janfeb1986

COMMUNICATION ARTS MAGAZINE Editor and designer: Richard Coyne

VOL. 27, NO. 8, JANUARY /FEBRUARY 1986

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

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

8

Advertising and production manager: Kur t Klein

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

13

Production: Scott Perry

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

20

Advertising: Marilyn Daily Stansfield

Michael Peters . . . . . . . . . . . . . . . . . . . . . . . . . . .

24

Seymour Chwast/Left-Handed Designer . . . . .

34

Howard Rainer . . . . . . . . . . . . . . . . . . . . . . . . . .

42

Leonard Monahan Saabye . . . . . . . . . . . . . . . . .

48

Hinsche + Associates .................... .

58

Lloyd Ziff .............................. .

68

Poltroon Press Postcards

78

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

84

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

88

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

90

Materials, available literature. . . . . . . . . . . . . . .

94

Circulation manager: Nancy Hagemann Subscription: Lisa Burk, Pamella Girard, Betty Willis Traffic: J ami al-Mansur Contributors: Tad Crawford, Byron Ferris, Mark Fulton, Barbara Gordon, Jim Johnston, Larry Klein, Marty Neumeier, Rhodes Patterson, Wendy Richmond, Mill Roseman

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

Jim Johnston ............................ 100

Copyright 1986 by Coyne & Blanchard, Inc .

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AlGA conference ........................ 102 Clubs, Conferences, Seminars .............. 104 Index to Volume 27 ....................... 105 Call for entries, Illustration Annual .......... 107

Cover photograph by Howard Rainer

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EDITO~S COLUMN Suppose, for example, you are 31 years old with an art school or university design education and eight or nine years of experience in some combination of agencies, corporations, design firms or free-lancing.

very professional. Also, very formal. I mean that in the sense of not deviating from what is usual or generally acceptable. Possibly a preoccupation with form as opposed to content.

With that background and experience, you should be assured of making a living in this field. But I doubt if that's an acceptable goal. If it were, why would you have endured, even welcomed, the long hours and hard work (if your school was doing its job) and the criticism of instructors? Or lived with the fear and anxiety of finding a job, probably at low pay and minimal opportunity to try your wings? And why would you be reading this magazine?

If you are that hypothetical, ambitious 31-year-old, how do you become a "name" in the business?

The matter of ego satisfaction is an important factor in this field. I can't recall any outstanding design or advertising that didn't have a powerful ego behind it. Talent is essential, but ego is a necessary ingredient of effective creativity. On that subject, I once heard Howard Gossage say (and probably, as was his wont, attribute it to somebody else): "Creativity is a nameless, shapeless, unlocated hope of enormous achievement, the urgent sort of inspiration that comes from feeling that the great discovery or great creation is always just beyond our reach."

Before I go on, let me explain that 31 was not an arbitrary number. That's the median age of the so-called "Baby Boomers," the 78 million people born in the U.S. between 1946 and 1964. I've never bought the concept of a homogeneous group thinking and acting in one definable pattern; but the sheer number of individuals within an age span of only eighteen years is a phenomenon that is unique in this country and may never happen again. And they did grow up sharing the homogeneous experience of television as well as major technological and social changes.

Change and technological development are part of the American tradition, but never at the speed or magnitude that this group has learned to accept, and expect.

They are not a unified political force, but their impact on the last presidential election was evident. Early polls had indicated a close race; when it became evident that it would be Mondale and not Hart, and the Democratic convention was totally controlled by the same old "establishment," the bottom fell out and the race turned into a rout.

As a major segment of our audience-the market for products and services-their impact will be with us for many years. In the field, a great number of talented, ambitious people packed the schools and moved into design, rapidly increasing the competition for jobs and clients. Those in the over-forty age group have had to protect their established reputation and position, occasionally bending over backwards to be with it on the latest trends.

We have seen a steadily rising level of competence, and from everywhere. Most of the entries to our latest annual were 8

Communication Arts January I February 1986

Naturally, you must be prepared to work harder, think more, worry more, risk something, and ask yourself, "Is this the best I can do?"

And it doesn't hurt to have good PR. All of the stars and biggest names have had that. Some of the best PR is to have your work showcased in the top annuals.

What can we hope to see in the annuals two years, five years, ten years from now? I have some ideas which I'll pursue in a future issue; and I'll ask some others for their thoughts on what they expect to see and what they'd like to see.

D

Howard Rainer's photograph on the cover was taken during the annual Fort Hall Indian celebration held in August near Pocatello, Idaho. This multi-talented man, whose roles include those of photohistorian, lecturer, author, consultant and trainer in the field of self-image and leadership, .has produced television and multi-media presentations, including one for the Smithsonian Folk Life Festival, and was associate producer and technical advisor for Keith Merrill's documentary film "Indian." He is also a poet, and the following is a poem he relates to his cover photograph.

LIGHT oN THE HoRIZON

The darkness of despair Has pitted our past.

The weariness of war, hunger And the tears of tragedy Surrounded our tepees Like howling wolves Calling out their laments.

While the desperate Huddled for safety, One man Black Elk of the Sioux Stood, Looking at the horizon.

He gazed into the sun Through a vision, That the fourth generation Would rise from the ashes To claim their birthright.

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The How-'lb Reference Magazine for Visual Communicators Designed by award-winning designer Greg Paul, STEP-BY-STEP GRAPHICS will present 4-color, step-by-step demonstrations and explanations, as top professionals conceptualize, design, illustrate, photograph , produce, present, manage and market.

More than just a magazine, your subscription includes an annual cross-reference index (7 .50 value) to provide on-going reference and inspiration for years to come.

Here's a sampling of the articles you'll find in coming issues: How To Design Attention-Getting Graphs and Charts with Time magazine • Bob Peak Illustrates a Cover for STEP-BY-STEP GRAPHICS • How To Start, Index and Expand a Scrap File • Six Easy Steps for Evaluating a Color Transparency for Reproduction • John Sposato Designs & Illustrates a Cover for the Book "Queenie" • Exercises in Creativity: Enhancing the Birthing Process • Brad Holland Illustrates a STEP-BY-STEP GRAPHICS Cover • The Photocopier: A Creative's Best Friend • How To Set Pricing Guidelines for Your Work • Point-ofPurchase Design with an award-winning creative team • Newsletter Nameplate Design • A Logo Design with award-winning designer Alan Wood • The Cutting Edge: How To Design for the Laser • Designing a Metropolitan Opera Poster with Shapiro Design Associates • How To Improve Your Images by Jan White • Bill Nelson Illustrates a Cover for STEP-BY-STEP GRAPHICS • Airbrushing in Gouache with Nicholas Gaetano • Creating a Pictorial Symbol with Nigel Holmes, Time magazine • Dissecting a Computer Graphic Pixel by Pixel • Marketing Yourself • Simple Table-Top Photography • A Systematic Approach to Marker Sketching Techniques • Techniques for Designing All-Type Ads • How Corporate Annual Reports Designs the Chesebrough-Pond's Annual Report • Designing an Album Cover at CBS Records • A MultiPiece Educational Kit: A Marriage of Graphic and Package Design • Developing a Cover Feature Layout with Ute magazine • The Basic Steps To Understanding Imposition • Holographs: An Exciting New Design Alternative • Step-By-Step Package Design with Rex Peteet, Sibley/Peteet Design • David Lesh Illustrates a Poster Design • Converting Your Slide Show to Videotape • Tips on Mixing Display with Text Type • All About Copyright • Taking the Right Steps to Protect Your Design • A Guide to Paper Grades, Weights and Sizes • Troubleshooting the Airbrush • Outfitting the Studio •

This dynamic digitized image of a knight (left) is one of many computer graphics images created by Robert Abel & Associates for Spielberg's TV series "Amazing Stories." Follow Abel's award-winning staff and learn how they designed and produced these "amazing" special effects.

Top-ranking illustrator Robert Peak demonstrates his multi-media methods as he renders, exclusively for STEP-BY-STEP, his illustration of "Summer Breeze" (lower left) .

Shown below is just one example from our upcoming article on the various techniques you can use to convert line art to multicolor art for reproduction .

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CALL FOR ENTRIES 1986 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, 1985 and March 21, 1986 is eligible to be selected for the 1986 Photography Annual.

A distinguished, nationally representative jury of designers and art directors will select the 1986 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 will carry addresses of the photographers.

DEADLINE FOR ENTRIES Is MARCH 21st, 1986 Communication Arts also sponsors another annual competition, CA-86, where the entries are judged on the overall concept and execution in all areas of advertising and design. The closing date for CA-86 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, 1986.

N 0 RETURN OF ENTRIES

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

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COMMUNICATION ARTS

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

S.D. Scott Printing Co., Inc. 145 Hudson Street New York, N.Y. 10013 Please send me copy/copies of your Process Color Guide/2nd Edition@ $49.50 each , $39.50 each for 5 or more, postage included.

I enclose $ . (Please do not send cash) Name._ _ _ _ _ _ _ _ _ _ __ Company_ _ _ _ _ _ Title_ _ _ _ __ Address,_ _ _ _ _ _ _ _ _ _ __ Citv_

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Tad Crawford

COPYRIGHT: THE MANUFACTURING CLAUSE On what piece of legislation was a veto by President Reagan overridden for the first time by Congress? This trivia question is of special interest to professionals in the field of visual communications. The first veto override came when President Reagan sought to allow the manufacturing clause of our copyright law to expire on June 30, 1982. Put simply, Reagan wanted to permit United States publishers to print their books anywhere in the world. In enacting the copyright law that took effect in 1978, Congress had provided that the manufacturing clausewhich requires certain books to be printed in the United States or Canada-would expire on June 30, 1982. A bill to extend the manufacturing clause for four years (through June 30, 1986) passed both houses of Congress. When President Reagan vetoed the extension bill, Congress overrode the veto. So the manufacturing clause has remained with us and is due to expire on June 30, 1986.

With this history in mind, it isn't difficult to imagine the legislative battle currently shaping up over the manufacturing clause.

Publishing Economics Why is this of interest to visual communicators? In today's global village, it is often of the utmost importance where a book can be printed. This is particularly true of books containing visual images which need exacting full-color reproduction. If such books can be printed abroad-in Japan, Hong Kong, South Korea, Italy, Spain or a host of other countries-the cost may be as much as 20 to 40 percent less than printing the same book in the United States.

To take an example, let us assume that printing 10,000 copies of a full-color art book costs $80,000 abroad and $104,000 in the United States. Of course, costs will vary from printer to printer abroad and in the United States, but for such a book our printers are generally not price competitive with those abroad. The unit cost of the 10,000 copies printed abroad is $8 per copy, while the unit cost of 10,000 copies printed in the United States is $10.40 per copy. Publishers try to mark up their unit cost by a factor of five or six to determine a profitable retail price. This covers overhead, distribution costs and discounts to retailers. Assuming unit cost is multiplied by a factor of five, the book costing $8 per copy to print will retail for $40 while the book costing $10.40 per copy to print will retail for $52.

That discrepancy in price can be the difference between a book with a long life and a book with no life at all. Selling to a price-sensitive public, publishers must control their © Tad Crawford 1986

20

Communication Arts January I February 1986

costs in order to offer attractive prices to the purchasers of books. When an art book costs $52 instead of $40, its market is reduced and each buyer pays, in essence, a surcharge for the extra cost borne by the publisher. Of course, above a certain price the market is so reduced that it is no longer possible to publish a book.

A Brief History Given those economics, why was the manufacturing clause ever enacted into law? For the sole purpose of protecting United States printers from foreign competition. After a century without such a provision in our copyright laws, the manufacturing clause was added to the Copyright Act of 1891 and included again in the Copyright Act of 1909. The 1909 copyright law remained in effect until 1978 when the Copyright Law of 1976 became effective.

The 1976 law struck a compromise between printers on one side and creators and publishers on the other. The manufacturing clause had been liberalized and would be phased out on June 30, 1982. Of course, this phase-out never occurred. Instead, the powerful lobbyists for the printers swayed Congress to protect the printing industry through June 30, 1986.

The 1976 law did loosen the requirements of the manufacturing clause. From the viewpoint of the visual communicator, the most significant change was that preponderantly visual works could be printed abroad. This exception was tested in litigation and the court's decision stated that a book was not preponderantly visual, ". . . when more than half of its surface area, exclusive of margins, consists of English language text."

Manufacturing provisions have not had a glorious history.

In 1533, Henry VIII promulgated an act providing that no books printed abroad could be purchased or sold in England. This act sought far more than the simple protection of printers. Printers within England were licensed by the Crown so that heresy against the Church and sedition against the Crown could be controlled. The notorious Star Chamber took steps to penalize "all printing in corners without license." Not only did the monopolies granted to printers by the Crown cause a deterioration of both the type and paper on which books were printed, but typographical errors became far more common. In his famous unlicensed tract, Areopagitica; A Speech of John Milton sfor the Liberty of Unlicensed Printing to the Parliament of England, John Milton joined other authors and publishers fighting against this monopoly of the presses. At last, in 1687, the monopolies granted by the Crown came to an end and, in 1711, England enacted its first copyright law to benefit creators.

Comstock's photo library isn't built on outtakes. All our pictures are shot specifically for stock. More than a million of them over the last ten years. All first run, all first rate, and all fully model released.

Over 10,000 art directors have responded to Comstock's revolutionary approach to stock photography. To find out why, call or write for our free full color catalog: Comstock, 32 East 31St., New York, N.Y. 10016, Call (toll free), 1-800-225-2727 or (212) 889-9700 in, N. Y.S.

TAD CRAWFORD

Constitutionality Challenged Recently the Authors League of America and the Association of American Publishers joined together to challenge the constitutionality of the manufacturing clause. In a recent decision in the Southern District of New York, the constitutionality of the clause was upheld. The court decided that the clause did not violate either the F~t or Fifth Amendments, but offered a "rational means to protect the domestic printing and publishing industry."

Congress, according to the court, has the "authority to attach such conditions" as it considers appropriate to the enjoyment of copyright protection.

The Authors League of America and the Association of American Publishers have indicated that they will appeal the court's decision. It is difficult to forecast the outcome of such an appeal, but in the meantime attention is focusing on a three-sided struggle in the Congress.

The Legislative Battle In the House, Representative Barney Frank has proposed in H.R. 3465 that the manufacturing clause in its existing form simply be made permanent. This would permit predominantly visual books to continue to be published abroad. In his introductory remarks, Representative Frank stated that terininating the manufacturing clause would precipitate, " ... a total loss of as many as 367,000 job . opportunities throughout our economy as a result of foreign competition . . . these job losses would be borne largely by those workers least able to recover."

Senator Strom Thurmond has sponsored a Senate bill (S.1822) that would also extend the manufacturing clause indefinitely. Saving the employment of United States citizens is also his rationale, but his bill seeks to widen the coverage of the manufacturing clause. Of greatest significance for the visual arts field is the portion of the bill which would extend the coverage of the clause to all "printed material." No longer would there be an exception for predominantly visual books.

Senator Thurmond's bill would also not treat publication in Canada as being the same as publication in the United States. It would also prevent avoidance of the manufacturing clause through the transfer of reproduction rights to foreign agents. More positively, the bill provides that countries which protect United States copyrights and are determined by the United States 'ftade Representative not to place barriers on the trade of printed materials would be exempt from the manufacturing clause. However, it is difficult to know what countries might be exempted and whether the exempt countries would be able to produce printed materials. Certainly an author or publisher could import books published abroad in violation of the 22

Communication Arts January I February 1986

manufacturing clause, but only by sacrificing copyright in the book (unless 2,000 or fewer copies were to be · imported, in which case an Import Statement can be obtained from the Copyright Office to allow importation).

The final part of this legislative triangle are those legislators who simply want the manufacturing clause to expire on June 30, 1986. They reason that no fundamental change has occurred since the House report accompanying the 1976 copyright law stated, "the Committee concludes that there is no justification on principle for a manufacturing requirement in the copyright statute, and although there may have been some economic justification for it at one time, that justification no longer exists.'7 If United States publishers were free to have their books printed anywhere in the world, the American economy might be stimulated by the low price of books. More books would presumably be purchased and the money generated would ripple through the economy in a multiplier effect. And, far from hurting our international balance of payments, it is argued that low-priced American books become far more competitive for sale abroad and attract foreign dollars.

Toward the Future The manufacturing clause is a visible symbol of the lobbying power of the printing industry. While the clause has not been used to censor expression, it cannot help but have a restrictive impact on the volume of printed material available to the American public. If the manufacturing clause were to apply to predominantly visual works, it would greatly lessen the ability of publishers to print such books. Authors, artists and the public are all suffering to benefit our printers. Why should a copyright have to be sacrificed simply because a book is printed in one country rather than another? The freedom of expression guaranteed by the First Amendment is of the utmost importance to a free society. As the world grows smaller in so many ways and the exchange of information lies ·a t the heart of so much that is positive, it makes little sense to retain the manufacturing clause.

If any readers of this column wish to express their views of the manufacturing clause, they might contact their own Senators and Representatives as well as writing to Representatives Robert Kastenmeier and Barney Frank and Senators Strom Thurmond and Patrick Leahy.

Tad Crawford is an attorney, author and publisher. A revision and updating of his book, Legal Guide for the VISUal Artist, has recently been published by Madison Square Press.

II Used to be that after I'd finished looking at dozens of stock "images" that I couldn't use, I'd call Comstock for some stock photos that I could.

Comstock's photos are different. Shot strictly for stock. All fully model released. All shot by some of the world's most talented pros. In fact, over the last ten years, they've put together over 1,000,000 photos.

So now, like thousands of other art directors worldwide, I've smartened up.

Now I call Comstock first. 11 For a free full-co/or catalog write: Comstock, 32 East 31St., New York, N. Y. 10016 or call (toll free) 1-800-225-2727 or(212) 889-9700 inN. Y.S.

MICHAEL PETERS When Michael Peters says, "My background is a curious one . . . ," he's only indulging in what could be called typical British understatement.

Originally Michael wanted to become an architect, but in high school he was an indifferent student at best. He spent most of his time doodling and sketching. Unfortunately for Michael, in order to study architecture in England you have to possess certain academic qualifications. "Regrettably," says Michael, "the examining bodies felt that I was lacking in some of the prime requisites for the study of architecture."

It was after his rejection by the "examining bodies" that Michael's mother interceded in his behalf.

"Being a good mother, she took it upon herself to send me to this employment agency in the east end of London that used to find jobs for refugees coming into this country years ago. To cut a long story short, the organization sent me to this German chap who they thought was an architect."

There Michael's tasks ranged all the way from getting in at 7:30 and stoking the boiler to sharpening the pencils, and for six months he too thought he was working for an architect. It seems that his employer would spend the entire day in his private office where Michael imagined all the great drawings, models, and so forth were being created. Then one day, "Much to my horror, I discovered he was what we called a commercial artist." As he says this, Michael's facial expression makes it obvious that commercial art was hardly considered a respectable profession.

