicated, courteous professionals.

T.:·unpax Protection ...

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Ten Years' Hard Labor Since 1975, Photofile has worked hard creating an unmatched collection of commercial stock photography.

The Ultimate Compliment What's all that work gotten us?

The ultimate compliment: an avalanche of purchase orders.

From the country's top art directors and graphic designers.

Photofile's client roster reads like a Who's Who in Advertising. From New York to Los Angeles; From Bangor to Charlotte, thousands of creatives call us for photos that do the job. Photos with impact.

That pack a conceptual punch.

Frank Campana , N.W. Ayer

So, if you didn't meet us as Photofile, get to know us as COMSTOCK. And if you did, rest assured. COMSTOCK is the same company-with the same commitment to excellence.

And the same phone number. Toll free.

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Call or write for Free full-color catalog.

TOLL FREE: (800) 225-2727 In New York: (212) 889-9700 32 East 31 St.. New York, NY 10016

BOOK R EVIEWS THE ILLUSTRATOR IN AMERICA 1880-1980 Edited by Walt & Roger Reed The Society of Illustrators $48.50 Madison Square Pre s, Inc. Distributed by Robert Silver Associates, 95 Madison Avenue, New York, New York 10016

Recorded history is always a chancey business, both for the historian as well as the audience for which it is intended. Unlike almost any other endeavor, including fiction, essays, poetry, "fine" art and music, the historian falls prey to the most scathing opinions by critics. The other arts deal openly with impressions, sympathies, prejudices, imagination, abstraction and outright fabrication. The historian, on the other hand, is supposed to deal with tangible, immutable fact, untainted by personal discretionary judgments.

Of course that is entirely impossible. Just the fact that most historians still invent dialogue for people long dead is enough to put the lie to that. Most of us cannot agree on what happened earlier this morning, at least not with any precision, so it would be folly to expect the historian to research and then relate with omniscient accuracy the events of years, much less centuries, past.

Yet distance in time, as well as geography, provide their own veil of mist through which we are able to see what we want to see, and convince ourselves that what remains is what counts, is what really happened. In this revised and updated edition of a book originally published in 1966, Walt Reed and his son Roger have compiled what is for them and, presumably, for the Society of Illustrators, the official, authorized (and sanitized) history of illustration in the United States.

Having little direct experience with the illustrators of the 1880s up through the 1930s, and the culture which shaped them and their work, most of us are willing to take on faith the word of the Reeds as to the state of the art during those decades. (To be sure, each decade is introduced by a working artist, most of whom worked during the time they wrote about, but the selection process remains in the hands of Walt and Roger.)

That faith becomes tried to the breaking point if one comes upon "America's Great Illustrators" by Susan Meyer (Abrams, 1978). The contrast is staggering. The airless atmosphere and cloying attitude of the Reeds give way under the marvelously detailed, rich and fascinating biographies by Ms. Meyer of Pyle, Wyeth, Gibson, Remington, Flagg, Held, the Leyendeckers, Christy, Parrish and Rockwell. None of the spirit that made the turn of the century through the twenties, truly the golden age of American illustration, is evident in the Reeds' book.

Still, when we are confronted with the events and people of the more recent past, specifically within our memory and experience, we nearly always see things quite differently 98

Communication Arts January I February 1985

from the most diligent recorder. So it is with the latter decades covered by "The Illustrator in America." As the Reeds take us through the forties, fifties, sixties and seventies, our critical faculties become progressively, even geometrically, sharpened. Without going into great detail, pitting my prejudices and tastes against those of Walt and Roger, any review of recent and contemporary domestic illustration that fails to include any mention of Charles White, Marshall Arisman or Heather Cooper, three among many curious ommissions, is deficient by any standard.

There is also a bias herein, but one that is easier to explain the probable whys of than to describe how it affects content. Perhaps it might help to place the book in its context. It was sponsored by The Society of Illustrators, our academy ("American Illustration," mentioned in the last issue, may be considered our Salon des Refuses). It is not stretching a point to conclude that, all things being equal, which they never are, illustrators who actively support the Society as members, volunteers and continual entrants into the annual shows would be more likely to be included in its official history than those who do none of those things. I don't even see this as particularly meretricious; the Society has goals and purposes which need support to succeed, and mutual back-scratching is, after all, the American way.

Further, Walt Reed, aside from being a fixture at the Society, also operates a gallery in Connecticut which deals solely in American illustration. While this experience may well add to his expertise, it also renders his judgment somewhat suspect. I know of no reputable art historian or critic who is also intimately involved in the buying and selling of paintings and sculpture-and for very good reason.

(There is also an enormously exaggerated regional chauvinism jumping off nearly all the pages of this book, but then those of us from the wilds of the west-meaning west of the Hudson-always bitch about that.)

Having now relieved myself of the above, if you are as passionate about illustration as l-and the Reeds-are, then you are still urged to part with fifty dollars to get their book in return. There is precious little being published about the craft, especially its pioneers, and any volume, however skewed, that adds to our experience and enjoyment is well worth the price.

-Dugald Stermer BRIEFLY NOTED:

USING CHARTS AND GRAPHS by Jan V. White (R. R. Bowker Company, 205 East Forty-second Street, New York, New York 10017, $24.95 paper). The regular features by Jan White in Folio magazine have been one of the finest and most helpful sections of that-or any-

magazine of the trade. Likewise, his previous books, Mastering Graphics, Editing by Design and Designing for Magazines, are mandatory texts in the library of any editorial designer. This new one, subtitled "1000 Ideas for Visual Persuasion," is no less essential.