"But he was a grand man, and for two years I studied with him as an apprentice." It was during this time that Michael learned to letter. "He was mean, in the best possible way. He wouldn't order typesetting. Unless it was six point, it all had to be hand 24

lettered. He turned out to be a very prosperous man and a wonderful teacher to boot." But two years of lettering, and not much else, were enough for Michael. Enough to make him a very good letterer, and enough to establish his interest in graphics.

"I got myself into the London College of Printing, which was then, and is still for that matter, considered one of the finest design schools in the country." Here the emphasis was on the production of design-what happens when the design is finished. Michael spent three years "toiling" over photography, printmaking, typesetting and printing, as well as design. As he says, he learned the "craft of the business." Sometime during his third year at the school, one of the teachers remarked to Michael that the way he thought about design and the way he approached problems were "very American," and suggested that he might study in the States.

To Michael this was an impossible dream. "Having no money at all, I couldn't see how I could possibly get there or what I'd do if I got there."

But his teacher persisted, and began to introduce Michael to a number of American designers who were working in England at the time. Among these were two who had gone to the School of Art and Architecture at Yale University, and they encouraged Michael to consider going there to study. After taking a look at Yale and its early '60s faculty, with greats like Paul Rand, Alvin Eisenman, Norman Ives, Josef Albers and others, Michael decided to attempt the impossible. He managed to secure the British government's promise of sponsorship if he could "win a place" at a university in the States. But after he was awarded a Yale European scholarship, the government went back on the promise because, as they said, they didn't recognize Yale as being "an institute of higher learning."

Communication Arts January I February 1986

Just when the opportunity seemed to be lost, Michael and his attempts to get to an American university came to the attention of one of the national newspapers. As a result of this publicity, "some man came from nowhere, a man I'd never met before in my life, and he gave me the money to go-or rather he and a number of other people gave me the money to go."

Actually Michael accepted the money from his benefactors only on the condition that it would be treated as a loan, which he would later pay back.

"At Yale I really learned what design was all about. In England, in a funny kind of way, I'd been doing design for design's sake. In the States I learned more about the thinking." In the next two years Michael married a girl from back home, earned his master's degree from Yale, and went to work for CBS Television in New York. Although he enjoyed the work at CBS immensely, he left after only two years and went back to England.

After a short stint with an American design group in London, Michael was asked by David Putnam, who is now well known as a film producer (Chariots of Fire, The Killing Fields), to join him in establishing a special promotional design division for the London advertising agency Collett Dickenson Pearce. "At the time they were the best advertising agency in the country.

Really, they were doing fabulous work, and I liked the idea of working with them. I had a lot of fun. I learned a great deal about the advertising scene, and how advertising can be applied to product, package and whatever."

While at CDP, it occurred to Michael that designers in England lacked the degree of in-depth concern for package design that American designers had. With the idea of providing that in-depth concern, he left the agency and went into business for himself.

"And I was very, very lucky. I was able, virtually from day one, to get

really superb clients." Lucky or not, Michael is a good talker, and that's important, because as he says, "It's no good being a good designer if you can't actually go out and sell your work." His two years in advertising taught him perseverance, persistence and presentation.

Michael Peters rolled along nicely until 1974 and then the wheels came off.

1974 in England was unmitigated disaster for business. It was the time of the three-day week (for three days' pay). Businesses were failing everywhere. Michael's largest client went bankrupt owing "vast sums of money." Much of this money was owed to suppliers-typesetters, printers and others-for which Michael was responsible. "It was perhaps the biggest single shock of my professional life," says Michael, "and I learned quite clearly how easy it is to make foolish mistakes-to do things just for the sake of doing them-and end up losing money."

Fortunately for Michael it was just when his company too was facing bankruptcy that he met financial consultant Bob Silver. "Bob is one of the most influential people in my life.

He actually turned the business around in eighteen months. Fortunately our clients stuck with us. But the thing I'm most proud of is that we elected to see it through. We didn't opt for bankruptcy or liquidation, and in fact we paid all the suppliers we owed money to in a year and a half."

His company's near collapse dramatically affected Michael. "I couldn't bear to have the sort of business that goes up and down like that. I really wanted a safe, secure business." With Bob Silver's help he reorganized the company. "Bob taught me how to

Gift store packaging for Elsenham preserves.

Special cigarette packs designed for the younger segment of the French smoking public.

25

MICHAEL PETERS

'design' a business. I like working with a lot of people. I wanted to have big projects that would give us room to breathe, to allow us to do good things.

It was at this point that I realized I wanted to have a larger design company. Today we're working all over the world. We work in Japan. We work in New Zealand. We work extensively through Europe, naturallyScandinavia, Holland, Germany, Italy, France-you name it. And very much in the States as well."

About his philosophy of operating the company, Michael says, "It's very important to me to create an atmo-

sphere where good design can take place-knowing that there are wonderfully talented people in the organization-and to develop a real sense of community. Michael likes to hire "youngsters" right out of art school, but as he says, "not as assistants. We put them right into the thick of things, where their fresh and agile minds can contribute most.

"We love to work with good illustrators · and good photographers, and to bring in good lettering people to work alongside us. Because you can take a mundane product like an annual report or a package or whatever and

©1981 Kimberly Clark Corporation

THE COMPANY: In 1970 Michael Peters entered the packaging field with his London-based design group, Michael Peters & Partners Limited. By 1983 the firm had grown, division by division, to a size which called for a different business structure. Thus was formed the Michael Peters Group PLC, which acts as a holding company for the ten divisions listed below. The various satellite companies can work either together or separately, depending on the nature of the project. A recent census of all the divisions put the total number of employees at 140.

turn it into a real work of art."

Michael means this quite literally, as he has demonstrated with his own company prospectus-"the country's first origami prospectus," which explains design to the uninitiated in addition to describing the company and its business-and the company's first annual report, which has a threedimensional, pop-up design. Both have become sought-after collector's items. The company's half-yearly reports are actually designed to be collected. Michael commissions young artists or photographers to create art for posters, the backs of which carry the company's financial information.

These are made available as signed limited editions.

Of his staff, Michael says, "I've been lucky enough to surround myself with some of the finest talents in the country. And although it's my name on the door and I'm the overall creative director of the Group, I decided some time ago that it was important to give those diverse talents a stake in the business." To facilitate this Michael took the Group public. Now his key people are shareholders in the company. They not only share in the day-to-day working decisions of the firm, they also share responsibility for its overall performance. "This way all our people have a tremendous desire to do better and better work. And we're demonstrating that a company like ours can be profitable for shareholders and investors, and do good work at the same time."

-Mark Fulton

THE DIVISIONS : Brand New Limited (product origination) Brand Naming Limited (nomenclature specialists) Michael Peters Retail Limited (store design) Cockade Limited (exhibition design) Annual Reports Limited Right Angle Design Limited (corporate literature) Michael Peters Financial Communications Limited The Idea Works Limited (design of promo materials) The Hawkeye Studios Limited (production, mock-ups) Diagnostics Market Research Limited

26

Communication Arts January I February 1986

Left: Michael Peters.

The new Peters Group headquarters before renovation, and the recently completed interior showing the center atrium .

Right: redesigned packaging for Lyon's pastries.

Package designed for CC Soft Drinks by Brand New Limited, a division of the Peters Group.

Supermarket packages for a French line of socks.

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27

MICHAEL PETERS

BREMWORTH NEW ZEALAND WOOL CARPETS

28

Communication Arts January I February 1986

Opposite page: Trademark for International Postproductions.

Symbol for the American Society of Plastic and Reconstructive Surgeons.

Emblem for a carpet manufacturer.

Mark for the International Coffee Organisation, a group which conducts educational programs on the subject of coffee worldwide.

Packaging for Cordon Bleu frozen vegetables. Altogether, the Peters Group redesigned 250 house brand packages, using an illustrative approach together with editorial copy and recipe suggestions.

Label, bottle, three-pack design and product name for a sparkling wine by Seagram. Brand New Limited handled the introduction.

This page: Trade show folder and ticket-style invitation for The Entertainment Network, a cable TV company with an all-movie format.

Revitalized packaging for Britain's oldest manufacturer of fireworks: Brock's, since 1720.

Product line developed by Brand New Limited to fill a gap in the generics market. The function of each can is symbolized by its color.

29

MICHAEL PETERS

Winsor & Newton ink packaging, before and after. By eliminating the old "dropper stopper" bottle, a larger portion of the budget could be applied to a four-color outer box.

The concept for the line was to broaden the product's appeal to include nonprofessionals, and tempt retailers into allotting greater shelf space. The strategy worked; ink sales rose 600%.

The Peters Group hired illustrators to re-create details of famous paintings for Winsor & Newton's alkyd paints.

For the company's poster paints, the Group used famous posters to symbolize each color.

30

Communication Arts January I February 1986

31

MICHAEL PETERS

Packaging for a feminine fragrance. Designed for Joseph, one of England 's leading fashion figures.

Front and back of a letterhead for Bird & Co. Opposite page: a glimpse of the International Coffee Organisation's Information Centre in London, for which the Peters Group designed all the interiors and exhibits. A black and wh ite color scheme lends continuity to both architectural design and graphics.

Identity items for the Information Centre.

BIRD &C<l EXECUTIVE SEARCIJ 9 CASTELLA! . ROAD W DON W9 lEY 01-2869015

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Communication Arts January I February 1986

33

S EYMOUR CHWAST Subtitled The Left-Handed Designer, a book on Chwast's work has been published by Abrams. Seymour designed the book. Even though much of what he shows is familiar (I assume that everyone in this field is aware of his design and illustration), I found it informative.

Seeing his work as a collection rather than individual examples offers a different perspective. The focus is on concept.

Style, and that is demonstrated to be plural, not singular, in this presentation, is secondary. Seymour enhances that focus in several ways. One is that chronology is ignored. The book is organized by categories-posters, packaging, symbols, design for publication, illustration, The Push Pin Graphic and "The rest" (his term). Another is that each of the 161 projects has a clear, brief but still detailed caption, sometimes including the influences that played a role in his solutions. Credits such as art director are listed separately, keyed to the project numbers.

The jacket (shown below) is unique, with front and back gate folds of three panels each.

Instead of a foreword or introduction, the book opens with Steven Heller interviewing Chwast. This is very interesting and should be read in its entirety. As a sample, we have excerpted a few parts of it here.

-R.S.C.

You spoke about nonconformity. Whom or what were you rebelling against?

In about 1950, we were coming to the end of the era of the glorious illustrator-the people who worked for the Saturday Evening Post and various women's magazines. Norman Rockwell and the realistic illustrators were the enemy, because their work was sentimental. Their story-telling renderings seemed pedestrian compared to the work of

The Left-Handed Designer

34

Communication Arts January I February 1986

George Grosz and Saul Steinberg. We responded to a rise of interest in our interior psyches rather than our exterior surroundings. I was also concerned with the process of reproduction-how the type looked, how the spread looked, how the work was being used. Design was much more important to me than the illustration alone.

So, after leaving college you decided to wed the two forms?

I worked for George Kirkorian at the New York Times promotion department as a junior designer. I was able to create my own designs and illustrations, which included woodcuts-rather innovative for that time. I left to work for Esquire, my first job failure in a string of failures that included jobs at a design studio and an advertising agency.

Herb Lubalin fired me at Sudler and Hennessey because I couldn't do comprehensive sketches. I worked at the House & Garden and Glamour promotion departments for about a year, and about that time Ed Sorel, Reynold Ruffins, and I developed something called The Push Pin Almanack, which we mailed out as a bi-monthly personal promotion piece.

Indeed, it resulted in a great many freelance assignments.

The almanac was a convenient vehicle. While it had its own conventions, we were able to apply our own typographic ideas, and do quaint drawings, consistent not only with almanacs, but with the style of the times. Each issue, which we edited and designed, was based on a different theme.

Then, with Milton and Ed, Push Pin Studios was founded.

In those low-tech days of 1954 it took very little capital to go into business. We used the name Push Pin Studios because the Almanack was helping us to gain a reputation. A couple of film strips kept us busy until other assignments started coming in.

Push Pin, for the first time, looked back at the tradition of graphics and modernized it. Would you say that it was a significant contribution to the field?

For the Ink Tank poster, I had to portray the characteristics of the eight very distinctive illustrators represented by R. 0. Blechman 's animation studio. Once I decided to take license with the human hand , I made patterns on the fingers that conformed to each artistic style. I made Blechman into the thumb because, as the boss, he opposes everybody.

35

SEYMOUR CIIWAST

Well, I had no idea that Push Pin was going to be as influential as it was. I had no overview of how the studio work was evolving or what we were contributing to the field of graphic design. I was just doing jobs and allowing everything-old posters, rubber stamps, antiques, modern paintings-to influence my work. Surrealism also affected me: misplaced objects; the idea of doing fairly realistic situations that are confounded by odd relationships and strangely connected elements. In the early sixties I was also developing an approach based on primitive and folk art. However, I found that around 1950 designers had come to the end of a period of evolving style. We came to that point because extensive publishing allowed us to observe and digest everything that had been done before. We started borrowing from the past. First we were interested in Victoriana, which had a vigor, a charm and directness derived from the limitations of the printing methods of the period. Then we discovered Art Nouveau and Art Deco. Psychedelia was somewhat original, but it had Jugendstil roots. New Wave was a recycling of Constructivism with variations. If any truly original styles have been developed in the last three decades, more time will be needed to provide perspective on them.

Style, in general, is useful because it provides immediate clues to the message. It might signal "elegance" or "modernity," for instance. Putting an old style in a new context is surprising, because certain relationships may be ironic; others may fit perfectly well. But they allow a designer to make very graphic statements.

Are you a designer who illustrates or an illustrator who designs?

I am a designer who illustrates. I observe the formal principles of design (proportion, harmony, dynamics, symmetry, line, mass, texture) while I am manipulating elements to suit my purposes. The way I articulate the solution is most often with an illustration (which is most often the client's expectation).

SEYMOUR CHWAST: THE LEFT-HANDED DEsiGNER, Cloth bound, $30, is published by Harry N. Abrams, Inc., 100 Fifth Avenue, New York, NY 10011.

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Communication Arts January I February 1986

PE

Left: this poster announced a motorcycling event near a canal in Central France. A European art director asked me to parody an old European poster. which seemed odd because there was no shortage of artists on the Continent fam iliar with the material.

I chose a Ludwig Holwein poster of a man on a bicycle as the model for the image, and I borrowed the surrealist concept from Magritte. I apologize for mixing Victorian lettering with the Deco logo.

This cover for the Atlantic illustrates the notion that the presence of police stabilizes inner-city neighborhoods.

This monoprint was an illustration for poetry published in Evergreen Review. The accidents endemic to this technique helped me evoke feelings that I could not have otherwise achieved with other. more controlled methods.

Usually there is little time for tinkering with a Time cover because the deadline is so short. In fact, Time commissions several artists for different covers each week, so I'm not only competing with other designs or with photographs, but also with world events. In this case, the news peg was the fall of the Shah of Iran. It was imminent, and the idea to do him as a Persian carpet came quickly.

However, his collapse took longer than expected and the cover was repeatedly postponed . During that time, the editors played with a number of variations on my idea, for example, burning the corners of the carpet. The moment finally came, and the cover ran as originally planned, but only on the International Edition. For the national , they used something else.

37

SEYMOUR CHWAST

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Communication Arts January I February 1986

Here is a situation in wh ich I was not only the art director and illustrator, but the client. Our candy business began when the studio packaged little black mints and rock candy together and sent it to clients as Christmas gifts. We called it "Caviar on Ice." The response was such that Phyllis Flood , who was our representative, suggested that there might be a real consumer market for a line of candy packaged in collectible tins. We decided to start the Pushpinoff Candy line and Phyllis took on the responsibility for

marketing and promotion, finding sources for the candies and outlets for sales. Most of the containers have printed labels.

Nitespots, Major Maize and Glorious Garden are printed on the tin.

I dealt with only the last two in the conventional way that packages should be designed-as three-dimensional objects.

Packaging is challenging because it involves designing in three dimensions. When successful, a package has tangible charm in addition to its function .

39

SEYMOUR CIIWAST

For the cover of the "Couples" issue of the Push Pin Graphic, I symbolized the relationship between a man and woman .

This is a spread from the "Good And Evil" issue of the Push Pin Graphic. Fatty Arbuckle fit the bill : on the good side, he was one of America's leading silent film comedians; and on the bad, he was accused and brought to trial for the murder of a showgirl.

He was eventually acquitted, but his career was nonetheless ru ined .

I did this as a color linoleum cut.

Right: Some of my most satisfying drawings were executed during the Nixon presidency, and especially during the Watergate affair.

Nixon was the caricaturist's dream. Even nature conspired against him-with that comic hooter and witch's peak hair line, his features needed only slight exaggeration. In the mummy illustration for the Op-Ed page of the New York Times-a combination of monoprint and crayon-very little of Nixon had to be exposed to render him recognizable.

In Push Pin Moves, the play is the contrast of the large shape of the leg with the colorful shoe and shoelace.

Between 1980 and 1983, I worked on a series of 27 acrylic paintings, all 30" x 40", on the subject of television. Since I watch 1V while I paint, I was provided with a ready-made model.

In this work, I had no hidden agenda or message I wanted to convey, and no client to please. In contrast to my applied work, which is preplanned, I had no idea how the paintings would evolve, but watching the unconscious image emerge through the paint gave me great statisfaction. Illustration is external generated; painting is an internal process.

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Communication Arts January I February 1986

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41

HOWARD RAINER The memory which imprinted itself in 1952 remains vivid even today: the big yellow bus that would take him three miles, but which might have been three million, so alien was the school he would attend; the bewildered dog watching from the side of the road-a best friend who had protected him from the tauntings of bullies; the iron-red cloud that rose up to obscure his parting view of the Pueblo reservation on which he was born. Thus began Howard Rainer's first journey into the world of the white man.

He had dreamed of being an artist like his three uncles, or even like his father who was an artist of a kind, a master carpenter. He marveled at the dexterity of the other Indian kids at the Taos Day School. Beautiful paintings and drawings seemed to flow from their fingertips with no effort at all, whereas Howard struggled in vain to create the same magic on his own sheet of paper.

When he found himself in special education classes, he believed he was somehow being honored. Soon he discovered that special meant backward-in any case it was certainly no honor. He couldn't read. He couldn't write.

He could only speak his native Tiwa and broken English.

It wasn't until 1963 that one of his high school instructors

caught a glimpse of promise in Howard. She offered to help him, and began by teaching him English. Up to that time, his disdain for school was reflected in his grades, but with her encouragement they started to turn around. So dramatically did he reverse his decline, that he was asked to address a somewhat shocked graduation assembly at semester's end. This was truly an honor, and in Taos no other Indian had been accorded it.