Looo INTERNATIONAL by David E. Carter (Art Direction Book Company, 10 East 39th Street, New York, New York 10016, $28.50). This is Volume One in a projected series of unspecified length. It is primarily a textless collection of logos submitted to the author from all over the world. If you like and/ or design logos, you probably should have this, and future books, as a reference.

AlGA GRAPmc DESIGN USA 5 (Published by the American Institute of Graphic Design, distributed by Watson-Guptill Publications, Inc., 1515 Broadway, New York, New York 10036, $49.95). This fifth annual journal of the AlGA is better in most ways than the fourth, which in turn was better than the third, and so forth. One vast improvement has been the standardization of reproduction quality; like many shows, those of the AlGA used to ask accepted entrants to photograph their own pieces for

reproduction, resulting in some abysmal variation from mediocre to awful. Now, one professional, John Egana, shoots all the exhibition pieces, and the book shows it.

Giving further credit where it is justly earned, Bradbury Thompson designed the handsome cover, James Miho designed the rest of the book, and David R. Brown and the ubiquitous Steven Heller wrote and edited the text.

This is a valuable record.

JAPAN DESIGN edited by Tanaka Ikko and Koike Kazuko (Chronicle Books, 870 Market Street, San Francisco, California 94102, $16.95, paper). This is a companion volume to the equally beautiful "Japan Color," mentioned in these columns inCA Volume 26, Number 3. Chronicle Books has hit on a fine thing in reissuing some absolutely gorgeous books here in North America.

ASMP STOCK DIRECTORY HANDBOOK (American Society of Magazine Photographers, 205 Lexington Avenue, New York, New York 10016, $24.00 plus $2 .50 postage and handling, ordered from the publisher). This is the definitive guide to stock photo sources in the United States.

-D.S.

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 working 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 w1th the top communicators right where they l1ve and work . Places like New York .

Toronto. Ch1cago and London .

You 'll f1nd out more about how the pros work. you 'll make more connections and you 'll learn more than you can possibly 1magine.

For Information contact · Director.

Syracuse Un1vers1ty !SOP I Room 25 610 E. Fayette Street I Syracuse . NY. 13202 I (315)423-3284 .

Study With the prOS DAVID AL TSCHILLEA. MARSHALL AAISMAN . ALLAN BEAVER. JOE BOWLER TOM CARNESE STEVE COSMOPULOS. PAUL DAVIS BEAN IE D'ANDREA. LOU DORFSMAN . GENE FEDERICO RICHARD GANGEL . AMIL GARGANO GARY GRAY RICHARD HESS DOUG JOHNSON. HELMUT KRONE . WILSON McCLEAN . FRANKLIN McMAHON. JAMES McMULLAN . JACOUI MORGAN . DAVE PASSALACQUA ARTHUR PAUL MARTIN PEDERSEN. WOODIE PIRTLE LARRY PLAPLEA SAM SCALI . EILEEN HEDY SCHULTZ. DANIEL SCHWARTZ . TOM SGOUROS . LEN SIAOWITZ BERT STEINHAUSER BARRON STOREY DON TROUSDELL. ROBERT WEAVER

99

MATERIALS PHOTO STAMPS

COMBINATION VIEWER/PROJECTOR

This is a unique new product that I will try to find a use for. By sending a mere fifteen dollars you may order a sheet of one hundred perforated and gummed 1" x 1\12" color stamps, made from your 5" x 7" (or smaller) color print, collage, Polaroid or slide. Black and white stamps are thirteen dollars for one hundred. I would imagine that there are a vast number-at least four-of promotional possibilities, especially for those in photography or illustration. To order, or for information, write Double Image, P. 0. Box 3319, Berkeley, California 94703.

This new portable contraption works as both a table-top viewer for intimate slide presentations, and a slide projector for larger audiences. It is the Hahne! Viewer /Projector, and it provides a 5X magnification of color or B/W slides on its 8 Y2" viewer screen (diagonal measurement) along with a 50mm projection lens. The whole thing weighs 6 \12 pounds and occupies 9" x 11" of desktop space. There are two models, one priced at $125 and the other at $150. An optional shoulder bag is priced at $29.95. For information, write Hahnel Viewer /Projectors, Argraph Corporation, 111 Asia Place, Carlstadt, New Jersey 07072.

COLORED PENCIT.. SETS

From Alvin comes word of two new lines of colored pencils: Lyra Rembrandt Colored Pencils and Lyra Aquarell Water Color Pencils. The Lyra Rembrandt pencils are light-fast and of high intensity, and are grouped in sets of twelve, twenty-four, thirty-six and a combination of thirty pencils with twenty-four watercolors. The Lyra Aquarell line is, as the name suggests, water soluble and blendable.

They are available in sets of twelve and twenty-four. For information on both products, write Alvin & Company, Inc., P. 0. Box 188, Windsor, Connecticut 06095.

B&W

LINE ILLUSTRATORS We have several openings on our freelance staff for skilled illustrators working in pen & ink or any of the pencil mediums. We've been around since 1952 and assign entirely by mail. We buy about 1000 pieces a year from established professionals.

Deadlines are decent, rates are decent and the pay is immediate. If you're good-show us your stuff via proofs, Xeroxes, PMT's, stats , slides.

No originals please.

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Pleasantville, NJ 08232

100

Communication Arts January I February 1985

"UNI-VERSITAL" EASEL

That's the clumsy name the Martin Instrument Company hung on its new easel, "Uni-Versital," because it works as a table-top model and then expands to a stand-up floorbased item. It is all metal and comes in three colors: blue, black and white. For information, write Universal Industries, P. 0. Box 4289, Wayne and Windrim Avenues, Philadelphia, Pennsylvania 19144.

DRAFTING TABLE LIGHT

Plan Hold has a new product, of course; this one is called the Striplite (more cute spelling). It is designed to attach to the bottom of a drafting surface, with the long top light covering the width of the table. It can move away and toward the draftsman, but not from side to side. The "lite" is said to illuminate the entire surface evenly, without the need for constant adjustment. For information, write for literature on the Striplite 396SL, Plan Hold Corporation, 17421 Von Karman Avenue, Irvine, California 92714.

TAPE APPLICATOR GUN

From 3M comes word of its newly-designed Scotch brand 752 Adhesive Transfer Gun, claimed to be "an extended roller system which provides improved visibility and smoother, more precise tape application." Simply put, this dispenser is designed to separate the double-sided transfer tape from its lining as it rolls out onto the desired surface; specifically, these tapes are the Scotch brand 924 Adhesive Transfer Tape, as well as the somewhat stronger 969 Adhesive Transfer Tape. This new gun is available at most framing or artists supplies stores. For information, write to 3M, P. 0. Box 33600, St. Paul, Minnesota 55133-3600.

HAND CLEANER I know that many of us went into our almost white collar line of work because we were tired of getting our hands dirty fixing cars, cooking, pumping gas, moving boxes, manicuring gardens and the like. I also know that despite our efforts to the contrary, some of us still manage to soil ourselves, one way or another. For those I offer word of (continued on page 107)

THE UNFINISHE You will find winning as easy as getting a perfect score in darts.

There will be a winner and it can be you.

Gilbert wants to show you GILBER'f® oxford paper by taking you on a nostalgic adventure to the early days of flight and darts when the knights of the air spent their nights playing darts.

Background: Near the close of the First World War, members of the various allied air squadrons held challenge dart matches. The final playoff was interrupted by the Armistice. In spite of the challengers' vow to complete the game and determine the ace squadron, they never got together - until now.

Capt. Elliot F. Sprigs III, whose grandfather was a playoff contestant, is arranging to finish this suspended game by inviting relatives of the daredevil aces to the final playoff.

Your challenge: To determine the date, time and place of this special playoff (clues will be included in packet and 3 monthly mailings). So .. . join with us and discover the tradition of GILBER'f® oxford (with the look and feel of oxford cloth) while exploring our daring darting adventure. Mail in the coupon to receive the introductory packet.

OFFICIAL RULES:

1. Entries will only be accepted on the official entry fonns provided in the Unfinished Game/Darts 'Til Dawn Packet.

2. All official entry fonns must be received in our office by June 3, 1985.

3. No substitution of cash for prizes will be allowed.

4. Winners will be notified by June 24, 1985. List of winners will be provided on request by writin~ to Gilbert Paper, 430 Ahnaip Street, P.O. Box 260, Menasha, Wisconsin 54952.

5. Winners will be detennined based upon the closeness of the entry to the place (city, town or village - country), date and time of the special playoff. The winners will be selected by an independent judge who has the master invitation.

6. In the event of ties, the prizes will be awarded to entries by drawing supervised by the independent judge.

7. Contest is open to printers, graphic designers and advertising agency personnel in the United States and Canada, except where prohibited or restricted by law. Contest is not open to the employees of Gilbert Paper or the graphic arts agency and designers involved with this promotion.

----~

I I J

CALL FOR ENTRIES 1985 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, 1984 and March 21, 1985 is eligible to be selected for the 1985 CA Illustration Annual.

A distinguished, nationally representative jury of designers and art directors will select the 1985 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.

60,000 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, 1985 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-85, where the entries are judged on the overall concept and execution in all areas of advertising and design. The closing date for CA-85 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, 1985.

No RETURN OF ENTRIES

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 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 1985 Illustration Annual.

CATEGORIES All

Advertising (ad, poster, record jacket, packaging, etc.) ($10)

Al2

Advertising series-five or less ($20)

Bl1

Book (cover, jacket, interior) ($10)

Bl2

Book series-five or less ($20)

El1

Editorial (consumer or trade magazine, ~ewspaper) ($10)

El2

Editorial series-five or less ($20)

FormA

Fl1

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

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

Work produced for sale (poster, print, note paper, greeting card, etc.) ($10)

Fl2

For sale series-five or less ($20)

FormB

111

Institutional (company I association publication, annual report, facilities booklet, catalog, etc.) ($10)

112

Institutional series-five or less ($20)

Sl1

Self-promotion (printed pieces for artists, studios, agencies, printers, paper companies, etc.) ($10)

Sl2

Self-promotion series-five or less ($20)

Ul1

Unpublished ($10)

Ul2

Series of unpublished-five or less ($20)

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, 1984 and March 21, 1985 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.

No return of entries Entry fees Single units ... $10.00 each. Series ... $20.00 each series.

Notification of acceptance

Mail entries to:

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.

The Illustration Annual Communication Arts P. 0. Box 10300 Palo Alto, CA 94303

Awards

or

Award of Excellence certificates for the artist, art director and client of each accepted piece will be mailed in September, 1985.

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."