Rainer's creative fever burned hotter than ever. Yet at Bacone Junior College in Oklahoma, he attended more art classes with equally dismal results. A teacher there finally took Rainer aside. As gently as possible he said, "Howard, this is not your destiny." Rainer was crushed, and he quietly put away his pretensions to art.

He went on to earn both a bachelor's and master's degree in communications and public relations from Brigham Young University. Then another path presented itself. He began to sense the potential of the Indian people as a whole. He realized that his success in school could be repeated by other Indian people if they could receive the right kind of encouragement. By arrangement with BYU's American Indian Services, Rainer established a traveling workshop to improve the self-image of Indian young people, and it wasn't long before he was invited to reservations all over the country.

In the mysterious manner that success sometimes breeds 42

Communication Arts January I February 1986

success, a camera found its way into Rainer's hands. It was in 1969 when all the pieces fell into place: "I suddenly saw the camera as a kind of paintbrush. My grandmother was outside cooking for an Indian celebration, and I asked her if I could take her photograph. In Indian she said, 'Yes, I'll do it for you. Only you. But hurry before the others see.' I took three quick shots and began my career as a photographer. ·"Now whenever I visit a reservation to conduct a seminar, I bring my cameras. I don't have the luxury of carrying a lot of equipment-tripods and lights and so forth. Sometimes I ask people for bedsheets or pieces of paper, but if they're working or holding a celebration they're not going to take time out for me.

"Once I complained to an Indian friend, a fellow photographer, that I was having trouble with sharp focus. He said, 'Howard, I'm going to teach you a great lesson. I'm going to get on this horse, and I'm going to give you just two shots-you'll either catch my face or the back of my horse.' He was right. I caught the back of his horse. Ever since then I've worked hard to learn fast focus, because two shots are often all I get.

"There's another reason I can take the pictures I do . Indians have a special rapport with one another. They can sense my commitment to portray them with dignity.

"One of my idols is EdwardS. Curtis. He dared to go out into the Indian community and overcame tremendous obstacles to record the Indians. People complain that he "posed" the Indians, but you do that in a studio. He left

Pendleton, Oregon . " Mr. William Minthorn, an Umatilla Indian, was a highly respected Indian leader among his own people and other Indian tribes. I shall never forget the first time I met him. He came into the room wh ile I was conducting a workshop.

The room became very sti ll and I knew this was someone the youth respected . Although he was dressed in a suit at the time, an image came into my mind and I could see him leading a war party down a hill ."

Bellingham , Washington. " Mr. Joe Washington is a Lummi spiritual leader for his tribe and highly respected in the Northwest. I met him at an Indian youth conference where he was speaking on the importance of having religious and moral values in their lives."

Two Lummi schoolboys.

Fort Hall, Idaho. "This photograph of a beautiful Shoshone-Bannock woman should dispel any negative 'squaw image' of Native American women."

43

HowARD RAINER

a record of Indian people. I'd like to pick up where he left off, yet I couldn't express the contemporary American Indian in black and white. The ones I've met are not stoic or silent or conservative. They love vibrant colors: hot pinks, reds, violet and green; and the colors of the four seasons.

"As a visual historian, my number one priority is to document the men and women who've earned a high degree of respect and reverence in their communities. I'd like their descendants to say, 'Look-there is grandfather. There is grandmother.' This idea of the extended family is something worth preserving.

"There was a man, a great philosopher named Black Elk, who lived on the Sioux reservation in South Dakota. I recall reading two things about him. First, he prophesied that in four generations the Indian people would rise from the ashes-we are that fourth generation. Second, he said our thoughts would fly as high as eagles."

Last year alone Rainer traveled some 50,000 miles, and to date has conducted over 3,500 workshops. If, as he believes, the Indian people are going to write new pages in history, Howard Rainer will surely be asked to supply the photographs.

-Marty Neumeier

Pendleton, Oregon. "I was greatly impressed with the special relationship this Umatilla mother had with her daughter.

Their lack of contention would be impressive in any society."

Philadelphia, Mississippi. "While visiting the Choctaw community, I met a gracious grandmother who consented to have her picture taken with her grandson. She was proud of her grandson, just like my grandmother was proud of me."

Right: Cardston, Alberta. "I took this picture on the run as two Blood Indians were heading to a special honors celebration for sixteen graduates."

Taos Pueblo, New Mexico. " I shot this photograph to generate a little curiosity in the mind of the viewer. The colors were explosive and the mystery of not seeing the face made me want to take a second look."

"When my people, the Taos Pueblo Indians of northern New Mexico, won back their revered Blue Lake along with the tribal lands that were taken illegally in 1916, the tribe had a victory celebration.

This war dancer in motion recreated in my mind how it might have been to witness such a celebration in the 1800s."

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Communication Arts January I February 1986

45

HowARD RAINER

Peach Springs, Arizona. " I saw a Hualapai boy riding his horse home. When I asked the boy's father for consent to take the youth 's picture, he went into the house and returned lovingly holding this old rifle which he wanted included in the picture of his son."

Right: Taos Pueblo, New Mexico. "This man knew me when I was a little boy. I have come to greatly revere the elderly men and women who are the granite foundation of what is Indian today."

Pendleton, Oregon. "While passing through the Umatilla Reservation, I met an outstanding young lady who was proud of two things. She was an excellent horse trainer and she loved her Indian heritage."

Bluff, Utah. "When I met this elderly Navajo man, he had already walked four miles towards Bluff to cash his social security check. He graciously consented to ride with me the rest of the way to the trading post."

Fort Hall, Idaho. " Indians love rodeos. This girl's 'beaded hat' reflected this love for the sport."

Tahola, Washington. "The warm , glowing colors of the salmon sizzling over the open fire reminded me of the hospitable nature of the Quinault people."

Wind River, Wyoming. "I have taught thousands of Indian youth over the years and have come to know the haunting , cold stare of a first encounter. This photograph of Arapahoe boys gave me the opportunity to share with others how these faces look before they are warmed by trust and friendship."

Cardston, Alberta. "This young Blood lady was attending an all-Indian school for Canadian Natives. While conducting a selfimage workshop there, my eyes caught her photogenic powers."

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Communication Arts January I February 1986

47

LEONARD MONAHAN SAABYE Ernie Schenck, whose name isn't on the door but who carries the title of Senior Vice President/Creative Director and is clearly one of the movers and shakers at Leonard Monahan Saabye, put it bluntly: "Minneapolis, Seattle, Richmond and Dallas have proved you no longer have to go to New York or Los Angeles or Chicago to come up to bat in the big leagues." And, he notes, now you can add Providence.

That's where LMS operates, in a crisply-organized duplex suite of offices on the top floor of a five-story renovated Masonic temple building, two blocks from the center of Providence, Rhode Island. And where they've put together advertising that has, for the past two years, not only dominated the prestigious Hatch Awards "for creative excellence in New England advertising" but has placed handsomely in nationwide competitions and built a reputation for outstanding creativity among New England agencies, in competition with shops ten times their size.

That balance of creative and account service people is cited, and, perhaps paradoxically, cited primarily by the copy and art people, as the essential underpinning of LMS's creative success.

Woody Kay, art director, declares: "We depend a great deal on our account executives; we expect them to steer us in the right direction."

Amplifying, Creative Director Ernie Schenck offers: "Have we won all those awards because we are that much more creative than a lot of other agencies? I don't think so. I think one of the reasons is that our work tends to get through more."

Tom Monahan takes it a step further: "It's not by accident that we're achieving success with our creative product.

More and more I'm finding that the key is understanding the audience, and getting agreement ahead of time as to creative strategy-the essence of the message. You must commit yourself to a message before the agency creatives go to work on an assignment. Whose agreement do you need ahead of time? Anyone who can ultimately kill an ad.

Tom Monahan, wJJ.o as Exec VP and one of the founders of the seven-year-old agency not only does have his name on the door but clearly speaks most forcefully and volubly for LMS, defines the company's size and attitude: "We're at twenty million, roughly. A little beyond that, maybe, but who's counting?"

"If it's not there, what happens is, a job gets opened, people

And in a statement headed "Our Philosophy" which reads just the way Monahan talks, the rationale is put this way: "We do forceful advertising. It goes, without hesitation, directly for the jugular. It can make clients nervous, but we don't believe that's bad. Because advertising that doesn't cause the gut to feel a little tense is, likely, ineffective advertising."

"To me, the enemies of creative people are fear and exhaustion. Fear that it's not going to be great, that they're going to hate it. That forces a lot of people to be safe-'this is good enough'-and then on the fourth or fifth rewrite exhaustion sets in." '

Monahan and Schenck are two of the total complement of four copywriters at the agency, and with three art directors plus three they refer to as "art support people," they comprise the entire creative staff. One of those art directors is Bob Saabye (rhymes with baby, somebody remarked, possibly to lay emphasis on the fact that one of the agency's leading and award-winning clients is a baby-products firm). Saabye is the second of the three founders, whose title reads Executive Vice President/Art. The third, with the title of President and the responsibility for client service as well as overall financial management, is Bruce Leonard.

Despite the compact creative corps-which functions, incidentally, without bullpen, since Providence (providentially?) offers a strong complement of available free-lance and small-studio talent-LMS is no boutique. The total staff of 43, plus another ten or eleven in an affiliated PR firm, includes a dozen people in account service, another half-dozen in media and two in print production.

48

Communication Arts January I February 1986

do creative that's a little misdirected because it's based on assumption, then the creative gets presented and we get blown out of the water!

LMS-and in this case the stimulus appears to have come from Monahan-has developed a form they call a Creative Strategy Statement. Account executives are expected to fill it in, sometimes in discussion with members of the creative team but always in such a way that there is mutual agreement, including the client and prior to creative development, on the product to be advertised, the specific target audience, the objectives of the ad, the primary benefits to be communicated and the reasons supporting those benefits.

Here, for example, is one of those statements prepared for a magazine ad on behalf of Marlin rifles; written rather informally and in this case unsigned by both AE and client. Monahan claims that the entry under "primary consumer benefit," that Marlin understands the sport of shooting, "helped launch the whole quiz idea" that became the format of the Marlin ads which took a raft of awards in the Hatch competitions.

Bruce Leonard, who's responsible for the account side, views the process from a slightly different perspective.

"In my view, good account people see their job as ensuring that the best possible creative work comes out at the end of the line. The Creative Strategy Statement is a good guide for the creative people, but more important to me is that it forces the account people to really think through the marketing and advertising problem. To get an account person to think analytically, in a disciplined manner, to me is the most difficult thing to do in advertising.

"People come into advertising on the account side thinking that their primary responsibility is to listen to the client and translate what he wants back to the creative people.

That's just half the battle. The good account person takes everything the client tells him and puts it through a couple of filters.

"One: Is it true? Sometimes what clients hand you is a bunch of bullshit. When I start with a client, I tell him, 'Don't sell me; tell me what's good about the product and what isn't, and what the competition does better.'

Bob Saabye, Tom Monahan, Bob Pagano, Bruce Leonard , Ernie Schenck

Leonard Monahan Saal¥!

CREATIVE STRATEGY STATEMENT

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"Second filter: Does the client have all the information we need to do really good advertising? If not, where are we going to get it?

"And then you have to take all that, plus all the things you know from experience and common sense, and develop a conceptual view of the advertising that the creative people can get their hands on."

Monahan, in his role as what one of his colleagues calls "our Renaissance man," is pithier. "The account execs are the unsung heroes of this agency. Some account executives-sometimes you can spot it by the twinkle in their eye-are frustrated creative people. They're a pain in the ass to work with, because they're going to second-guess you every day of the week. Our account execs are sensitive to creative, but that's it. And we've had to grow our own, because we can't find a lot who meet our standards."

Two other characteristics, in addition to the commitment to a way of forcing appropriate account-creative interaction, appear to distinguish LMS, and to account, at least in part, for the surge that brought them from a standing start seven years ago (as Saabye puts it, "We started with no accounts, not one, and those first few months were a scary time") to their current eminence as the leading agency in Providence and the award-winningest of all New England ad shops .

One is account selectivity. The new business team until recently-a new starter is being added now-has consisted of Bruce Leonard and Tom Monahan, and as the latter confesses: "I'm brutally frank at a presentation. I tell them: 'Our objective here is not to get your business; our 49

LEONARD MONAHAN SAABYE

objective is to make a good match. Here is the kind of advertising that comes out at the other end of the machine, and if you like this kind of stuff, hire us.'

"Our clients are on the same wavelength, for the most part, because they sat in that room when Monahan was brutally frank-and made Leonard nervous saying all this-but I say it all the time."

So you think you know something about hunting squi rrels, do you?

Well let 's find out. 1iy answ<:ring the three questions on this page. If you don't get at least one right , w<O'd say you'vc: got some homework to do.

You sec, you're never goin~ to be really good at squirrel hunting unul you lcun to think like one.

too ~'hichisi~~~~bl~ ~h~~~~r~ ~n, 0

choose Marlin 22's than all other 22 rJles combined . And when you check out the Marlin Model 781 , it isn't hard to "'e why.

To stan with , the 781 is the definitivt: bolt action 22, with the kind of dependabilicy, speed and smoothness you expect of any Marlin.

There's a 22-inch Micro-Groove" barrel

Sometimes the pre-selection process doesn't quite work out, as Saabye recalls. "We had one account I remembera fashion firm in the eyewear business-where they wanted us to do ten layouts for every ad. We did it for a while, but we were all frustrated; we were just wasting our time, so we finally resigned."

Saabye points up one other difference: to date, for the most part, LMS has been involved primarily with print.

"I love to do print, and I think the print work we do is as good as a lot of the New York agencies. They want the big TV accounts-a lot of people want to be working only on TV. But we won most of our awards with print advertising.

I think we do it as well as anybody, and we enjoy doing it.

"In our agency, when you take on an account-whether it's the Shawmut Bank or Bill Rodgers running clothes-you take on whatever it does. If a catalogue has to get done, you do a catalogue, or you work with somebody to get it done. If there's a TV spot, you do that; if there's ads, you do ads. One art director handles the whole thing-we don't have separate people handling the collateral work."

And going back to why, in his opinion, New York, Los Angeles and Chicago aren't where it's happening now, Ernie Schenck adds, "Maybe sometimes it's a function of how large you are. You can see that in New Englandsome of the agencies started out as hot creative agencies, then they got larger and larger, numbers began to enter into it. Maybe you become a little less aggressive, not quite as wild; you can't use your intuitive sense as much.

"That's what happens in New York and L.A.-they get so big and have so much as stake . . ."

-Mill Roseman

50

Communication Arts January I February 1986

that doesn't know the meaning of the word "miss:· Plus a large capacity tubular

m~ra~·~";~;ed"r~;g;:,;.e~~d c~p beautifully checkered Monte Carlo stock turned from genuine American black walnut . The ultimate

squirrel gun ? A lot of people think so.

And if there's an ultimate 22 for youn'pcoplc, the Modei1)Y "Little Buckaroo ' may JUst be it. A pint-sized , 1inglc shot with 16'11 • Micro-Groove• barrel , thumb safccy, red cocking indicator and easy-load feed throat.

Of cou~ . you could always take your chances with some other 22 . But then you'd really be going out on a limb.

Sec all the Marlin 22's, in ovc:r a dozen variations, from the semi-auto Model 60 to the Model 39lcver action , at your gun dealer. Also, ask for our new catalog with more hunting quizzes. Or write Marlin Firearms Co .. 100 Kl:nna Drivc:, Nonh Havc:n, CT06473.

ITS BEEN 13 YEARS SINCE

WE STARTED SAVE THE BAY. AND WE STILL HAVEN'T GOTTEN TH BUGS OUt Left: Marlin Firearms ad based on the creative strategy sheet shown on page 49. Other ads from this campaign appeared in the CA-85 Advertising Annual. Ernie Schenck, writer; Bryan McPeak, art director; John Burgoyne, illustrator; Myron, photographer.

Bactma, magnified 3,400X.

Suctonan protozoon, magnified 540X.

Colonial protozoon, magni["d SOOX .

Some people think Save The Bay blows things up out of proportion. And in all candor, they're right.

Things that poison and infect marine life and make people sick ought to be blown up. So everyone can see them for the nightmare they really are.

And believe us when we tell you that nightmare is the only way to describe pollution.

The toxic chernicals. The indu trial wastes. The raw sewage that is going to kill the water, the fish, the quahogs and everything else in the Bay. If we let it.

The fact is, Save The Bay is the only group in this area fighting to protect Rhode Island's most vital resource from the devastating effects of pollution.

And we've accomplished a lot. But we can do even more with your continued support.

So we ask you once again. Please, join us in our efforts. Send your tax deductible membership dues for 1983 to Save The Bay, Inc. , 154 Francis Street, Providence, R1 02903.

Together we can do more than make a difference. We can turn the tide.

Self-promotion ad for Myron. Tom Monahan , writer; Bryan McPeak, art director; Hazel Underhill, designer; Gene Dwiggins/ Ira Garber/Constance Brown/Morgan Rockhill/ Bob 0/Neal Davis, photographers.

Ad for Save The Bay, Inc., a non-profit organization devoted to ending the pollution of Narragansett Bay. Ernie Schenck, writer; Bob Saabye, art director; Paul Johnson/Or. John Sieburth , photographers.

Save The Bay poster. Ernie Schenck, writer; Bob Saabye, art director; Debbie Lucke, designer; Clint Clemens, photographer; Dom Denardo, retouching .

TOGETHER, WE CAN TURN THE TIDE. JOIN SAVE THE BAY.

51

LEONARD MONAHAN SAABYE

Shawmut Bank auto leasing poster for use by auto dealers.

Brien O'Brian/Tom Monahan/Dave Lubars/Ernie Schenck, writers; Woody Kay, art director; Doreen Velmer, designer; Elwood Smith/Seymour Chwast/Peter Hall, illustrators; Ira Garber, photographer.

Small space ad campaign for Bill Rodgers & Company.

Dave Lubars, writer; Bryan McPeak, art director; John Burgoyne, illustrator.

Right: ads for Wright Line. "Coat hangar" and "Closet" ads: Tom Monahan/Melissa Mirarchi, writers; Woody Kay, art director; Myron, photographer. " Filing space" ad : Tom Monahan, writer; Woody Kay, art director; Frank Foster, photographer.

Runnjng shorts should do more than just cover you up.

In alaboratory, other suits perform as well as ours. So Who runs ina laboratory?

An iruidt pocket far key>, rrcneymvlthtlikz.

. v. '' '

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lj ( lruidt tht .harts you'll (inti. our farrcw built-in

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~fmvlrotroopanel.

Most women would rather wear nothing than wear binding, chafing running shons. So we've designed shorts that'll cooperate with your running.