B

A

This form and fees must accompany entries submitted to Illustration-85

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

PHONE

NAME

Tape this form (or facsimile) to the back of each piece submitted to Illustration-85 (no paper clips).

COMPANY

CFORCAUSE~

For series only

ADDRESS

This is No. _ _ of _ _ _ STATE

CITY

Illustrator

ZIP

_ _ Single Entries .

$10 Each

$._ __

_ _ Series

$20 Each

$._ __

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

No return of entries

Total$. _ __

Client-----------------------Explanation of function : IFORCAUSEI

LDATE PROCESSED-J

B

Tape this form (or facsimile) to the back of each piece submitted to Illustration-85 (no paper clips).

B

Self-addressed . stamped envelope mcluded for acknowledgment

Tape this form (or facsimile) to the back of each piece submitted to Illustration-85 (no paper clips).

CFORCAUSE~

For senes only

D

For senes only

CFORCAUSE~

Th1s is No _ _ of _ _

ThlsisNo . _ _ of - - ·

Illustrator

Illustrator

Art d i r e c t o r - - - - - - - - - - - - - - - - - - - - - - -

Art director ·- - - - - - - - - - - - - - - - - - - - - -

Client - - - - - - - - - - - - - - - - - - - - - - - - -

Client------------------------

ExplanatiOn of function :

Explanation of function .

B

Tape this form (or facsimile) to the back of each piece submitted to Illustration-85 (no paper clips).

Tape this form (or facsimile) to the back of each piece submitted tq Illustration-85 (no paper clips).

CFQRCAUSE~

For senes only Th1s is No. _ _ o f --

B

For senes only

CFORCAUSE~

Th1s is No . _ _ of _ _

·

Illustrator

Illustrator

Art drrector - - - - - - - - - - - - - - - - - - - - - -

Art d i r e c t o r - - - - - - - - - - - - - - - - - - - - - -

Client------------------------

Client------------------------

Explanation of function :

Explanation of function

I I I

I I I

COMMUNICATION ARTS

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

MATERIALS

mind, as it is probably efficient as all hell. It stays in place without losing tension, regardless of the angle of the surface it is attached to; the on-off switches are located away from the heat source; there is a built-in outlet for whatever electric tool one may wish to use (sharpener, eraser, hair dryer, etc.); and there are two bulbs, one a conventional 90-watt incandescent, and the other a cool white circline fluorescent tube. For more information on this lamp, write Plan Hold Corporation, 17421 Von Karman Avenue, Irvine, California 92714.

Amodex, a new, safe hand cleaner and stain remover, capable of removing "grease and oil, carbon stains, magic marker ink, ball point pen, dye stains and other tough dirt, all without water." Further, "Artists, printers, mechanics, secretaries or even typewriter repairmen love it." That's good enough for me. For information, write Seton Name Plate Corporation, P. 0. Drawer ZBF-1331, New Haven, Connecticut 06505.

CASE FOR 3000 MARKERS

Marsgraphic has just put on the market a slim wooden case designed to hold all 3000 of its markers securely and efficiently. When the case is opened, all of the colors are visible at once. This 3000 H60 case is made of lightweight wood with metal clasps and hinges, along with a strong handle, making it easy to take along on sketching expeditions, if such is your bent. For information, write J .S. Staedtler, Inc., Post Office Box 7102, Canoga Park, California 91304.

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

"Electric Wastebasket" ... For those of you who wish to upgrade your present paper shredder, here is a new catalog from the Electric Wastebasket Corporation. The literature describes the company's 16" and 12" Destroyit Data/ Shredder models, along with special features, advantages and specifications. To obtain the information, write Electric Wastebasket Corporation, 145 West 45th Street, New York, New York 10036.

TECHNICAL LAMP

This new technical lamp, the 395TL from Plan Hold, looks enough like something found in a dentist's office, and as such is a little intimidating. However, that's just in the

''You're going to do what?'' ''I'm moving to Kansas City. I've quit my job and I'm going to design for Hallmark:'

"Cards?"

"Not just cards ... all kinds of products. A lot of really good-looking, stylish stuff. Obviously you haven't been to a Hallmark store lately.

They use sensitive and dramatic illustration, decorative design, plush-toy and package design, lettering- even cartooning and animation; all kinds of visual and verbal humor. And they really care about reproduction ... "

"You have to move to Kansas City?"

"I want to move to Kansas City.

It's pretty. It's hilly. It's alive. It's civilized. It's undiscovered. And you wouldn't believe how well you can live there compared to here!

My new apartment is twice the size of this one and it includes a free garage and ... "

"How much is the rent?"

"Less than I'm paying now! Plus Hallmark is considered one of the top ten companies in America to work for. Plus their benefits are fantastic. Plus the people are ter-

rific. Plus they're always sending their designers to New York and L.A., and Dallas and ... sometimes even Europe!"

"How much experience do I need?"

"Four to ten years. They're looking for some strong art direction and supervisory-type experience, plus hands-on, on-the-board talent:'

"That's me! Maybe I should send my resume ... , " ... to Director of Creative Recruiting, Hallmark Cards, Inc., P.O. Box 580, Kansas City, MO 64141.

Maybe I'll see you in Kansas City."

-~· c:::::::>

1~

When you care enough to send the very best

An equal opportunity employer.

107

MATERIALS

Sports Illustrations ... A new clip art collection, Sports, Volume 2, this one devoted to athletics of many kinds, has just been published by Dynamic Graphics . Together with Sports, Volume I, this pair of loose-leaf bound collections includes more than 500 graphics. For ordering information on either or both, write Dynamic Graphics, Inc., Department PR, 6000 North Forest Park Drive, P. 0 . Box 1901, Peoria, Illinois 61656-1901.