.J

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,

The purpo.e of this sidt snip. isn't just U> look good. lt sverystretchyso youget freetlomof""""""""' ·

And feel every bit as comfortable as wearing nothing.

Maybe when other companies examine our shons, they'll turn over a new leaf.

Bill Rodgers &Company, 86 Finnell Dril'e, \1\'c.:mouch , MA 02188 (617) 335-2740

52

Communication Arts January I February 1986

In a lab, maybe all Gore-TexT" suits are created equal. Which is why we recommend you conduct this experiment. Take one of our competitor~ suits

P!ll'"'!:o~- our for a romp in real live

rain. Do the seams leak?

Does it feel like an oven inside? If the answers are yes and yes, the suit is a no-no.

Bill Rodgers &Company, 86 Finnell Drive, U'kymouch, MA 02188 (617) 335-2740

The most sophisticated mixed media filing system in the world is ...ook around today~ office. Is everything in its place? Is there a place for everything?

The computer has deluged the office with a whole new kind of media clutter.

From diskettes, to microfiche, to computer printouts. All this over-sized and odd-shaped information media simply can't be contained by conventional ftling methods.

Today you need a new kind offtling system. A system designed specifically for mixed media filing. Today you need the DOCU-MATE' system.

The unique DOCU-MATE system is designed to store mixed media together, eliminating constant shuffiing through separate Iiles and messy piles. Keep your work-in-process in DOCU-MATE containers. File

~~:t~ro:::e~r.:saft'~~~~c;u~%....~~-~~;~:~:~~~r:r.~~::~i!;~:~~~~£,~~;~~;

The principle behind the DOCU-MATE system is equally simple. It~ the center-hook filing principle, just like the one used to hang clothes in a closet.

The DOCU-MATE system is flexible. Every DOCU-MATE device can be stored in a variety of center hook or conventional drop filing systems. And the separate components allow you to custom tailor a ftling

based on aconcept so simple and so obvious, its almost embarrassing. system that's as simple or as sophisticated as your office requires. All without budging your budget.

The DOCU-MATE system~ adaptable, too. So it can evolve to meet your needs tomorrow, as well as today. (We're solving problems today that didn't exist when the system was developed. That's adaptability!)

Simplicity. Flexibility. Adaptability. Maybe that's why the DOCU-MATE system is the most widel~ used media storage and handling system on the market today.

Look around you.

The uses of media. The diveraity of media. The volume of media.

The filing problem is complex. The solution is simple.

The DOCU-MATE system, with its unique center hook has come out of the closet. And it's revolutionized mixed media fUing.

Learn more about how the DOCU-MATE product system can help you design a filing method to custom lit your office~ needs. Contact Wright Line at ~ 160 Gold Star Blvd., Worcester,

line

MA 01606.

A\.HTOIIo'MY'fiiiiiiiOHT

Something always seems to go wrong when_you forget to plan fOr adequate~~ l)oesdleconceptofa urrive~

center-hook filing system hit close to Every day you hang up ~r clothes.

A routine you hardly think about.

But at the office you face different hang·ups. You're confronted with the fall-out of a computerized office.

Microfiche. Diskettes. Computer printouts. Odd-shaped, oversi:ted informa· tion media that simply can't be contained by conventional filing methods.

The problem's complex. Not so the solution. In fact, you need look no fun her than the coat rack.

The DOCU-MATE•Iiling system, based on the ce.ntcr-hook filing principle, solves media filing problems using the same principle proven in closets for centuries.

It couldn't be simpler.

As for flexibility, DOCU-MATE's separate componenrs let you design a system as simple or as sophisticated as your:!"~,;,k~~:~t~~~~~~~~~!ine.n. File frequently updated repons and printouts in DOCU-MATE canridges. Bind permanent repons in DOCU-MATE bindcn: Then store them the same way th~ used. Together. Eliminating the need to search thsough separate Iiles and messy piles.

Every DOCU-MATE filing device fits into a variety of center-hook or conventional drop filjng systems.

And, taking full advantage of the venical space, the DOCU-MATE system can double your media storage capacitbest of all, the DOCU-MATE system's so adaptable, it can evolve: to meet tomorrow's filing needs, as well as today's. Maybe that\ why it's the most widely used mixed ~i~~t~rZ.~~ ~~:::. te!~er-hook filing has finally come out of the closet to help you better organize the automated office. Contact Wright Line at 160 Gold Stas Blvd., II~ Worcester, MA 01606. ......,.. ~~Oflo'MY 'MIIOHT

line

Filing space. In the office, planning the use of space has always had great implications.

It affects costs, productivity, work quality and design.

Since automation has crept out of the computer room and into the mainstream office, adequate filing space has become even more critical.

The computer's input and output media, it's oversized paper and odd-sized magnetic media, this information media as it's called, is beyond the control of conventional 8vt x II" filing systems.

So how do you best manage this evergrowing problem?

Wright Line can provide products that help you reference, file, store, index and protect the combination of information media that affects you.

We can help you in the planning stage of ultra-efficient new offices or we can help you adapt your present systems to better cope with this flood of information media.

Don't wait until~gJSIIIJll Write us for more information. Wright Line, 160 Gold Star Blvd.,Worcester, MA 01606. .....'"'""""""""""

wngqt line

r---......,._..,....___,_.,.....,...____

We're glad you asked. We're Wright Line and we're the leader in information media management.

Wright Line's unique filing and storage products have been the mainstay of the computer room since the SO's. And now we're among the first to address automation's impact throughout the office in such areas as word processing, systems and programming and data entry.

53

LEONARD MoNAHAN SAABYE

IT'S EASIER1b GETANswERs

OUT OF PEoPLEWHENYou HAVE 1HE PRoPER FACILITY Poster for Aloco. Ernie Schenck, writer; Bob Saabye, art director; Sharon Collins, designer; photograph from Bettmann Arch ives.

Ad campaign for Seibe North Inc. " Hand " ad: Jeff Abbott, writer; Bob Saabye, art director; Clint Clemens/Gene Dwiggins, photographers. "Ear" and "Lungs" ads: Jeff Abbott, writer; Bob Saabye/Tom Monahan, art directors; Clint Clemens/Gene Dwiggins, photographers.

It's been said that ignorance is bliss. Unfortunately, when you're handling dangerous materials, that bliss can be rather short -lived.

You see, despite their rugged appearance, hands need protection. But, it isn't just a matter of providing a pair of gloves. The gloves have to be designed for the particular situation.

It takes expertise to do that in today's indusenvironment. And that's exactly what we offer at North Hand Protection.

A good example is what we're doing in

gloves that resist permeation. We're the only producer of industrial gloves of

Butyl and Viton* elastomers. These two formulations provide the best protection against many toxic chemicals.

Even these gloves, however, aren't always appropriate. 1bat's why we produce different gloves, such as Nitrile Latex, for a variety of other chemical applications. So no matter NdrikutuG,.., what you're working with, we can deliver the best protection possible.

As a matter of fact, we offer the same level

of quality in our industrial gloves as the U.S. Government demands in the gloves we supply for protection against chemical warfare agents. You'll find no other manufacturer can match North's capabilities.

But industrial hand protection doesn't end with chemical resistant gloves. And neither does our expertise.

We were leaders in developing the coated knit glove. This innovation performs so weU that it's becoming the industry standard.

And while everyone else was cutting and sewing their gloves, we began knitting them on Vlloniii~JIIIr:redtt'ldtmlrtloiE.I. Uuponl..

54

Communication Arts January I February 1986

machines to eliminate the seams and make our gloves more comfortable_ This also gives them longer life and added value.

It's easy to see why industrial workers should put their hands in North gloves. Before they put them in anything else.

We'd like to teD you more. Contact North Hand Protection, 4090 Azalea

g~~:~~ ~X~~~·

(~) 554-0660. North Hand Protecnon products are sold through authorized distnbutors.

l •

JL'eip'

'i'

Hand ProtecUon

WASTHEEAR MADE TO TAKE ABEATINGil

ot from what we hear.

As a matter of fact, North Health Care is the You see; the ear is a delicate instrument only manufacturer who offers a complete line of hearing protectors. Each of which that's rather unforgiving of abuse. It has to be protected from hazardous noise. meets the most rigid specifications.

That's not as easy as it sounds, They are inspected at every stage of development to insure that proper since all ears are different.

To provide comfortable protecstandards are met. tion you must first have an underMost companies would be sa tisstanding of the ear and then the tied to offer such a line. technical expertise to translate that We're not. We go a step into effective protection. further to insure that workers will get the most benefit out of our orth has both of those qualities.

Because of our experience in hearing s....d.tJff" 0 """"' hearing protection products. protection, we know there isn't any one solution.

We've had all our Territory Managers certified c....f.r So we offer many. as industrial Audiometric Technicians, so £u,PI.., One example is our DeciDamp they can assist you with your audiodisposable ear plug. It's made qf polymetric testing. orth Health Care Territory mer foam that expands smoothly in the ear to form a snug, comfortable Managers are trained in measfit. It's found throughout industry uring the sensitivity of workers' IJ«oJ)u..p· because it provides such an effective ears to different frequencies as noise barrier. weU as giving otoscopic examinations. ""'Pl..,.

Another type of ear plug is our In this way, they're able to recommend and Com-Fit. It's a reusable silicone ear plug fit hearing protectors that will be the most effecinsert that also offers exceUent protection tive and the most comfortable for the industrial and comfort, since it comes with its own inserter worker. device which insures a proper fit.

So no matter what your workers are listenFor other applications we have ear muffs. ing to, North will make it easy on their ears.

For instance, our Sound-Off'" muff reduces danIf you'd like to hear more, contact North Health Care, Rockford, IL gerous noise while pennitting workers to hear conversations. And it does this with a minimum of 61103 (815) 877-2531. Or pressure on the head.

Siebe orth Canada Ltd..

We make other hearing protectors as weU, Rexdale, Ontario, Canada M9W including one that's molded to the worker's ear.

5V8 (416) 675-2810.

HMith C...

m

The fact-of-the-matter is that lungs allow most toxic agents to penetrate their walls, enter~ the bloodstream and affect other vulner- I J able organs. Like the liver or kidneys.

This can happen when you're using a respirator that doesn't fit weU. Take a deep breath and think about that It's not a very comforting thought. especially since respirators Nnp..-.to< are a fact of life in industry today. And when there are gaps in protection, more than just your lungs are at stake.

Providing the best protection without sacrificing comfort is no simple matter. It takes real expertise, innovation and a commitment to research and development.

In short, it takes a company like North Safety Equipment.

COMFORT YOU CAN LIVE WITH. A good example is our 7700 respirator. It's fitting to say it's the most comfortable high performance respirator made today.

We designed it using anthropometric data from the armed services supplemented by numerous tests on workers with a wide variety of facial features.

The final product was made with a soft, hypoallergenic silicone rubber so that the 7700 would further conform to the face.

This re ulted in a superior fit And that means greater comfort and better protection. This was

confirmed in nationwide tests.

HOW TO THROW AWAY A GOOD IDEA. We took this knowledge and developed another innovative product.

The North 100 Series disposable cartridge respirator.

It's an economical alternative to cleaning and maintenance. Just throw it out after it's done its job.

But even though it's disposable, we didn't compromise comfort or protection. It has many features of North's 7700 including the cradle suspension system and low nose profile.

North's expertise also includes selfcontained breathing apparatus. As a matter of fact, our affiliate, Siebe Gorman & Co. Ltd. produced the first SCBA in 1879.

And we've just kept improving ,,, 1005 our SCBA. The orth 800 Senes /Jup.>M>I>I.- N """''"' was engineered for simplicity and has a unique failopen valve design that assures a supply of air in case of malfunction, as long as there's air in the cylinder.

These three products; the North 7700 dual cartridge respirator, 100 Series disposable respirator, and 800 Series SCBA, are just part of our broad tine of respiratory protective devices.

So if you've been holding your breath for better respiratory protection, contact North Safety Equipment, 2000 Plainfield Pike, Cranston, Rl 02920 (401) 9434400. Siebe North Canada, Ltd., •n• •• • • •• Rexdale, Ontario, Canada M9W 5V8 (416) 675-2810. smryEqulpment

;J

rit•!;)di

55

You couldlit next \\i:> !,'('! npprooched pretty often~ ad •J&'<:I1CICS and

dtsignersabout<hngput~i(' service projecl~ for abl or at a

'friendly r.lle': The grovelling r~rxlut1ion nmnagers.11l~ ~ha~sh ill! din~tors Shy <md

;elf{\lf15ciuus allUUt asking afa~t•rofus.

\\i:>ll. we'regoingtoput some cA !'JU out of }Uur mi<;C!}'. \~'reoflt1ing to do.l your public service ~ . bfor fn>e.

1'hill was ea.<;y. i\JU sc.-e. we belk.'vl'asstrongly a~ yuu do, thut tilt~ poy;er ol the cr~apress. tivr: talent in the

adveni>ing busirK.'SS should be put to use for the pub!i(' good&'!:!)' r¥JW and then.

Of Ul!IYSe, Whm WP make an offer like this, (JUt l<JUd,we fully ex~t to haw an abundance l~ takt:rS. And if all 1ve dol' give <~Way our press time we11gooutol business 00011: we can do mudt public good. So we'!'(' making thl,fn-eoflerto <.v~eluckv

elm·

us tQ prjnt your

service duds k1r over a oozen years we\'t! only just scr..t..:hed the proverbialsurtdCt:.

So even if you\-e nev~~ worked with t L~ lxt..>r<' ;md feel a little guilty about asking for a lrl:•ttJie, <XJflle on. don't worry about it. \\\ell' ju.<;t looking to oo some g1eid pul~ic sc..-rvk-e work You couldn't and tak~ the even take us to opportunity dinner. Maybe to demonlunch, after the strate our job is done. rommitment

to quality lYJ!or printing, firstda~ service and relial,ilitv.

So, from now until tl~ end ol the year. If )UU lktve any IWrthwhil!: public service clientswilO<Xl\rldusealavor, send liS ala}\ll.ll. .11\S Wf: 11)..'f:'i\.T:'

in10!Tll31ion call kk Rilev or w.,yne Tunlt!I' a! (401) 35i-154tl. lncidl'n~'llly, business Cdl'(b

for ),ll.lr moonlight opernlion don't quali~·. evtn if it isn't a particularly profit making venture.

pr<l~ we111elthc l"l'q\K'Sls

pile up until the end ol e?(:h

month at whi<:h time well mak~ our sek-ction. Then well ('()fl~"'t1 )~JU orl!:' way or the oint''· lfyoo 1v-dnt $CJI!lemore

r:. ,.- ;: : ~ ? ~ -: : •. L•

..

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Why it's smart to

babies wOik for their meals.

Have you ever thought of how atoothbrush feels on a babyS gums?

When an infant takes milk from a mother's breast there's a lot that goes em beyond just satisfying a little hunger.

There's the natural sucking action. The contraction and release of certain muscles. The movement of the bottom jaw.

The strategic positioning of the tongue.

Milk doesn't simply pour out of the breast. It has to be systematically, almost mechanically pumped away. An instinctive routine that enables a baby to feed

whn~.;~nfc~~:d~~~:~N~~~~~~ll-~~.s. well-exercised baby has a better temperament and sleeps better, we wouldn't be surprised.

The NUK" Orthodontic Nipple was designed to perform like a mother's breast.

This unusual shape is designed to simulate the configuration of a breast during feeding. Every contour has a purpose. In fact, the NUK Nipple is the original orthodontic shape.

When the NUK Nipple is positioned for feeding, the hole is on the top so milk hits the roof of the mouth mixing with saliva for easy digestion.

56

Plus, the bole is smaller than most conventional rubber nipples so a oaby gets a workout similar to breast-feeding.

And the sirw>le flat tongue rest provides the solid foundation for good, hard sucking.

The NUK Nipple, available to fit major nurser brands, is part of a complete family of NUK''products all designed to help a baby's oral development. Advertising similar to this ad will be reaching new mothers with millions of impressions in many well-read consumer magazines.

Imagine the ftrst time a brush is drawn across a ~~:s.~o;nder gums. Those soft, cushy bristles sud·

dcu~NUJ{:~p:~~rainerSet enables your child to ease into good oral habits.

~i~i!,~~~~~:i:~,~~~'d~:J~.

The 1st Massaging Brush has a thick, easy-tograsp handle. The patented arrangement of soft rubber bristles provides effective massaging in any direction on a baby's tender gums. Of course, healthy gums are as important as healthy teeth. And that's why this systematic approach to infant oral care is encooraged even before the first tooth appears.

The 2nd Massaging Brush has soft, more con·

:;=~~~ru:~~~i~~~~· just a baby's size.

After graduating to the 3rt! Nylon, soft bristle brush, and with your guidance along the way, your child is off to a painless, healthy start.

Keep in mind that a program of gum massaging and daily tooth brushing is necessary for proper oral care. The NUK Toothbrush TrainerSetisavailable . .® through Sears Baby

tee;::~~cl~~~~~~~r- TMNUK~tic

ers, nursers! teething gel ~"!:!~pe..ol~ and other fme products. -wsruppiedurina teectinr.

Reliance Products Corp..

106 Mason St., P.O. Box 1220, Woonsocket, R102895.

AsubsidiaryofGerberProducts Company.

NUK is a licensed trademark owned by Mapa GmbH, Gummi·und Plastikwerke, Zeven, Federal Republic of Germany.

Cl 1983 Gerber Products Company.

Communication Arts January I February 1986

~l:~~:.!~d other

1

The:lol .....

il "c:hildstr.ed"wilhnyblbritt'n

Reliance Products Corporation 108 Mason Street, Wooosocket, Rl 02895 A subsidiary of Gerber Products Company.

The same size com~titive control valve woUld need abigger ad.

When you're evaluating control valves, there are a number of things you should look for. Uke ease of maintenance. effective cost, compactness and a well engineered design that results in compatibility of components.

Worcester's ball and butterfly control valves have the edge on

~~d'ru~~~i:~~is'~~e~all

it comes to size, weight and performance.

Small wonder.

Start with our wide range of easy maintenance V• turn valves. They're 1

~~~~d ~r~~u~~ 9:~~~er

with less required operating torque saving cost, weight and envelope space.

Offered in y," through 16" sizes in four body styles, flanged, 3-piece, flangeless and Gyro-Vane• butterfly, they can be made to handle almost any media.

State-of-the-art actuation.

Next, consider our rugged dual piston rack and pinion Series 39 actuator {shown). It delivers one of the highest torque to weight ratios in the industry and is offered in 8 sizes and to torques up to

rack and pinion

LEONARD MONAHAN SAABYE

40,000 inch pounds {at 80 psig) so you don't have to overbuy.

A little goes a long way.

Complete the total control valve package with our compact C8-15 cantilever beam positioner {shown).

An engineering masterpiece. lt represents a simplified approach to V• turn rotary positioning that results in increased precision and reliability through fewer moving parts.

Take complete

control.

Now that you've seen how our control valve package stacks up, compare us to the one you're presently using.

Call or write us for more information.

Bulletin CVE 800 electric ball control valves or CVP-700 pneumatic. Bulletin GV-100 for Gyro-Vane butterfly control valves.

Or consult your yellow pages for your nearest factory trained Worcester distributor.

Left: ad for Frankl in Graphics. Tom Monahan/ Dave Lubars, writers; Woody Kay, art director; Nancy Malacaria, designer; Gene Dwiggins, photographer.

Ads for Nuk, Reliance Products Corporation. Tom Monahan, writer; Bryan McPeak, art director; John Burgoyne, illustrator; Myron, photographer.

Ad for Worcester Controls. Tom Monahan , writer; Bryan McPeak, art director; Airstream, illustrator; George Petrakas, photographer.

Ads for Volunteer Services. Dave Lubars, writer; Debbie Lucke, art director for "Guinea Pig "; Debbie Lucke/ Bryan McPeak, art directors for "Warm Home"; Cathy Toelke, illustrator; John Holt, photographer.

125Hartwe11Street, \NeSt Boytston, MA 01583 (617)835·6041

ABrRe>orr.,., f/'

Thcre;,•thrivircblodtnwlcetlnlhis """"'Y.Adrudful,despiableblodt

-.

Ablodtnwlcetwhen:loot..-.d sttimpecs.,.JOid!DIIIbcnloriesfoc ~ Andwhilcit'siN<tNtllhodo:

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Wh..tc.an)OUdo?

57

HINSCHE +AssociATES "I didn't want to be a boutique design shop!" declared Gary Hinsche as he led me around and through piles of empty telephone boxes and carpet scrap. Workmen were putting in the last of the baseboard, and a telephone installer was checking the signal on a desk phone.

"Well," I said, "it certainly doesn't look like a boutique to me."

The two-story, 4000-square-foot space, painted a soft, semi-gloss gray with dark carpeting and custom cabinets and desks, was the ultimate in contemporary, high-tech office planning. Part of the second level was cut away to create a dramatic 20-foot area above the reception and design stations.

Bright red, tubular Italian lamps hung over the drawing tables and desks.

Huge corner windows reached nearly floor to ceiling. Light flooded the space through the open thin-slat blinds. Patios with welded pipe railings bordered both floors. The elegance of the space and appointments was only slightly marred by the disarray of the recent move. Job tickets leaned against walls. Cardboard file boxes awaited unloading. Workmen were still creating minor debris as they put the finishing touches to the three-month-long remodeling project. A little housekeeping would take care of all that.

Hinsche + Associates had only moved about a mile and they were still in Santa Monica, but it was a long way from the image of their last office.

That one, down a narrow gangway and behind a dress shop on Main Street, belied the character of their practice, and I had chided Gary about it more than once. He didn't need me to point it out. Gary knew what he wanted and where he was going. He'd come a good way since he graduated from Long Beach State in 1967 and started his first job with Porter and Goodman. He'd always had goals and he pursued them with determination.

58

The particular conviction to seek only the best work Gary credits to his mentor and second employer, Bob Runyan. He joined Robert Miles Runyan after a year and a half at Porter and Goodman, and stayed eight years. He became a partner and creative director. He worked mainly on corporate I.D. programs and annual reports-then and now the mainstay of Runyan's business. While Gary was there, Runyan somehow ran his Ferrari off a road and into a creek. He was laid up for almost eight months. It was very serious for Runyan, but Gary benefited from the added responsibility it put on him. "I ran the company for that period of time.

"The interesting thing about Bob and his relationship to my career is that he's never let go of the excellence of design. It's a constant. He's always trying to do the best work possible, and that stayed with me. That one thing keeps him up there on top all the time.

"I had tremendous experience there.

I did the Technicolor I.D. program, did several Carter Hawley Hale reports as well as their identity program, so I came out with a very strong background. I also came out with a conviction that I did not want to do any more annual reports. I had done every one I could do, and I did them for a good many clients: Litton, Norton Simon, Mattei, and it goes on and on. I just felt there had to be a lot more to design, and I left with the intention of doing something different."

That was 1976, and he mortgaged his house to get start-up capital.

I asked him if he had taken any business with him. "No. I'd seen so many people leave, and really, it turned my stomach to see the negative feelings that were left by people who took business with them. I wasn't interested in going out after any annual reports, so when I left, I did

Communication Arts January I February 1986

not take one piece of business with me. I went out and started hustling all kinds of clients. It's amazing, when you're by yourself, how little work you need to stay busy.

"United California Bank (now First Interstate) was my first piece of business. I did all kinds of things for them-little promotions, car rental programs, consumer point-of-purchase and some financial reports. It was consistent, it was monthly and it was quite nice."

The first year on his own, Gary did better financially than he ever had working for anyone else. He was working seven days a week and spending a lot of nights sleeping on the floor at the studio, but he had his own business and his own approach; and even when it was a one-man show, it wasn't a boutique.

Gary has been through most of the changes that designers contend with as they grow in the business. He had a partner, but they didn't agree on how to run the business, so a few years ago Gary bought him out. He maintains a seasoned, solid staff, many of whom have been with him for years.

Jim Guerard worked with Hinsche at Runyan's and is now a partner and creative director. Tom John and Edie Garrett, senior designers, have been with him for over five years. Jan Gronfin, the business manager, was with him at Runyan's and has been with Hinsche + Associates nearly since its inception-a total association of about twelve years. Other key staff members include two account executives, Dick Acker and Darrell Hayden.

Both of them are smart, solid, marketing and communications men. With the new marketing and sales director Hinsche plans to take on, the staff will total thirteen.

Gary stuck with his goal of avoiding annual reports, and today operates in several markets: consumer electronics,

banks and S&Ls and, increasingly, real estate development. The real estate development work is more and more concerned with three-dimensional design, an area of particular interest to Gary, and one in which he has had some major successes, such as the Los Angeles Olympics Street Decoration Program and the Olympic Arts Festival Sites Decoration.

"We're beginning to develop a vocabulary and an understanding of what a developer needs to take a project to market. We get into environmental work but we also get into leasing and even syndicating materials for some of these projects. We're finding ourselves to be pretty unique in that respect."

In 1986, the city of Burbank will begin to install Hinsche's new graphic image program, a program they won from a long list of the top design firms in California.

"The interesting thing is that Burbank has the same problem that a lot of other cities have with the streets changed into malls in the '60s. There used to be a major downtown street and they closed it off. What that did was to shut off the people. I sat in a meeting-this is the truth, man, it just blows me away-and they had asked a whole group of people in the immediate city of Burbank what they should do, and no one knew. When I heard that I said, 'I think you should put the street back in.' Everybody laughed.

But it's part of the normal environmental experience to drive through.

What's been happening is that people don't go to malls because they've got to walk so far and they can't see what's there. There's no draw. So now Burbank is going to put the street back in.

Hinsche +Associates staff: Ann Wilson (seated), John Tom , Edie Garrett, Suzette Heiman, Darrell Hayden, Gary Hinsche, Jan Gromfin, Jim Guerard, Andrew Frank, Patty Karasawa.

Not shown: Dick Acker.

"We created a whole image program for Burbank. We'll be involved in a major, regional shopping center that's going to go there. It's worked phenomenally well and it's very exciting. We're learn59

HINSCHE + AsSOCIATES

ing more and more about environmental and three-dimensional design."

And, they're working on a number of rehabs of shopping centers. These are as a result of their work on the City Shopping Center in Orange County, south of Los Angeles.

"We found we could affect the success of the center with design logic and color. We color-coded the entrances.

We created strong graphic banners at each of the entries so people could see them from a distance. They may not be aware of it, but they'll remember the impact. Then, we lightened and brightened the inside of the center.

Architecturally it was dismal inside, and again, by designing the way the interior of the center should be painted, we brightened it about ten percent.

We eliminated a lot of the architectural confusion. Several stores had been vacant for almost ten years. There was another whole block that they could not rent. Now, the center has turned around and they've got a long waiting list. We landed clients all over California and even as far east as Ohio and New York because of the publicity from that one job."

Along with the development work, the Hinsche crew continues to service a long list of national consumer electronics accounts, some of which they've had for many years-a sure sign that they know how to solve clients' problems.

In the last few years, the design excellence that Gary pursues has started to pay off. Hinsche + Associates routinely gets multiple pieces accepted in the major design shows and they are recognized as one of Los Angeles' top firms. The exhibits are important to the firm's spirit and Gary recognizes this.

"Besides the psychic gratification we all get from it, it's the way you get the best people to work for you. When 60

you get into that circle of designers who are well known in any given town, you get the cream of the crop.

We're at the point where, when the kids come out of school, we're one of the first firms they talk to."

So, with everything going his waygood staff, great accounts, interesting projects, profitable business, lots of recognition, great offices-what else is there? Gary is not quite ready to rest on his laurels.

"It's essential for a design firm to grow and become a real business, as opposed to the conventional image of graphic designers. It takes the best design, created according to carefully developed criteria. It also takes financial planning, marketing, solid account management and working closely with clients. We're not artists. It's those kinds of things that make the difference."

Doesn't sound like a boutique design shop to me.

-Larry Klein Fifty separate banners were designed for the Olympic Street Banner Program , a total of 30,000 banners decorating 150 miles of city streets. Problems to be solved included coping with a variety of sizes and shapes of poles and decisions on what major streets and arteries to drape. Streets were scouted in advance for suitable poles. The drawings shown here are from a booklet showing the banners and flags available for purchase by community groups and neighboring cities for display on their streets. Jim Guerard and John Tom were the designers; Larry Klein, design director for the Los Angeles Olympic Organizing Committee. Colors for the flags and banners were based on guidelines developed

by Sussman/Prejza. Hinsche +Associates also worked with Sussman/Prejza on the Olympic Arts Festival decoration program. More than sixty venues, each with its own style of architecture, were given a unified public identification with a " kit of parts" consisting of giant fragments of oversized Olympic stars and bars, banners and a color palette as a guideline for decoration and recognition of Olympic Arts Festival sites.

Communication Arts January I February 1986

.

-

""'~

-

,, ''

61

HINSCHE + AsSOCIATES

Poster for Clarion Corporation of America, manufacturers of car audio systems. Dick Acker, designer; Teiichi Oe, photographer.

Identity program for Security National Bank, a 14-branch bank located in the San Francisco Bay Area, included a symbol , signage, banners and flags along with a color system . Gary Hinsche, designer.

Right: The City Shopping Center, managed by Tishman West Management, was built in the early '60s as an open-air mall. It was covered in the late '70s to compete with the newer regional malls, but it was dark and compl icated to the shopper. Entrances were poorly marked and there were many empty retail stores.

Hinsche +Associates developed a strong , colorcoded entrance identification to aid the consumers as well as the retailers. They repainted and brightened the interior and designed banners to identify entrances and provide a visual draw between the major anchor stores. Gary Hinsche, Jim Guerard , John Tom , designers.

62

Communication Arts January I February 1986

SOUNuWAVcS

THECilY SHOPPING CENTER

63

HrnscHE + AssociATES

Cover and spread from a copy of Fluor Magazine wh ich Hinsche + Associates has designed for eight years, on a varying schedule.

Catherine Loeb, illustrator.

Right: capabilities brochure for the legal corporate consulting firm of Cox, Castle & Nicholson . John Tom , designer; Debra Meyers, photographer.

64

Communication Arts January I February 1986

COX , CASTLE & NICHOLSON

REAL ESTATE AND CONSTRUCTION The real esttltt and construction industry faces massive changes in its structure, financing ,

droelopment and ownmhip. Its need for responsive and innovative legal counsel has never been more critical.

Tht Ren/ Estote Group of Cox, Cnstle & Nicholson comprises one of the lorgest sing It con· centrations of real estate expertise in California . Its lawyers are widely known for their ability to provide workable,

profitoble ond often preetdent·setting solutions to complicoted reo/ estote problems.

The Construction Group of Cox. Costle & Nicholson has more than three decades of experience in representing owners. contractors, lenders and others in the droelopment process .

The firm has demonstrated capabilities in all aspects of real property investment. droelopment. construction , financing, leasing and management. It works with developers, lenders, contractors, investors, and property owners of major residential, commercial, industrial, hotel, resort , mobile home park, recreational land, mixtd·use and high rise projects of national significance.

The Real Estate Group uti!ius the combined expertise of the entire firm to meet client needs.

Litigation is handled by our experienced tria/lawyers, labor law by our experts in that field and business structures by our corparate group .

Drawing on the wrious disciplines at Cox, Castle & Nicholson , our firm often initintes new

vthicltS and ideas that benefit our clitnts and the renl estate industry. In short, we work to solve our clients' specific legal and business problems while dedicating a portion of our energies and resources to creative long term projects with industry wide impact .

eo~. C•stltbNicltolso"prorittSIIKWUblt, pro{it•blt•""oftt"P'tctdntt· ldti"gsolt.~tio"stocompliatttlrtelnt•ttprobltms.

COX , CASTLE & NICHOLSON

LITIGATION A business cannot operate today without encountering the spectre of litigation . Cox, Castle &

Nicholson's Litigation Group works diligently to help clients avoid unnecessary court action wlrenever possible. It frequently recommerrds that clients resolve disputes through the use of less formal-and less expensive-processes,

including arbitration , r<ftrence, corrciliatiorr arrd the "mirri-tria/" techrrique. Wl~en full sca/elitigatiorr is necessary or unavoidable, our lawyers fuwe utilized thorough ca~ analysis and carefully directed strategies to build a record of outstanding results.

The firm's litigators rtgularly try substantial cases irr both the California state courts and the

federal district courts. Utilizirrg paral•gals extensively and employing discovery techniques only when they promise to produce useful information , the firm provides cost effective litigation to its clients. The firm has a substantial appellate pradice and has briefed and argued many appeals in both state and federal courts . The firm has represented dients successfully before the U.S. Supreme Court irrvolving significant antitrust and labor law issues .

The firm's litigatio11 practice encompasses a full range of dispute resolution itrcluding devel-

operand contractor liability, z:.onhrg, land use and inverse co1rdemnation issues, real estate tax matters, formation and dissolution of corporations, securities, antitrust, labor relations issues and employee/employer rights, and genua/ business litigation .

Tht{irm'slitig.tiongrowpluJhtllt•rtCOnlofoNtStl"di"gmwltsforclkrtts i"tMCOJirts•"dthrowglt•lttrl'llltiwllispwUrtsOINtion.

65

HINSCHE + ASSOCIATES

--~-~

-

Vision Extension

Grwber

66

Communication Arts January I February 1986

Left: mark for Hospitality Partners, hotel management company. Jim Guerard , designer.

Mark for Optometric Extension Foundation , Inc., a non-profit foundation for vision education and research . Jim Guerard , designer.

Mark for Gruber, one of the world 's largest manufacturers of cultured marble.

Gary Hinsche, designer.

Consumer car stereo speaker packaging for Craig Corporation . Dick Acker, project coord inator; Gary Hinsche and Jim Guerard, designers.

Packaging for high quality camera lens filters, Vivitar Corporation . Gary Hinsche, designer.

Below: brochure for Service Container Company, designers and printers of corrugated packaging and displays. Edie Garrett, designer.

This page: catalog / sales presentation kit for Sparcraft. Gary Hinsche, art director; Edie Garrett, designer; Jerry Trafficanda and Bob Stevens, photographers.

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67

LLOYDZIFF "What a long, strange trip it's been."

-The Grateful Dead

"The nice thing about growing up is . . . growing up."

-LloydZiff

For an art director with unabashed ambition, who sees what he thinks he wants and directly sets out to get it, who has been back and forth across the continent-and the Atlantic -several times chasing his version of the Grail, who has held at least eleven jobs in fewer than twenty years, and who once made little secret of his desire to succeed a recently deceased colleague and friend in her job, Lloyd Ziff has a universal reputation as a nice guy and loyal friend.

do it,' and he brought me along." The two of them worked at UA for about ten months, or until Jann Wenner was looking for an art director for Rolling Stone. Mike applied , got the job, and again brought Lloyd aboard as part of the deal. After a characteristically short time, Salisbury left for presumably greener fields, leaving Lloyd behind to apply for the vacated position. "Jann wouldn't make me art director,'' says Ziff. "He wanted a 'star.' After a few months I left and, although I loved San Francisco, moved back to L.A. and United Artists Records.''

Ziff freely admits that he didn't know a thing about magazines back then, except, "I knew it was supposed to be a terrific one, big and showy with lots of pictures, so I stayed about a year. Then I went back to Pratt's placement service and they suggested that I call John Berg at Columbia Records. He hired me to design albums, and I loved it. I stayed there a couple of years." Be that as it may, he still quit and went back to Europe to pursue his other vocation, that of photographer.

After a brief period, even by Lloyd's restless standards, he again resigned UA, this time in favor of forming a design partnership with Salisbury. After printing their stationery and sending out a few mailers, Mike was offered the job of designing Francis Ford Coppolla's brief fling into the magazine business, City, and spent most of his time producing that ill-fated bi-weekly in San Francisco. Meanwhile, Lloyd had taken on the thankless task of trying to upgradeby-redesign Playgirl, so no one was in the office of Salisbury /Ziff Design. "That was the worst period of my life," Lloyd remembers. "After I banged my head against that wall for eight months, I heard that Clay Felker and Milton Glaser had bought New ~st magazine, so I called Milton and asked to be art director. I met with them , was hired and worked for the publication even after they lost it to Rupert Murdoch.'' That was in 1976, and this time Lloyd stayed in one place for a chaotic two-and-a-half years, his longest run to date. Finally he was fired by the latest editor because, according to Lloyd, "He wanted to steal Roger Black from Rolling Stone. I free-lanced around L.A. for about a year, and then in May of 1979 Alexander Liberman , the editorial director of Cond®e Nast, called me and asked me to come to New York for an interview. He wouldn't give me any specifics, but only talked vaguely about 'many possible projects.' Then in June of that year I worked on a 'home entertaining' special for The New York Times with Ruth Ansel for a few months. After it was published , Liberman <;alled again, this time asking me to move to New York and become art director for House & Garden. I told him that I didn't know anything about the world of shelter magazines, and he replied, 'That's why I want you.' "

Again the money ran out and Lloyd returned to the States, this time to the West Coast. During his tenure at Columbia he had met Mike Salisbury, from whom, he says, he learned about self promotion: "He was working for ~st (the erstwhile Sunday magazine of The Los Angeles Times) and he would send copies of each issue all over the place. Then Mike would make long lists of people to see on the trips he was always taking. I met him when he came up to see Berg at CBS, so when I got to L.A. I called him. He told me that ~st had been killed by The Times, but that he had been offered a job with United Artists Records. I said, 'Let's both

That was in January of 1980. Two years later, Liberman announced that House & Garden was to be completely revamped, and that they all were being asked to produce "the magazine of their dreams." Ziff says that it was explained that H&G was eighty-two years old and that for nearly its whole life it had been the unquestioned leader in its field. That is, it had been until the early seventies when the publishers had decided to broaden its base and become more, say, populist. Later in the decade they realized that they had made a wrong decision, because they had unwittingly given up their leadership position to the classy upstart,