Annual report checklist ... has been issued for the tenth consecutive year by Doremus & Company, a leading investor relations and public relations firm, for use in preparation of 1984 corporate annual reports to stockholders. The four-page guide provides current information (as of September 30, 1984) from the Securities and Exchange Commission reporting requirements, including key elements in the SEC's Integrated Disclosure System. Also listed are significant areas of corporate activity that must be reported upon in accordance with generally accepted accounting principles. Another section recommends optional material pertinent to corporate operations that should be included in the report and type size requirements are listed as well as delivery requirements. A copy of Doremus' 1984 checklist may be obtained by writing to: Margaret O'Connor, Doremus & Company, 120 Broadway, New York, New York 10271 or calling (212) 964-0700, extension 332.

I'm worried, Nicky. Ever since you won the lottery, you've been throwing Classic® Text around like it was nothing.

-=~ ::::=-

~~ ::-~- ---~ - ( ~Q-~~~~)~

Neenah Paper Classic Text- when you got it, ICi 1985 K.C.C. ll!l Registered Trademark

of Kimberly·Ciark Corporation

flaunt it

@ Kirnberly-CJark Neenah Paper Division

Gilbert oxford . .. Now available in 80 lb. cover weight, all eight colors of Gilbert oxford is the subject of a new promotional brochure available for the asking from Gilbert distributors.

Parsons Writing ... This new laid finish writing paper, containing 250/o cotton, is available in white, natural, ivory and gray. It is manufactured entirely acid-free to resist discoloration and aging. For a swatchbook of this new product, write Ralph Schmidt, National Sales Manager, Parsons Paper, 84 Sargeant Street, Holyoke, Massachusetts 01040.

Curtis Sourcebooks . . . Not to be outdone by Simpson, Champion and the other paper companies who sign up well known professionals in an effort to sell their wares through tacit endorsements, Curtis has just issued the first in a series of graphic arts Sourcebooks, entitled "People in Print." This booklet features the work of a variety of practitioners in the field of printed messages: Saul Bass, Gene Federico, Ed McCabe, Teresa Fasolino, Henry Wolf, Aaron Burns and Woody Pirtle. Come to think of it, that's a hell of a selection. Samples of their work, along with a commentary, are included. For a copy of this Sourcebook, ask your Curtis merchant, or write Curtis Paper Division, James River Corporation, 145 James Way, Southampton, Pennsylvania 18966.

Mohawk & Chermaye.ff . .. Mohawk Paper Mills is using Ivan Chermayeff to show the printing capabilities of its Superfine white and softwhite papers. Their reasoning: "Mohawk hopes, of course, that designers (artists, printers, etc.) who see how good Chermayeff looks on Mohawk paper will want to see themselves on Mohawk as well." The promotional portfolio includes twelve designs

by Ivan, many having never before been published. For a copy, ask your local Mohawk distributor.

"Muzzleloader People" ... The subject of this promotional brochure from Hammermill is the still arcane but growing interest and activity surrounding the making, loading and shooting of eighteenth and early nineteenth century firearms. This booklet provides some information-the "Kentucky Rifle," for over a century considered to be the most accurate in the world, was actually born and bred in Pennsylvania-and a number of interesting photographs of an annual "shoot" near Friendship, located somewhere between Woodstock and Williamsburg. The booklet is not only interesting, but handsomely printed on Hammermill 's Cream White. For a copy, write Hammermill Papers Group, Erie, Pennsylvania 16533, or ask your Hammermill Papers merchant. Incidentally, the rifles had to be accurate.

It took even an experienced marksman thirty seconds to reload; the first shot had to count.

-D.S. 108

Communication Arts January I February 1985

CLUBS, CONFERENCES, SEMINARS AsPEN

The theme for the 1985 International Design Conference in Aspen is "Illusion is truth: The art of perception as the basis of design." The 35th conference will take place June 16-21. The conference chairman is Dr. Jerome Lettvin, professor in the Department of Electrical Engineering and Computer Science at MIT, and a lecturer in neurology at Harvard and Boston Universities Medical Schools. Speakers will include Bela Julesz, head of the auditory division at Bell Labs; Phillip Morrison, professor of physics at MIT; Norman Geshwind of Harvard University Medical School's Department of Neurology; artist Richard Haas; and art critic Marianne Teuber. Registration fees: $375, U.S. funds, primary registrant; $200, second member of the household; $125, full-time student (proof required).

Make checks payable to IDCA c/o The Bank of Aspen, P. 0. Box 0, Aspen, Colorado 81612. For further information contact Deborah Murphy, IDCA, Box 664, Aspen, Colorado 81612 or call (303) 925-2257.

BDA The appointment of Russ Smith as the new executive director of the Broadcast Designers' Association, Inc., and the opening of BDA's permanent national headquarters in San

Francisco were announced by Brad Nims, president of BDA. New headquarters address is 251 Kearny Street, Suite 602, San Francisco, California 94108, telephone (415) 788-BDAI. The Broadcast Designers' Association is a nonprofit, national organization open to professionals whose careers are involved with the creation of graphics and design for television. For more information, contact Russ Smith at (415) 788-BDAI (2324) .