When I first met Lloyd, he was sporting a Mickey Mouse T-shirt, long hair and a disoriented look about the eyes, all of which made perfect sense considering that this was in the early seventies and the meeting occurred in the San Francisco offices of Rolling Stone magazine. Lloyd was performing as associate art director under Mike Salisbury.

The appearance of the eyes was rumored to have been caused by either various stimulants or the unsettling omnipresence of owner/editor Jann Wenner, and has long since disappeared.

Going even further back into his variegated history, Ziff attended The Art Center School in Los Angeles for a couple of years, then quit because, as he says, "I just wasn't ready for that. Instead, I became a mailman and then went to Europe for a while. When I got back I enrolled at Pratt and graduated in 1967. By then I was out of money, needed a job, and fortunately Pratt had a great placement service.

They sent me to McCall's where Otto Storch, the art director, hired me."

68

Communication Arts January I February 1986

-· House & Garden cover. Marie Holstein, photographer.

Record album cover for Columbia Records.

Self promotion ad in Los Angeles_ Vanity Fair cover. David Hackney, photographer.

New West cover, 1977. Peter Palombi, illustrator (after Toulouse-Lautrec).

213-650-5422

69

LLOYD ZIFF

Architectural Digest. The circulation had grown so massive at H&G that it drove the page rate out of sight for all but the richest advertisers, like dog food , detergents and Armstrong flooring. All the more elegant advertisers had switched over to AD. With them went the important and influential designers and architects , and following them out the door went the better writers and trendiest stories.

Everyone wanted to be in a nice environment , all things being unequal.

To make an interminable story merely long, Cond®e Nast had put all this distressing information into their computer and it spit out the unsurprising notion that " if it ain't broke, don't fix it ," or some such clich®e. In other words , the magazine could make more money by going back to a smaller, less generalized circulation , and perhaps regain its leadership role in the bargain.

The staff set about creating the prototype for " the magazine of their dreams ," when Lloyd first heard that Cond®e Nast was planning to revive its legendary magazine of the twenties and thirties, Vanity Fair. Ziff lost no time in applying for the job of art director, and Liberman lost less in telling him , "Lloyd , you wouldn't like it. It 's all about words." (Someone forgot to mention that to the succession of editors: If Vanity Fair is about words, then Playboy is about philosophy.) Whatever, Lloyd was told to get back to the H&G floor, and Bea Feitler was installed as art director at Vanity Fair.

Just before the prototype issue of VF came off the press, Bea Feitler succumbed to cancer. " Bea was a great friend of mine," remembers Lloyd with sadness. " I wanted her job very much , but I was really glad that she got it. She was doing a wonderful job. Still , after she died , I went again to Liberman and this time he and the editor hired me.

"It was a great lesson , one that you have to learn over and over again. Sometimes you finally get what you think you want , only to find out that you hadn't really wanted that at all." Without going into detail-most of which one may deduce from browsing through the first dozen or so confusing issues of Vanity Fair , Lloyd found himself to be frustrated and unhappy. Finally, by mutual agreement with the elegant and intelligent Alexander Liberman , he was given his old job back at House & Garden , where he happily and productively toils to this day.

Stay tuned .

- Dugald Stermer

New West cover, 1978. Mick Haggerty, illustrator.

Right: two of Lloyd 's personal photographs: Rhodes, Greece. 1983; Los Angeles, 1979.

70

Communication Arts January I February 1986

Photograph by Annie Leibovitz

71

LLOYD ZIFF

Pages and spreads from House & Garden.

"Swans," November, 1981 . Joshua Greene, photographer. " Porches," July, 1981. Stephen Kelemen, photographer.

Right: artwork by Alexis Smith , commissioned by H&G and built in the Conde Nast photo studio. Tom Yee, photographer. " A Painter as Decorator: Alma Tadema," November, 1983.

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PorchesWill Never be the Same Ot/Ce you discover the whimsical charm of the carpenter 's art

72

Communication Arts January I February 1986

From the nchly ornamental to the wl'ums•cot

the voi~Jptuous curves and oeometrtc tnlerploy of porch brackets hove enrtched

the faces of Amet~con houses for over a century from before the C•vd War to the beq ,nntng of World War I elaborate wood trtm !mode pon•ble by the mechontzed lathe and scroll saw) was used to adorn houses oil ocron our country Sttll decorottng many old houses these fonc•lul brackets ore be •ng opprec•oted once oao•n- The ones on these pages '" the ftshtng Ytl1oges on the North Shore of lena Island , were often des•aned by so•lors wtule at sea

bought 1oday from mod · order cotologue1

For the len handy reprodoct•on' con be

or ong•nol1 con 1omet :mes be found ot loca l 1olvoge yord1

REDISCOVERING

A~:I~!_~A l,.n ~~~~{or/louR~& Oaroe~l-\. that i.• both Pnllirmrm~ntni.'ICulpturP and cmrN!pltwl art, proulng I hal llrP dl{frrPn('P ~~ U>et'n n'0/1/y flltd illuRian dl'pend.• ahot)(' all"" how wr look at things

By Martin Hiler f:<Htur: ('mvlyn .~JIIiA

olooltandro ... ore two \ICt)' different thlnp. The more fe· mlll1r we ere wilh somethina. the more likely we ore to merdy loolt 11 it. The letoo (o. mlliar we are with .omethin&. 1he more likely we 11'0 to - it.

To demonstrate the difference between looltlna ond oeelna. and to dramotlr.e the role thll ort <111 play In unitina thcoe two ,..teo olvilioi., H.,... 4 Gotdtn hu commiuioned an unusu.l work, seen on theoe ...... Entitled N<W World, it wu created by the )'OUnl California arti.r Al<lit Smith (no relllion to the movie star of the same nome:), whcoe wortc hal beenJeen in several museum uhibitiont and one-woman pllery ahows on both

T

COUll.

Worklna in the Cori<U Nne Sludio In New York (with the help of lludio men· eaer Jooeph Stoiano), Aleal Smith con· tlrucled 1 room lhat she terms 1 "perceptual-illualon installation with uveral levels of meanina." The components she Uted for this piece were 11 Amerlun u Mom'ooppiepir.epolnt·

~ :~h~.!:'~·

1:' .~..::!,~=:.::".:~..~; he did with them.

Over the aurfaces of the mom mean· den a lrc:e-lorm now ol the mllchina Iabrie: and wallpopcr. The Oowered cot• ton wu cut and KWn onto the cunalns. chal,._ oola, and pillow. The Oowc:red

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thouah, u the arti!ll eaplaln " I llarted out with the Idea ol a tw<HIImenslonol shape uperim..-J over a thr<eo<llmen· aional room, usina the continuous lex· lure or the fabric and wallpaper to underscore the apatial illusion," ta)'l Alexlt Smith. "Rut I wanted the room lttcl( and ita contents to be rather conventional, oo thll peofli< could lmmedl· ately orltnl lhemscl¥ea. AI first I sltetched an abltroct ahape: Then aller I thouaht about it, it looked very much like 1 map of 50me lmaainary continent.

It IO<med to me IIIII the dimensionol il· luslon would be more intense i( the

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dr;

pendaiHtyle comelboc:k oo/a, • butlef'otray table. end wallpoper and cotton Iabrie In a motchina flo. nl print In blttersweel and oaae. She added to thole buica an unUJual, but Mill typically Ameri· ean, I'OUP ol _ , ; . . , an anttque lhip model, a sturred deer had. a por· celaln compote. a serape

A PAINTER AS DECOR

ATOR:~MA(TADEMA

73

HOUSE & GARDEN

74

Communication Arts January I February 1986

LLOYD ZIFF

LARTIGUE'S ENGLISH SPRING

Pages and spreads from House & Garden.

Left: fold-out cover, September, 1983.

Oberto Gile, photographer.

ff

Poster, view from Juan Hamilton 's house in Abiqu iu. Sheila Metzner, photographer.

portfolio of views in great gardens and a1ong country roads taken this Max a few weeks before his ninetieth birthdax by the great French photographer Jacques-Henri Lartigue

Opening spread , article on spring in England photographed by Jacques-Henri Lartigue.

Fourth spread from that article.

"Search for the perfect pool." Kenneth McGowan, photographer.

THE SEARCH FOR THE PERFECT POOL Brookellayward finds it

alwa}' lcada her hotne to HoUywood

~s.;-.:::

75

LLOYD ZIFF

Pages and spreads from Vanity Fair.

Unpublished cover concept. Christian Piper, photographer. " Ballerina Assoluta," June, 1983. Irving Penn , photographer.

Right: Norman Mailer, May, 1983. Mick Haggerty, illustrator.

Spread from an article on Olympic contenders, June, 1983.

Photographs by Annie Leibovitz.

~eorgel

TAat girl!

WAerr did JOII fi~tdlurl £wrydi11g is so tasy. NotrollbltWDitAIAtMII.fit."

"Igor FyodorvvicA , tltis is SMSIIIfllt Forrr/1. )ll.lt!J«tf !Joflf."

- IGOR STRAVINSKY AND GEORGE BALANCHINE, 1963

I,.,

is tAt llltimall wrsioll of 11 {tilt brut1 of da11ttr, tAt grtal BalatuAi•e6alleri11a. SAt is rAt ltJst of Atr litui i11 Au frame of mi11d, ;, Iter •IIJ of

Jooli11g at 6alltt tlltd Au. sAt C011cMm Iter place. TAt ,,., o11u tltinJ of tltn~~selws llS da11cm, 1101 as /Jollffllfas. TAey an 1101

co11unud .,;u imagu tuul do 1101 Aaw a sn~st of rart priviltgt. SIIUIIIU Farrr/1 Aa.s tltt tftOI ma1111tr a11d dipity, sometAhtg w 11amt of tAt old •odd. Slit lias tltt grandsl]lt.

-PETER MARTINS , 1982

Ballerina Assoluta A Portrait of Suzanne Farrell

by Oavid Kalstone

Photographs by Irving Penn

I,"" "'

dre" reheo"'l "'"

Igor Stravinsky first saw Suzanne Farrell and asked his Russian colleague George Balanchine who she was, this young girl from the corps who was stepping into the ballerina role in Movements for Piano and Orcltestra, Balanchine's latest exploration of Stravinsky's music, less than a week before its 80

76

Communication Arts January I February 1986

l

mman M"'ler m 1he L.nJ of 1he Pharaoh · •s suc h an oJJ m•u~m that a put·dllwn alm~\St wm~s 1t·

M-"lf ~(llfC line llpt'OS An.:ll'nl En~ ­ nnl,ls. hts 700-p ge nuvd wuh :1 c..tst ufthuusa nJs, ten years tn the

m"lung. Swutun~ up un Eto·puan ~uJ anJ Jynasues ru try u• l ucat~ mysd(

IIlLER II EGIPT A Novelist Builds a Pyramid

by Wtlter Clemons

10 th~ h.-.•k's m yst~ n uus o~n10g char· ters, 1found a handy qume 10 Paul juhnsnn 's Tht C ~t·lf.:tuuun nf Anc1enr Eopt : "Surrnse 1s uften exrrt>ssed at the fact that the majur pyram1ds co m~ine huge me wuh very h iJ;:h standards uf work manship. The answer is that the J!:reater t he me the h11i:her the 4ual.ty of workmnn-'hlp dem:mdt>d . The blocks had hi he hcautifullysquared tne nsu re that they touc hed even ly , d1strihuted tht> we1J,~ht e~.tually, ami pre vented crumhling ; accu· rate stune-d ress10g was alsu re~.tutred tu ensure that the Internal we1ght-forces were pmperly d1stn~utcd. Otherwase the pyram1d m1ght explude uutwa rds and enurmnu 4uanuu~s nf s t u n~ crash duwn the Sides." Very h1gh sta ndards uf wurkm;m-'hlp, pru~r d1stnhuuun of Internal we1ght -furces: can Ma1ler- t he wlldWinRIOg, frec-furm American champ,,( the demuuc , sdf-advcrtisi nil ~rsunal .stylc- hu1ldapyram1d?

I th ink he's du nt> 11. The f1rst thing we a ll nut lced m h1slast h.-.1k, The Exe· I.'IHifmt'r's S1mg, was the way Mailer had -'uhdued h1mself w the maten al he wurked m : "I" was consp1cuously ab· sent, thuugh everywhere present. An· ncnt EL'tnmgs (lutlc, Brown) IS a far su nnger and e4ually personal buuk, m wh1ch Mader's expected, lunged-fur, m· d1v1dual vu1ce IS no where heard but h1s uhscssHms-amh1 t1on mcluded-a re ev· crywhc re \' ISihle . "Pyramid ," an imprt>S· s1ve mtmument w a fm1shed rt>ign , 15 a d1KarJahle 1magc fur a wurk fulluf vual JUICes, smells, mud, cxcrc~cnt , v1u· lenct', sexualny, delicate obscrvauun, uccuh mtu111u n, and reb1nhs. What · ever yuu d«ide about 11, and I warn yuu n can be hard going, Ancumt Ewnings 1 a Ctlnvmc mg refutation of the remark that there are no st>cond acu tn Ame ri-

c.mJ.,•es. Ma1ler1Stntu :n lea-'tAcr1 .

H1s nm·d n~ n ~P'"'kd~· and effec· uvdy wuh a man wakml( (rum the dead , uncertam whn and where he IS . He grad· uall)· real t:e that he is 10 the wmh nf a dea r fnenJ . whum he muurns; hef~•re long he kn ~•w that th1 (nenJ wa-' h1m· sd( and chat he 1 n u.,., the J,~ht•st of Menenhetet II , whn d1ed at twency·t•ne under Mlnl!d Cltcumstances he can't re· call :'lnd w1ll rememhtr o nly at the enJ u( the nuvel . Menenhetet II 15 jumcd hy the s pecter u( h u ~trtat·.:ranJfather, Menenhetet I, whu was thrice remcar· nated and was, dunn!( his (uurth ltfc, the lu\'Ct u( his u wn grandJau.:h ter, H at hfcrou , Menenhctet ll 's mu ther .

The p.llernity ~·( Menenhetet II w1ll he disputed dunnJt the h..-..k, fur h1 mother made luvt> hi three men un the day u f h1s c~mce pt~t •n : her' "randfathcr, her hruther (and hushand, Master u( Cosmcucs hi the Pharao h) , and the ynung Pharauh h1mself, Ra mKs IX. Have )'~I U gllt that? I wuuld gueu nut, hut try to nJt> wuh h . "Shuuld we say I was l1kt> a h..1at rulmg my way mtu the harh..lt thmu.:h t he upcnmgs ,,(a fog?"

Ment>nhetet II asks tln an early page .

One u ( the thmgs I hkt>-and you are ~rfcctly cnmled to d1silke-1s the obscu rity uf destmauon m Madt>r's novel.

It Isn't even clear fnr a lung time why Menenhetet II has been wakened : fur his juurney tu the land o f the Dead o r fur a new ltfc! His paternity, which ml.l(ht hafflc a modern lab technic ian , wdl he decidt>i.l ~ y his mot her. Has cryp· tiC 0ashes u( sh ame-at havmg made luve hi a pr1cst and tht> prit>st's sistt>r, at ha vm" hcen forced hi perform a humili · ating act uf fellauo un h1s grcat·grand· f.uhcr-w1 ll be clanfit>i.l, 1f you wait.

The four lives of Mcncnhctct I will cunstuutt> the nuvcl 's main narrative.

But hcfure the rwo wr.mhs start out o n the1r Journey wgcthcr from the ncc rupn l is u( Thebes, the rcwaktncd , memmy-J amaged Mcnenhetct II IS in · structt'J by his great -grandfather in the theulugy that llOvuncd thciruistences: "Wuh hardly a warning, he became

mul>t d1sre-'re-c tful u( the GuJs . even scanJalt•us m what he had tu ."t.1\' as 1f They were all h1) hmthen. 10 a larl(e and d1-'rerur ahle fam1ly ." The un ).'ttd, Ra. "cuuiJ c homj,!e the sha~ uf l-l1s rnck ru an y uf the fmt~·· tWll ammals: mm, ux, hlf'f"l, 11110-JU-'t fli Ck t he hca.!!f!-hut He unce made the m1st:1ke u( tdltn)( ut that Ht> d1d nut lth hi make luve tu a w.,.•, Su She chuse tu ltve m the h...Jy nf tme . It i alway th~tt w.-y wuh mar· naJ,te ." The luve tn ry uf the s1ster and hruther lm and Omu; the huth of th~ J,tttddt>ss nf halnnce, Maat, as a result u( Ra's furmcauon wnh a fra)Zde hird that new lllll ne:u th~ !llln ; th~ murJeruu b~ttlc between the uncle nnd nerht"w Set and Horus, j,lrarrlinJ,~ fur -'llrre- ry ho iJs fur thrt!e Ja~·s and three ni)Zht5 m a swa mr and transfur mmg tht!m.sdve5 mtn hlf'J'Xlplllamuses wht!n the J,:t•inJ,~ tiut mugh-Matlcr tells these and nthcr ralcs m a tune that succe-'sfu ll y wm~me~ Hn· mt!tiC swt'ep, the cynical nhaldry u( the crack-vn1ced Eh")'f'Uan elder, and a kmd t~fhnys'·hlllk·of- wtmdcrsnalvett! .

During this prelimmary survey of in· cest, murder, mutilatiun , and warfa re among the disorderly gods, the two Mcncnhctcts arc o n then way tu relive an audience wnh the Pharaoh Ramscs IX that the younger Mcncnhctet attend· ed at the agcofs1x with his part>nrsand great-grandfat h er. It is a convention o f Mailer's nove l- i ndeed its orgaoitin g psychologica l t h eory-that his Egyp· tians can enter o ne another's heads and read thoughts. The hoy Menenhetct II was especially adept at this, and one of his promptest 1muiuons IS of the Pha· raoh's se:nse: of infcnonty to h1s m1ghty prcd«cssors: "Do not moc k Me with the feats of the Great Ramse:s , dead for these ninety years, but let us speak of My true qualities wh ich arc prudence, wit, and the powe r to receive in calm the worst of bad news. let us ask if such is worthy of a Pharao h ." Tht> rule of Ramse:s IX is prccanous . During dmncr he is called from the tablt> to be warned that a fa · vored candidate for the post of Vitier may be mounting a coup against h im to·

OLYMPIC CO TE DERS

lilY IUI(I "The three thousa nd mete r is a toughe r race than the fi ve or ten. That's the record I wa nt to get."

Though beset by leg injuries since ~h e began running compccitivcly at the age of eleven, Mary Dec ker . now twenty-four. ct seven world records last year in dis tances ranging from one mile to 10,000 meters. She grew up in Southern Ca lifornia and has twice missed panicipating in the games for which she has long been prepared. For Decker, rc:IUrning to Los Angeles next su mmer shou ld be , in many ways , like co ming home .

68

77

THE D EVELOPMENT OF BooK TYPES IN

9 POSTCARDS As Written, Designed & Printed by Alastair Johnston at the Poltroon Press

This witty and handsome collection of letterpress postcards should be carefully saved, savored, perhaps even framed, but never trusted to the vagaries of the postal service. In nine editions, Johnston traces the history of text type styles with concision and accuracy.

If you wish to have them for your own, you might write him at the Poltroon Press, P. 0. Box 5476, Berkeley, California 94705, and inquire as to availability. He has

graciously priced them at five dollars the set, amounting to little more than an honorarium. He has told me, somewhat ruefully, that he has discovered a typo somewhere within; on with the hunt.

i!trxtura is tbt trabitional·~tark Irttcr', also known as ctengli~b ~rxt. lLrgibiHtp is not its aim. £l formal ~rript witb it~ tall letters, I.Jiath fact, anb its sbort nscenbers anb brscenbcrs, it probuccs a bensdp paclttb page, f)abing a large proportion of black to tubitt, tubitb bns tf)t ap= ptantnce of woben texture (f)enre tbt name).+

-D.S.

NE OF THE EARLIEST ROMAN TYPES -that of Nicolas JENSON, 1470, has become the basis of innumerable revivals from the era of the Arts & Crafts Movement to the present ; from this version American Type Founders' CLOISTER of r897, to Letraset's rub-on ITALIA. 'R._o/ling Stone magazine sparked the last revival. JENSON understood that overall evenness of colour was more important than the design of individual letters. The capitals are large & some, for instance theM with its slab serifs, are poorly design· ed. N . B. JENSON's type had no accompanying italic. <tl <tl <tl ttl

78

Communication Arts January I February 1986

OLD FACE OR OLD STYLE TYPES BEGIN WITH THE ROMAN OF ALDUS PIUS MANUTIUS CUT IN VENICE BY FRANCESCO GRIFFO IN 1495~ The capitals are inscriptional, like those ofTrajan's Arch: these are the only actual 'roman' letters among our types. Jenson's slab serifs on M, A, & N are discarded and their size is reduced.

Griffo's lowercase is based on contemporary handwriting. He also cut the first italic as a separate economical type for Aldus in 15 oo. Mono type's Bembo is a successful revival of this typeface.

THE STANDARD European type of the sixteenth & seventeenth centuries was the Garamond roman, an old style type based on Aldus' types and probably cut by Claude Garamont for Robert Estienne in Paris in 1531. Around 1550 taller capitals were cut. Following Estienne's lead, larger sizes of lowercase letters were inroduced into titles and display settings, which had been hitherto restricted to capitals or Rotunda.

The types were attributed to 'Garamond' on a specimen sheet issued at Frankfurt in 15 92. This most harmonious revival-SABON-was designed by Jan Tschichold in 1965.

EVENTEENTH-CENTURY types differed little from those of the sixteenth century. The Dutch hook trade rose to prominence- as did the celebrated University at Leyden. Cristofld van Dijck established a type foundry in 1648. His popular rom:m is a he:l\ ier, more durable version of the Garamond design, with stout serifs and a careful avoidance of anything exaggerated.

The counters are enlarged to avoid the danger of ink choke, & the descenders are shortened to accommodate more lines ro the page.

Cas/on took van Dijck .zs his model, esprcial~y thf italic (thf or£ginal

of n•hicb still survirm)/Jan1'tl11 Krimpe11 redrew the roman itt 1934·

The British Letter Foundry Justus Erich Walbaum, founder A new type on improved principles, cut by Richard Austin for john Bell. The quality of the engraving surpassed all previous English & Continental type cutting in precision. The fine serifs, sharp contrast and vertical stress set the style for the next century.

The type introduced 'modern' or 'ranging' figures: [,£62S. 4s. 9d.J Bell dropped the long's' in 17 85.

at rV"eimar, cut this type around 180 J. His capitals are wider than Bodoni' s, the curved elements more rectangular. He mitigated somewhat the mechanical ri§·idity of the face's modem stress. I t became the popuLar choice for poetry, rej7ecii11tJ the character of the German Biedermeier Errt.

Jnl907 Carl Ermt Poeschel revived the type at Insel \'erlag. The Berthold Foundry acquired the ori1,rinalmatricea from Dl'llr,ulin of Leipzig in 1!11 CJ.

SAVOY, LONDON 1788

WI L L I A :rvf B U L M E R raised the Art of Fine Printing

SANS SERIF was introduced in the 1820s as a display type, but it was a hundred years before it was modified to a suitable text type.

Paul Renner designed Futura between 1925·7 to separate printing types from handwriting as f'PE.~'?-"21 reading symbols, free from aberrant

in England - though it had not been particularly high

popularity of 'lineals' as text types has increased steadily,

prior to the Efforts of BA S KE RVILLE. Bulmer's types were cut by WI LLIAM ~IARTIN, brother of BASKER-

imitation of the expressive movements of manuscript. The with the expansion of new technology and a demand for types with an international character. Cast by Bauer.

VILLE'S foreman. The wood engraving is by BEWICK.

79

A call to Index will get you in touch with the best of what you're lookingfor. Our files are carefully edited to reflect the highest technical and aesthetic standards. The editing process continues as we put together a selection specifically designed to meet your needs-so you only get what you ask for. Call or write for a selection ofphotos or for your copy of our free 32 -page catalog. Your best shot is with Index.

INDEX STOCK 126 Fifth Avenue, NY, NY 10011 I Tel: 212-929-4644 I Telex: 5106001018 IS/ NYK

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THE PORTFOLIO Whenever you've dropped off your portfolio to be viewed by a client, art director or representative, have you ever wondered what they are looking for? Well, as a representative who has not only viewed thousands of portfolios, but has gotten a great deal of feedback from clients and art directors on other people's portfolios, let me share some of that information with you .

To begin with, we are all secretly looking for the new young Norman Rockwell or Edward Steichen. Translation: everyone is looking for a new look, a new point of view, combined with flawless talent; a solid education in the basics of drawing, color, design; and, in the case of photographers, technical expertise. In a world of the predictable, we are all looking for the portfolio, or sometimes even the few portfolio pieces, that will make us sit back and say, "Wow, this is really good. I want to see more."

The second thing we look for is content and subject matter.

A representative looks at the portfolio with a view towhere will I sell this? Does the artist or photographer have enough exciting and marketable material to compete in the marketplace? How does this work compare with the competition? Is there a consistency of quality in each piece? In how many markets can I sell this work?

The art director looks for portfolio content that is appropriate to his or her needs. Is the subject matter right for the account or magazine audience that I have to reach? Is the casting right? Do the pieces have a sense of composition? Do they tell a story? Am I interested in the people in the pieces? Do the products have a larger than life quality?

Would this illustration/photograph sell and enhance my client's product/service/editorial spread?

This is all applicable to the general or "drop off'' portfolio situation. Where a portfolio is called in for a specific assignment, the art director is often influenced by the number and kinds of subject matter that are presented.

The more pertinent the subject matter to the job at hand, the more serious consideration the whole portfolio will be given. If the assignment is an industrial one, with people in a work environment, the photographer or illustrator who has the largest number of good examples of people in the work environment will have the best chance of getting the job. By having a range of pertinent subject matter, you simply make the art director's life easier when the art director goes to the client and/or editor and says, "I'm thinking of using so and so. Look at how well he or she has handled people in the workplace in the past."

What is the biggest mistake artists and photographers make in compiling their portfolio pieces? Lack of editing.

84

Communication Arts January I February 1986

In an effort to be all things to all people, and this seems to be especially true of photographers, many freelancers will overload their portfolios with just about every conceivable piece of work with no discernment to whether it's good or bad. An effective portfolio must be edited mercilessly. Only the best and distinctive pieces that reflect the personality and abilities of the freelancer should be included in the portfolio. I've seen many a portfolio that included a mediocre piece simply because it was published or done for a prestigious client. This casts doubt on the rest of the portfolio. A mediocre piece also makes the viewer wonder about the judgment of the artist or photographer. Can't they tell the difference between something that is good and something that is second-rate?

If I could engrave it on every freelancer's soul I would put "Only your best work belongs in your portfolio." If you only have one good piece, that's your portfolio. Never add questionable or inferior work to flesh out a portfolio.

How long does it take to get a good portfolio? A lifetime.

The portfolio is never finished and always growing. For the beginner a minimum of three to four years is necessary to pull together a professional, competitive portfolio, assuming that the person has talent and training. School portfolios quite often show promise and sometimes will serve to get entry level assignments, but I have yet to meet a successful artist or photographer who was still showing the same portfolio three or four years out of school. Even the most talented student seems to need the experience of the workplace to develop a point of view about their work, as well as confidence in their style. And while everyone graduates with some kind of a portfolio, it is probably wise for the beginner to view this as only a preliminary step toward assembling a true working portfolio that starts to reflect the person's real abilities and ranges.

How important is the portfolio? It is literally the foundation on which the artist's whole career rests. This is precisely why a good portfolio cannot be left to chance. It must be deliberately planned. I have seen dramatic results occur when an artist or photographer either properly edited a portfolio or expanded it with the correct samples.

I have also seen those same results occur when an artist or photographer, through experimentation and introspection, discovered who they were from an artistic and creative point of view and reflected that knowledge in the pictures in their portfolio.

So, remember, the portfolio contains only your best self. It should always be growing and improving. It should never be left to chance.

HAMMERMILL PRE!iENT!i THE EXTRAORDINARY•••

IT'!i EXTRAORDII\IARY HOW BRIIiHT WHITE HAMMERMILL COVER MAKE!i COLDR!i !iTAJ\10 OUT. If a picture is worth a thousand words, a picture printed on Lustre finish Hammermill Cover is worth two thousand. Easily.

That's because Lustre finish Hammermill Cover produces crisp, intense color like you'd only expect from a coated sheet.

The spectacular visual on the front of this insert is the handiwork of photographer Michel Tcherevkoff, a master of the surreal who captured skyscape, foreground and palette model (by George Sell) in a single, virtually unretouched, studio shot.

The spectacular color is the handiwork of Lustre finish Hammermill Cover, made brilliantly white and superbly smooth to give you both great reproduction and uncoatedsheet economy.

Hammermill Cover can help you reach new creative horizons with your next portfolio, annual report, booklet or brochure. It comes in six finishes, three weights and 20 colors (plus White and Cream White)-all with matching Hammermill Offset Opaque colors.

And it's readily available from most Hammermill Merchants. Ask yours for samples and a sample book.

This insert is Hammermill Cover, White, Substance 65, HAMMERMILL Lustre finish. The front was printed on a 28" x 40" six-color offCOVER~ set press in four process colors. The back, in black and orange.

Hammermill Papers Group, a division of Hammermill LET HAMMERMILL Paper Co., Erie, PA 16533

DO THE PAPER WORK.

The Illustrators Workshop in Paris

Robert Heindel, Fred Otnes, Robert Peak, Alan E. Cober, Bernie Fuchs, Mark English

Six of America's greatest illustrators invite you to join them at The Illustrators Workshop in Paris, July 1-10, 1986 This special tenth anniversary program will feature in-depth slide presentations by the faculty and guests, one-on-one portfolio reviews, workshops by the faculty, open discussion groups, day trips

to museums, research trips into this city as part of a live assignment for a major paper company, and perhaps best of all , plenty of free time to get to know the faculty and guests on a personal basis.

Write for more information.

The Illustrators Workshop in Paris P.O. Box 3447 Noroton, CT 06820 USA 203-655-8394

Jtendy Richmond

John brings a pot of his usual syrup-strength coffee into his living room/office. Steven has fired up the computer, and gives me a demo of their latest software. It's fast and neat; the ease with which you can make and move and change text and shapes on the screen is fantastic. But their typeface is, frankly, ugly. As my friends argue the merits of one programming language over another, my mind wanders to Matthew Carter's slide presentation about the effect of technology on letterforms, and I recall his optimistic comment:

"Type is pretty adaptable, and when technology does show through, it's usually just briefly."

Matthew began his presentation by noting how fortunate he is to be among those who started working with type in the 'fifties, the last generation to make type by all methods: hot metal, photocomposition and digital technology. He illustrated the point by launching into a verbal array of the manufacturing processes: "You cut it, cast it, draw it, pantograph it, frisket it, scan it, quantize it, generate it, digitize it, spline it, encode it, rasterize it, pixelate it, half-bit it, Cam it, Abe it, Fed it, Metafont it, toolbox it, plaid it, greyscale it, laserwrite it," ... deep breath . . . "You try to design it, you try to read it."

Matthew encounters new limitations each time he creates a typeface for another phase of technology. He showed a study of the Helvetica Compressed Series he designed for Linofilm.

"We wanted to make a family of compressed sans serifs.

The first job was to see how many different degrees of 'compressed-ness' were possible. In a compressed sans serif series, the stem weights of the single, double and triple stem characters (i, n, m) have to match and also fit into a regular progression of units. The counters and the space between the letters must be the same apparent width: a kind of picket fence rhythm. The oblique and round characters have to conform. With the Linofilm spacing

Helvetica Ultra Compressed, Helvetica Extra Compressed , Helvetica Compressed.

system, the narrowest width was four units, the widest, eighteen. We saw that there were only three possible 1-2-3 progressions that could be used between four and eighteen.

If we'd had a 54-unit system (which came later, with the VIP), we would have had much more flexibility in choosing stem weights ."

I've seen those faces so many times, never aware of the strict limitations that has been imposed on their design.

That was the continuing theme of the presentation: technology has surprisingly little effect on letters if the designer makes good, readable typefaces, and does a capable job of "flattering" less-than-perfect technology.

As Matthew said, "When someone reads a bad typeface, he's not going to say, 'Poor fellow, he had an 18-unit Linofilm spacing system to deal with.'"

Although the Linofilm's photocomposition technology offered little benefit beyond hot metal for a compressed sans serif, especially with an 18-unit straightjacket, it gave Matthew the freedom to design Snell Roundhand.

Charles Snell's late 17th century accountant's script was virtually impossible in hot metal.

noAzr J:az. aoakfi1fdlkl/l~ tpf_j.llifm/O.f!fljZ1.

A page from Charles Snell 's engraved handwriting manual , "The Standard Rul es of the Round and Round Text Hands." London 1714.

Photocomposition freed characters from their metallic constraints, allowing ascenders and descenders to sweep way beyond their neighbors, and joining strokes to overlap. Long accustomed to such paradoxes, Matthew designed the Compressed series and Snell at the same time. "I used to work on one in the morning, the other in the afternoon."

He looks at each new technology in terms of the problem/ opportunity presented. By understanding the principles of the equipment, designers often uncover advantages that the engineers might not have realized. With his next slides, he explained the hidden virtues of the VIP machines: "The writing lens of the VIP was driven by a stepping motor, unlike the older Linofilm's constant motion. This was profound to the typographer: by leaving the lens still, an accent could be superimposed with absolute precision over a character." He showed us slides of a particularly well suited non-Latin typeface that he'd designed .

88

Communication Arts January I February 1986

"Here's a syllable of a few different characters of Devanagad, an Indian script. If you explode that syllable into its component parts, you can see how it's actually made up as it's photocomposed."

Devanagari, an Indian script.

Matthew continued, describing yet another turnover in typesetting. "The Linotron 505 was Mergenthaler's first commercial typesetter, a half-photo, half-digital hybrid.

Each font was stored as characters on a glass plate; the plate was scanned and exposed in raster lines on a CRT (cathode ray tube). It took a long time to change plates, that is, to change from one font to another. So instead of changing plates for italic, condensed or expanded fonts, the owners of the typesetters saved time by using the CRT beam to oblique, shrink, or stretch the roman."

Because this had a particularly bad effect on Helvetica, Matthew created Video, a sans serif with stroke weights and curve shapes that compensated for the effects of electronic distortion. He designed not only for a particular technology, but for the ways in which people used it.

Matthew ventured into the present with the next slide.

"It's important to make sure that a font for a video screen is compatible in set-width with the same font for a printer or typesetter, so that when you display text on the screen, it will maintain consistent hyphenation and justification on the printer or typesetter. The lower resolution 'bit map' characters are derived from high resolution outlines, so that what you see on the screen copyfits with what you get on the printer and/or the typesetter. This slide shows a program that allows you to overlay the same character in different resolutions. You can see the resolution for the printer in the dark grey cap B; the lighter gray is the resolution for the video screen."

Character editing program from lnterleaf, Inc.

John pours me another cup of coffee, and I re-focus my attention on the PC screen. One of the strongest features of their software-the ability to stretch and shrink text right along with the graphics-is also the most damaging to the characters. The more things change, the more they stay the same; it's so much like the tricks of the Linotron 505. Steven prints out a page from the screen, using a dot matrix printer that duplicates the screen's font. Unfortunately, they have a lot of work in store to make their type compatible with any other printer or typesetter. As I think about the complexity of my friends' task, I remember Matthew's closing remark: "Technology is perfectable, humans are not, and most readers are still human."

•

K1( Video K before and after electronic obliquing.

89

BOOK REVIEWS THE BusiNEss oF GRAPmc DESIGN Ed Gold Watson-Guptill Publications 1515 Broadway, New York, New York 10036

$24.95

From the introduction: "The Department of Labor estimates that there are about 133,000 graphic designers in the country, almost half of them self-employed. Of an estimated 3,500 operating design firms, about 500 go out of business each year." One would like to believe that the failures are the result of bad design, but these businesses often fail because their owners simply haven't developed the kind of sound business practices they need to cope with the day-to-day demands of a going business concern.

Although the situation seems to be improving, we are, as a group, relatively inadequate as businesspeople.

I recently participated in a fine conference on "Business

By Design," sponsored and organized by the Art Directors and Artists Club of Sacramento (See CA, SeptemberI October 1985) and many of the topics covered during those two days are amplified in Mr. Gold's seminal book.

Apart from such basics as bookkeeping, billing procedures, taxes and keeping expenses in line, primary topics of concern, at least as expressed frequently during the conference and elsewhere whenever designers congregate, seem to revolve around two intersecting areas: ethics and collection procedures. For example, at what point does the practice of marking up outside costs (printing, typesetting, etc.) turn into kickbacks of various kinds? Does one always request contracts with clients, and will that protect against deadbeats? (No.) Is there any way to speed up payments, other than rebates as reward for promptness? These are some of the gray areas that none of us, neither on the panel nor in the audience, had completely solved. In fact we all had some horror stories to tell, usually involving getting beat, not only for our fees but for large out-ofpocket costs. One panelist even suggested that mark-ups should be increased up to twenty-five or thirty percent, as a kind of insurance against the eventual deadbeat.

These questions are not et?-tirely answered in The Business of Graphic Design, either, eternal vigilance apparently being the only safeguard; that, and perhaps taking the drastic step of refusing to carry clients' paper. But Ed Gold answers a great deal of other possible questions, especially those dealing with the costs of doing business, and how to compute billing rates consistent with those costs.

The first section of the book provides specific information on a wide variety of topics, such as "Leases and Other Legalities," "Estimating Your Costs" (when you start up), "Proposals, Contracts, Letters of Agreement," "Sales and Marketing," "The Presentation," "Managing Projects," 90

Communication Arts January I February 1986

"Managing People" (impossible for some of us), "Managing Time and Paper," and "Managing Money" (the hardest of all, especially when it's our own and not the clients').

The following seventy or so pages contain interviews with two dozen of the better-known principals of design firms in the country, printed opposite selected examples of their work. Their words are more or less on the subject of how they do business, or perhaps more accurately, how they would like to do business, or how they would like to be thought of as business people who happen to be designers.

Whatever, the cumulative effect of this collection is nonetheless interesting and informative, though not as useful as the first chapters.

A curious aside: In the introduction, the author explains that "I only regret that I have not found a suitable pronoun in the English language to indicate both men and women.

Unless the person is clearly a woman I have used 'he' and 'his' throughout the book only to avoid filling it up with clumsy, complex constructions like 'he/she,' 'he or she,' and 'his and/or hers.' I am well aware that most working graphic designers in this country are women, and I am proud to be a member of a profession that has been practically free of sexual discrimination from the beginning ..."

Nonsense, on at least three counts. First, it is entirely doubtful that "most working designers in this country are women." Second, this "profession" has not been any more free of sexual discrimination than any other in our society.

Finally, and most telling, Mr. Gold need not have bothered to avoid "filling (the book) up with clumsy, complex constructions," because of the twenty-four individuals he includes as exemplary of "some of the most prominent design firm principals in the country," only two are women, and one of those is listed in partnership with a man.

If our field has been, as Gold speculates, blissfully free

of sexism, then he is not; he cannot have it both ways. It is unfortunate that this fatuous and self-serving humbug mars an otherwise fine book.

-Dugald Stermer BRIEFLY NoTED:

DIRECTORY oF SHORT-RUN BooK PRINTERS, Third Edition, compiled and written by John Kremer (Ad-Lib Publications, P. 0. Box 1102, Fairfield, Iowa 52556, $12.00). For those who have nothing to do with the publication of books, follow your impulses and ignore this book. For those few who are in the mostly thankless business of book publishing on a small-run scale, this Third Edition Directory of printers specializing in your kind of work should prove of real value.

DESIGNING CREATIVE REsuMEs by Gregg Berryman (William Kaufmann, Inc., 95 First Street, Los Altos, California 94022, $14.95). Examples abound in this useful book, from the readable to the indecipherable, from the credible to the obviously mendacious, and from the orderly to the criminally overdesigned. Resumes have become a buzz-item and big business these days, yet the hiring of a designer even partially on the strength of a resume seems unlikely. Still, having a believable, brief and coherent bio can't hurt; I'm still not sure about "creative."

THE ART OF THE DoT by Robert W. Paschal and Robert R. Anderson (Van Nostrand Reinhold Company Inc., 135 West 50th Street, New York, New York 10020, $39.95).

This is a fairly expensive 126-page book, especially within the how-to genre. It may also appear to be dated, as its subtitle is "Advanced Airbrush Techniques," surely a trend in illustration that has come and, praise be, finally and almost completely gone. Nevertheless, this book exhibits a good deal of interesting work, some in sculpture, and but a little straight illustration. Surprisingly, there is much of value herein; whether that totals forty dollars worth is up to you.

save up to

1986 PHOTOGRAPHER's MARKET, 1986 ARnsT's MARKET (Writer's Digest Books, 9933 Alliance Road, Cincinnati, Ohio 45242, $16.95 each). As has been mentioned before in these columns, if you are in the business of selling your pictures, buy and use whichever of these two books is appropriate. You will not come upon a worthier investment.

THE CAREER DIRECTORY 1986 (Career Publishing Corp., 505 Fifth Avenue, Suite 1003, New York, New York 10017).

This series is aimed at high school, college and graduate students seeking a career in the following: advertising, magazine publishing, public relations and book publishing.

The first volume, Advertising Career Directory ($24.95, plus $3.50 shipping and handling), is filled with useful information. The appearance of the book may be offputting (440 typewritten pages) but there are essays by professionals in the advertising industry that give practical advice on how to prepare for and land that important first job. The book has chapters on every part of agency operations and lists agencies that offer internships and training programs as well as 1986 entry-level job listings.

-D.S.

Try it for yourself

$5.00

a sheet We would like the opportunity to prove to you that Chartpak Velvet Touch 1s the best value in transfer lettering today.

Lay a sheet of Chartpak Velvet Touch over one of Letraset 's Instant Lettenng " and compare the character density In many 1nstances you w1ll fmd that the Letraset '"' sheet offers only 5% to 30% more characters (we counted) At the cost of $9 45 for Instant Lettenng " ($9 95 for Letragraph1ca " ) per sheet versus $4 95 for Velvet Touch it becomes obvious which sheet is the better buy.

S1nce money 1sn't everythmg , let's talk about quality Velvet Touch IS pnnted w1th vinylmk on a Mylar " sheet , wh1ch msures a perfectly smooth appl1cat1on w1th no crackmg of the letters or distortion of the sheet .

Pnces shown are sugges ted re tail pnces as of 7/ 31 / 85 Letraset Instan t Lettenng and Letragraph 1ca are trademarks of Letraset US A . Inc Mylar IS a Dupont registe red trademark

91

KSUCDA June 23 · July 4, 1986

The Kent State University School of Art and . the University & Co11ege Designers Association announce the co -sponsorship of a new graduate level summer work~hop as part of the annual Blossom Festival School.

This program will be of particular · 'interest to designers for institutions of higher education.

12th Annual

July 14 · August 1 1986 Rapperswil, Switzerland

Application Deadline: March 31, 1986

Fritz Gottschalk Ruedi Ruegg Edgar Reinhard A three week workshop for professional designers, design educators and students of design at the graduate and post· undergraduate level directed by Professor j. Charles Walker, Coordinator, Division of Design, Kent State University and Fritz Gottschalk, principal, Gottschalk & Ash International, Zurich, Milan, Toronto and Montreal.

Faculty for the program in addition to Fritz Gottschalk are noted Swiss designer and educator Ruedi Ruegg, Baltis & Ruegg, and Edgar Reinhard, well known Swiss graphic and exhibitions designer, both of Zurich. Additional lecturers and demonstrations by Swiss designers and historians, field trips to museums and design studios, informal gatherings at the homes of the faculty are included in the program.

The program will be held in Rapperswil, situated on lake Zurich, 45 minutes by train south of Zurich. Classroom assignments and lectures covering a wide range of design problems will be held on a Monday through Friday schedule allowing participants weekends to enjoy additional cultural experiences, historical sight ·seeing, shopping and entertainment.

Cost of the program is $2400*, which includes lodging in single or double rooms with breakfast, lunch during week days, special dinners, instructional materials and miscellaneous fees covering transportation, entry to museums etc, on directed field trips. Up to six semester credit hours at the graduate or undergraduate level may be obtained through Kent State University at additional cost. Airfare and ground transportation to and from Rapperswil, Switzerland is not included.

For further information contact: Professor j. Charles Walker, Director Kent Graphic Design Workshops Inc. 1520 South Blvd., Kent, Ohio 44240 Phone: 12161 673-0699/672-2192 • Program costs are calculated on current exchange rates.

Upon acceptance participants will be notified of any change. Fees will be final at that time and will not be increased.

Tax Deduction for Educational Expenses Treasury Regulation Section 1.162·5 permits an income tax deduction for educational expenses (registration fees, cost of travel. meals. and lodging l undertaken to: (1) Maintain or improve skills required in one's employment or other trade of business, or !2) to meet express requirements of an employer or a law imposed as a condition to retention of employment job status, or rate of compensation.