CmcAoo The Second Annual Folio: Midwest Conference and Exposition, for magazine and book publishing professionals, is being sponsored by Folio Publishing Corporation, and will run from Tuesday, April 9 through Thursday, April 11, 1985. It will be held at the downtown Hyatt Regency in Chicago, and will feature seminars covering every aspect of magazine and book publishing from marketing, production and promotion to design and editorial content. For further information about seminars and exposition tickets , write Pam Dimond, Assistant Conference Manager, Folio Publishing Corporation, 125 Elm Street, P. 0. Box 4006, New Canaan, CT 06840, (203) 972-0761. For information about supplier booth space, write Suzi LaHines, Project Manager/Marketing Services at the above address.

CMG The Color Marketing Group has elected four new officers to its executive committee and five new members to its board of directors for the year 1985. CMG's new president is Sharon de Leon, president of Design Portfolio, Santa Monica, CA; vice president is Jon Hall, color designer, PPG Industries; treasurer is Doris Crary, director of product development, Prince Matchabelli; and secretary is J o Miller-Willis, president of Interiors by Jo. New board members are Larry Allen, Mitchell Designs; Thomas M. Burak, Pennsylvania House; Nancy M. Carlson, consultant; Kay Stephenson-Wrack, Creative Services; and Patricia A. Verlodt, Color Communications, Inc. For more information contact: Color Marketing Group, 1133 Fifteenth Street, N. W., Washington, DC 20005, (202) 429-9440.

IDSA The Industrial Designer's Society of America has announced its IDEA85 competition. This sixth annual awards program is for the best achievements of 1984 in ten categories of industrial design: Instruments; Equipment; Office Products; Furniture & Fixtures; Transportation; Consumer Products; Exhibits Packaging; Signage Systems; Other Design Projects; and Student Design Projects. Deadline for entries is May 1, 1985. The program is open only to designs developed by industrial designers in the United States. The 1985 panel of judges, chaired by Bruce Burdick, IDSA, will include Robert Brunner, IDSA; Bruce Hannah; Jim Hansen, FIDSA; Allen Hawthorne, IDSA; 110

Communication Arts January I February 1985

How To Increase Your Profits An all-new, intensive 1-day course available to designers for the first time .

The Seminar Will Cover

1. Absolute Project Cost Control

Conducted by David Goodman

A fool-proof system that gives you direct control over profits.

You will leave this course with a profit action plan that you can start the very next day. You will know the methods used by the financially successful firms and how to apply them to your business.

2. Increasing Productivity

This course is loaded with howto-do-it information for the professional. It is not available in any book or at any school.

Goodman's step-by-step instructions are easy to follow and will help any design firm operate more profitably.

Will This Program Really Work?

David Goodman developed this course incorporating the very same principles that built his successful nationwide firm .

Profits don 't just happen, you make them happen ... there are rational systems and basic underlying principles for profit making in the design business.

Here is your once-in-a-lifetime opportunity to learn them.

Proven methods to improve office efficiency. How to hire motivate and earn a profit from your employees.

3. Estimating Projects Accurately How to determine proper billing rates. The science of pricing for maximum profits.

The Seminar Leader David Goodman is president of Catalyst. As a design management consultant, he has worked privately with over 200 design firms .

4. Your Attitude Toward Profit You are in control ... you decide how much profit you will make.

As a designer and principal he directed his own firm 's growth from a 2 man office into a leading marketing design firm with offices in Los Angeles and Chicago.

Cassette Tapes Available "How to Sell Design "the original Catalyst seminar, and "How to Sell Design-Part II" are each offered in a 5 hour cassette/ workbook kit. "How to Increase Your Profits" will not be released in kit form until1986.

Send in coupon for brochure or call (213) 827-0588 for more information .

Who Has Attended?

Nearly 3,500 designers from all over the U.S. and Canada.

Graphic, marketing , industrial, and environmental designers.

In the business from 6 months to 37 years . Heads of firms that bill over $10 million a year and individuals just starting out in their careers.

1985 Seminar Schedule

Orange County Los Angeles San Francisco Seattle Denver Boston New York Philadelphia Columbus Chicago Minneapolis Atlanta Houston

Feb 20 Feb 27 Mar 6 Mar 13 Mar20 Apr 24 May 1 May 8 May 15 May 29 June 5 June 12 June 19

Catalyst Educational Systems P.O. Box 9433 Marina del Rey, CA 90291 Title

Name Company Address

Phone

I

1-------------· CA Jan/Feb 85

© 1985 Catalyst Educational Systems

CLUBS,CONFERENCES,SEMITNARS

Ronald Rezek and Wolf Von Eckardt. Entries will be evaluated on the innovation of the solution, use of appropriate materials and processes, overall appropriateness of appearance, ergonomics and benefits to the manufacturer. For more information, write: IDEA85, IDSA, 1360 Beverly Road, Suite 303, McLean, Virginia 22101, or call (703) 556-0919. Entry kit fees for IDSA members, $65 each, nonmember fees, $85 each. All fees must be prepaid.

MINNEAPOLIS

A two-day conference, Urban Pedestrian Systems, is being sponsored by Walker Art Center and the University of Minnesota's Humphrey Institute of Public Affairs, School of Architecture, and Center for Urban and Regional Affairs, on Aprill3-14, 1985 at Walker Art Center and the University of Minnesota. Through group presentations, professional workshops, discussion panels, and tours of Minneapolis skyways, the conference will explore architectural, social, economic and public policy aspects of elevated and subterranean walkways. Urbanists, designers, historians, developers, public officials, and planners from the U.S.A., Canada and Europe will take part in various discussions on controversial street-separated systems.

Registration fee for professionals attending public presen-

''... may be the most

professional art school in America.''

Tough faculty, tough assignments, tough deadlines, tough criticism, terrific placement!

Portfolio Center The Professional Approach to Art Direction, Graphic Design, illustration, Copywriting, and Advertising Photography.

®

(404) 351-5055 125 Bennett St, NW, Atlanta, Ga. 30309

112

Communication Arts January I February 1985

tations and workshops is $100; general admission for public presentations is $20; WAC members admission is $15. For further information, call (6l2) 375-7600.

ROCHESTER

"Communication with Color in Arts, Science and Industry" is the title of a conference to be presented at Rochester (New York) Institute of Technology, March 28-29, 1985.

W. D. Wright, 1984-85 Kern Professor of Communications at RIT, and Dr. Franc Grum, RIT's RichardS. Hunter Professor of Color Science, Appearance and Technology are organizing the conference that will include presentations by ten well-known authorities, exploring the role of color in architecture, the performing arts, nature, graphic arts, remote sensing, marketing and computer graphics.

Speakers include Sandra Saari, professor of language and literature at RIT; Dr. John Jespersen, professor of architectural history, theory and design at Massachusetts Institute of Technology and Yale University School of Architecture; Robert F. Sisson, chief, Natural Science Division, National Geographic Magazine; W. D. Wright; Dr. John Schott, assistant professor of imaging science at RIT; Dr. Franc Grum; Zenon Elyjiw, senior technologist at RIT's Technical and Education Center for Graphic Arts; and Evelyn Rozanski, associate professor of computer science and technology at RIT. Registration fee for the conference is $100. For further information, contact Dr. Franc Grum, Rochester Institute of Technology, One Lomb Memorial Drive, Rochester, New York 14623, (716) 475-2230.

SAN FRANCISCO

Hank Baum, art educator and gallery director, will lead his third tour to China, May 3-20. The 18 day tour will be "general" for the most part-with an emphasis on art and culture-and will visit arts and crafts workshops, museums, palaces and religious shrines. A broad cross section of China's history and current developments will be covered by the tour that includes six cities: Beijing, Xian, Guilin, Shanghai, Wuxi and Suzhou. The cost is $2995 round trip airfare from San Francisco and Los Angeles, including hotel accommodations, all meals daily, all transportation, admissions, entertainment, and local tours with English speaking guides. For more information, contact Hank Baum, 2140 Bush Street, San Francisco, California 94115, or Art Explorer's Tours, P. 0. Box 26689, San Francisco, California 94126, (415) 921-7677.

SANTA BARBARA

The Greater Santa Barbara Ad Club is sponsoring a oneday seminar "The Creative Revival" on Saturday, March 16. The cost (includes lunch): $60 members, $75 nonmembers, $40 students. For additional information write or call Rich Barre, Greater Santa Barbara Ad Club, 933 Castillo Street, Santa Barbara, California 93101, (805) 966-3178.

COMMUNICATION ARTS INDEX VOLUME26 MARCH/APRIL 1984-JANUARY/FEBRUARY 1985

Anspach Grossman Portugal (design firm) Article/ portfolio: Vol. 26, #2 (May/ June), page 24.

Bender, Lawrence (designer) Article/ portfolio: Vol. 26, #5 (Sep/ Oct), page 78.

Bittman, Daniel (designer) Article/ portfolio: Vol. 26, #2 (May/ June), page 46.

Braids, Braldt (illustrator) Article/ portfolio: Vol. 26, #2 (May/ June), page 34.

Communication Arts Annuals Illustration Annual: Vol. 26, #3 (July); Photography Annual: Vol. 26, #4 (Aug); Design Annual: Vol. 26, #6 (Nov); Advertising Annual: Vol. 26, #7 (Dec).

Communication Arts 25th Anniversary Issue: Photographs of and work by the judges of the past annual competitions: Vol. 26, #1 (Mar/Apr), pages 24 through 109.

Crawford, Tad (attorney-at-law) Columns on law concerning artists. "Work for hire Revisited" : Vol. 26, #2 (May/ June), page 15; "The Right of Privacy: The 'Arrington' Case": Vol. 26, #8, page 90.

Daddiego, Vincent (creative director) Opinion/ commentary "Roll Over Vivaldi'~ : Vol. 26, #2 (May/ June}, page 74.

Gordon, Barbara (artist's representative) Columns on free-lance scene. "The Free-LancerClient Relationship" : Vol. 26, #1 (Mar/ Apr), page 130; "Choosing an Artist for the Advertising Campaign": Vol. 26, #3 (July), page 162; "What Does an Artist's/ Photographer's Representative Do?": Vol. 26, #4 (Aug), page 174; "The Free-Lance Scene": Vol. 26, #5 (Sep/ Oct), page 94; "Today's New Free-Lancers" : Vol. 26, #6 (Nov), page 190; "Selling in the Eighties": Vol. 26, #8 (Jan/ Feb), page 94.

R/Greenberg Associates (film makers) Article/ portfolio: Vol. 26, #5 (Sep/ Oct), page 44.

Heisler, Gregory (photographer) Article/ portfolio: Vol. 26, #5 (Sep/ Oct), page 58.

Hixo, Inc. (design firm) Article/ portfolio: Vol. 26, #2 (May/ June), page 64.

Hurn, Bruce (communications director) Opinion/ commentary "Computer Graphics for Design and Production": Vol. 26, #5 (Sep/ Oct), page%.

Kuhn, Chuck (photographer) Article/ portfolio: Vol. 26, #2 (May/ June), page 54.

Kunz, Anita (illustrator) Article/ portfolio: Vol. 26, #5 (Sep/ Oct), page 34.

Lewis, Richard A. (chairman and CEO of Corporate Annual Reports) Opinion/ commentary "Annual Reports of the Future": Vol. 26, #5 (Sep/ Oct), page 24.

McLean, Wilson (illustrator) Article/ portfolio: Vol. 26, #8 (Jan/ Feb), page 50.

Meyerson, Arthur (photographer) Article/portfolio: Vol. 26, #8 (Jan/ Feb), page 40.

Parker, Robert (communications director) Opinion/commentary "Copy and Graphics: Which has Priority": Vol. 26, #2 (May/ June), page 84.

Posters Article/portfolio of gallery posters.

Vol. 26, #8 (Jan/ Feb), page 74.

Richmond, Wendy (graphic designer) Columns on computer graphics. " Imagesetters": Vol. 26, #1 (Mar/Apr), page 127; "Digital Masters": Vol. 26, #2 (May/ June), page 78; "Pointing Devices": Vol. 26, #3 (July), page 158; "Captured Keystrokes": Vol. 26, #5 (Sep/ Oct), page 18; "Courses in Computer Graphics": Vol. 26, #6 (Nov), page 182; "Trade Shows": Vol. 26, #8 (Jan/ Feb), page 22.

Robles, Bill (illustrator) Article/ portfolio: Vol. 26, #5 (Sep/Oct), page 70.

Rosenthal, Herb (designer) Fountains at Louisiana World Exposition: Vol. 26, #2 (May/ June), page 82.

Sussman, Deborah (designer) Article/ portfolio: Vol. 26, #8 (Jan/ Feb), page 28.

Weymouth Design (design firm) Article/portfolio: Vol. 26, #8 (Jan/ Feb), page 62.

113

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 .

JULIAUG, 1977 The ART Annual1977 .

NOV/DEC, 1977 CA-77, Annual Exhibition JULIAUG, 1978 The ART Annual 1978 .

NOV/DEC, 1978 CA-78, Annual Exhibition NOV/DEC, 1979 CA-79 , Annual Exhibition

.$18

JAN/FEB, 1982 Gernsheimers/Partners Design Studio ... Carol Wald ... Jerry Herring . . Sahlan Cherpitel .

Michael Schwab ... Bank of Kuwait Identity Program .. . Corporate photography panel .... .$5 MAY/J UN , 1982 William Rivelli ... Sheila Lev rant de Bretteville .

Bill James . . . Vickers & Benson . .. Photomontages by Scott Mutter .. . Ford, Byrne & Associates . . Portfolio of Trademarks . . . .. $5 JULIAUG, 1982 The ART Annual1982.................. $12 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

. .. .... .$12 NOV/DEC, 1982 CA-82, Annua l Exhibition ........... . . .$18 ... $18

. ..... $12

.$18

. .. $18

NOV/DEC, 1980 CA-80, Annual Exhibition ............... $18 JUL/AUG, 1981 The ART Annual1981 .

NOV/DEC, 1981 CA-81 , Annual Exhibition

. .... $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

JAN/FEB, 1983 Japanese Design ... Richard Saul Wurman / Access Press ... Sharleen Pederson ... Graphic Clint Designer 's Production Handbook Clemens ... Index to Volume 24 . . .$5 MAR/APR , 1983 The Gap Between Designers and Top Management . . Borders, Perrin and Norrander ... Bi ll Nelson ... The Coys ... Robert Llewellyn .

Posters . . . Why a Computer . . .. ... $5 MAY/J UN , 1983 Ken White . . . Leo & Diane Dillon ... North Charles Street Design Organization . . Lanny Sommese .

Phi llips photographers Abercrombie & Bastiansen Alvin Lustig remembered Computer-aided graphic design ............. . ... $5

JULIAUG, 1983 The ART Annual1983 ..

. . .. ........ $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 .. . ........ . ... $14 DEC, 1983 CA-83, Part Two: Advertising ...... . .... .$14 JAN/FEB, 1984 Tad Crawford ... Designing the L.A. Olympics .

Gary Kelley . .. Johnson & Simpson ... Annals of Design (2) ... Lance Hidy . .. Index to Vol. ................ . .. .$5 ume 25 ...

MAR/APR , 1984 25th Anniversary Issue . The CA Ann ual Judges ... Judging Process ... lmagesetters .

The Free-Lancer-Client Relationsh ip ....... $5 MAY/JUN . 1984 Anspach Grossman Portugal .. . Braid! Braids . .. Daniel Bittman ... Chuck Kuhn ... Hixo, Inc. ... Vincent Daddiego/Roll Over Vivaldi ... Herb Rosenthal 's fountains . . Robert Parker/Copy and Graphics . . . . ... ...... .. .... . .$5 JUL. 1984 Illustration Annua l.

.. .. $12

AUG , 1984 Photography Annual ..

. .. .$12

SEP/OCT, 1984 Anita Kunz .

A/Greenberg Associates .

Gregory Heisler . .. Bil l Robles ... Larry Bender . Computer Graphics for Design and Production/Bruce Hurn . . .$5 NOV, 1984 CA-84 , Part One: Design DEC, 1984 CA-84, Part Two : Advertising

.. $14

..... $14