~~~

.... ~··

MATERIALS "MINI" LIGHT Box From Alvin comes word of a new portable light box, with a viewing area capable of back-lighting an 8 Y2 11 x 11 11 transparency or twenty-four 35mm slides. It contains two fluorescent lights, special vents for cooling, a high-impact black plastic case and a carrying handle. For more information on this Lite-Mate "mini" light box, write Alvin & Company, P. 0. Box 188, Windsor, Connecticut 06095. " D IGITIZED" PRESSURE-SENSITIVE LOGOS

Letter-Rite has announced the availability of its new computer-generated, pressure-sensitive logos-as-labels.

They are available in over seventy standard colors and film types. Also available are" 'Permanent' and repositionable films, as well as chromes, metallic golds, fluorescents and other glamour colors ..." One may also order one-piece multicolor logos, as well as those reproduced in custom matched colors. For information, contact Letter-Rite, Inc., 9000 West King Street, Franklin Park, Illinois 60131.

SLIDE EDITING BoARD Graphic Technology, Inc., has just announced its new briefcase size slide editing board, capable of holding up to

The client loves the new Guilford Gray CLASSIC® Laid in the lie detector brochure.

Whose idea was it?

I

forty-two 35mm slides. This board is made of Plexiglas and measures 15 Ys 11 x 11 Y2 11, or of a size designed to fit into most standard size briefcases. For information, ask your photographic supplies dealer, as we have not been provided an address for GTI (Graphic Technology, Inc.).

FINE POINT WATERCOLOR PEN

Most of us have tried, in the past few years, any number of plastic or fiber-tipped pens purporting to be fine-point.

Most of them don't deserve the name after the first few strokes. This, from Alvin, is a new entry: the Ultra-Tip extra fine point watercolor pen, available in twelve colors.

The point-at least in the beginning-is calibrated at 0.4mm. For information on this newest addition to Alvin's "No Finer Line" of drawing instruments, write Alvin & Company, P. 0. Box 188, Windsor, Connecticut 06095.

DRAWING STATION

Plan Hold has come up with a remarkably unattractive matched set of drawing furniture, called, with equal clumsiness, PlanMasterPLUS. This grouping consists of a "drafting table ... available with 37 Y2-inch deep by 50, 60 or 72-inch wide non-glare tops. Height adjustment from 30 to 37 inches is spring-assisted. A ratchet mechanism provides thirteen preset drawing angles from flat to sixty degrees. The matching PlanMasterPLUS reference table offers 30 by 60 inches of additional work space at a standard 29-inch desk height." Accessories include plan drawers, locking tool drawers (protect those pencils), storage trays and bookcases. For more information, write Plan Hold, Dept. 5127, 17421 Von Karman Avenue, Irvine, California 92714.

WE WERE FRAMED

Truth is, the 5 new CLASSIC® Laid colors can make everybody look good.

eenah Popzr

• Registered Trademark of Kimberly-Clark Corporation

94

Neenah. WI 54956

@ K~ Corporauon

Communication Arts January I February 1986

«:> 1985 K.C.C.

We quote from a recent press release: "Why did we select you, Richard Coyne, to be featured on the cover of Publishing TODAY Magazine? Because by doing so, we will have given you a first-hand experience of the new dramatic promotional and motivational power of FameFrames<; . . . a new and unique incentive or premium tool that can be custom designed to add pizzazz to your own subscription incentive program." Since we don't have any sort of subscription incentive program, we are passing this on to you. What this is is basically a metal frame, 8 11 by 10 11 in size, with a piece of non-glare plastic pre-screened with the logo of a fictitious magazine, designed to look like a newsstand cover. The notion is that one then inserts his or her own mug shot into the frame and "see themselves as special ... newsworthy ... even famous. That's human nature." Perhaps, but the above-honored Mr. Coyne didn't try it. I confess I did, but it didn't take. For information, write David L. Bilgen, President, Special Issue Corporation, POB 3026, Northridge, California 91324. (This is the

MORE EXHIBITS. MORE SESSIONS. MORE PRACTICAL INFORMATION FOR VISUAL COMMUNICATORS.

COMPUTER GRAPHICS '86.

You'll discover new ideas ... new techniques ... and timesaving products and services at Computer Graphics '86, the world's largest computer graphics conference and exposition, May 11-15, Anaheim.

You can begin with the basics. Or build on your already substantial experience.

for broadcast and print.

Related sessions on business and presentation graphics offer more help in finding ways to picture your ideas.

The 300,000 square foot exposition presents computer graphics software, hardware, systems and

tions, and introduce 8 you to the latest in g visual communication ~ applications. ~ For a special treat, see the annual Videoservices from more Gala Reception and than 200 of the most Dinner, in which the progressive companies winning entries of the in the field-all ready international computer to answer questions, animation competition provide demonstrareveal the latest and best in animation.

.............

ACT NOW TO ASSURE YOUR CHOICE OF SESSIONS.

I want more information!

Rush registration materials on the Computer Graphics '86 Conference and Exposition to:

More than 15 technical and tutorial sessions provide intensive, upto-the-minute information for artists, designers and managers of advertising, promotion, and editorial material

~

Send coupon to: National Computer Graphics Association Department BL, Suite 200 2722 Merrilee Drive Fairfax, VA 22031

Name Title

Attend Computer Graphics '86-and see what the world of computer graphics is coming to!

Company Address

·----------· City, State, Zip

Computer Graphics '86.

May 11-15, 1986, Anaheim.

You'll see it there.

MATERIALS

first time my typewriter has ever spelled out "pizzazz," inside or outside quotation marks; it will be the last.)

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

"E-Z GRIP" From Mayline comes word of a new aid to draftsmen, the E-Z Grip for mobile straightedges. This product makes the straightedge easier to control, and doubles as a pencil holder. For information, write Jacobson Advertising, 529 Ontario Avenue, P.O. Box 1027, Sheboygan, Wisconsin 53082. Or ask your art supplies dealer.

CuSTOM PACKAGING SYSTEM

Avery has announced the availability of its new Pocket Label System, claimed to "revolutionize packaging by combining the benefits of secure sealing, visual access and traceable labeling in a single unit with limitless configurations . . . The pockets are custom made to hold any size or type of product, such as precision parts, documents, jewelry or camera-ready art." Our readers may be interested in this latter application. For information, and a free sample, write Avery Label, Business Systems Division, Sales Promotion Department, 777 East Foothill Boulevard, Azusa, California 91702.

Hammermill Accent ... A new booklet, published by Hammermill Papers Group, is available to show one the printing capabilities of its newest paper, Accent Opaque.

For a copy, write the company at Erie, Pennsylvania 16533, or ask your Harnmermill merchant. ucopycolor'' System ... From Agfa-Gevaert comes word of a new booklet offering information on the use of its Copycolor System. Entitled "Your Guide to Making Color Reproductions," the booklet covers the necessary equipment, the contrast control films, how to work with the system, exposure, production, evaluation and color correction, and troubleshooting. A wall chart is also included. For a copy, which costs $4.95, ask your Agfa-Gevaert dealer.

Co-op Catalog ... The "Discount Catalog" for 1985-86 from Co-op Artists' Materials is available for your use. It retails for $2.50, but if you call toll free 1-800-241-3242,

_____ ___ , WE'LL THROW IM THE CHAIR! I '' I ' I ' I '' I I I ' I I _...

L r_.

......._.

I

I

FP.EE.WHEN YOU BUY AN AP.TOGI\APH

Artograph projectors take the guesswork out of scaling your artwork. Whether you're preparing a series of thumbnails, tight comps or camera-readies, designing is faster and easier than ever.

model that best suits your needs. Offer good from November 1 through February 28 only.

Order forms are available at your dealer's, or send us this ad, with your name and address and we'll mail you complete details.

Now, for a limited time, you'll save much more than time! We'll throw in a FREE* chair when you purchase an Artograph RT 210, DB 300, 1000 J or MS 230.

*Plus $15 handling and freight. Offer good in U.S.A. only.

Hurry over to your local Artograph dealer for a hands-on demonstration, and purchase the

artograph

Dept. CB- 286, 2626 N. Second Street , Minneapolis, MN 55411 , (612) 521-2233

--~~~----~-~--~-

96

Communication Arts January I February 1986

MATERIALS

they will send you a copy free. One can order from the catalog by mail or toll free by telephone, and as there is always inventory of every product listed, immediate delivery is ensured. Their mailing address is P. 0. Box 53097, Atlanta, Georgia 30355.

Letterhead Design ... This new swipe file/promotional piece devoted to letterhead design has just been published

by Hammermill Papers Group. Queringly named "Is Your Letterhead As Up-To-Date As Your Office Equipment?", the content and design are on a par with the title. It is most difficult to produce a series of mock letterheads for fictional companies. They all look as if the idea came first, then the name of the company, resulting in cleverness for its own sake. I often wonder, upon encountering these pieces, if they might not encourage the worst style-oversubstance tendencies in our craft. For a copy of this brochure, ask your Hammermill dealer, or write Hammermill Papers Group, Erie, Pennsylvania 16533.

Curtis Kaleidoscope ... Those nice folks at Curtis Paper have designed a new promotional brochure with which one may make one's own kaleidoscope. A die-cut shape, a

piece of metallic foil, along with simple instructions, are all one needs. Not so incidentally, the paper being pushed is Curtis 1\veedweave, a truly fine sheet. For a copy, write Curtis Paper Division, James River Corporation, 145 James Way, Southampton, Pennsylvania 18966.

Graphistamp Catalog . . . This is a new entry to the growing group of rubber stamp entrepreneurs, Graphistamp, Original Art on Rubber Stamps. The idea is a good one, and while their premier catalog contains relatively few stamp designs, it is nonetheless lavishly designed and they have produced an amazing variety of accessories and point-of-purchase racks and displays to augment their direct mail sales. It is all very impressive and indicates a good chance for success. For a copy of the catalog, write Imprints Graphic Studio, Inc., Box 3656, Carmel, California 93921.

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Communication Arts January I February 1986

Bizzaro Big Rubber Stamp & Supply Catalog . . . This is one of the best we've seen, a large twenty-page assortment of stamp designs from the arcane to the archaic, as well as a few which could be accurately described as bizarre. For those with tastes that run more to the lascivious, they also offer a catalog of "risque and raunchy" designs, available for $2.00, refundable with the first order. For a sampling of their wares, a few stamp titles will suffice: "Goggle Man," "Nosewoman," "Hugging Elephants," "Tan Line," "Troll," "Ginkgo Leaf" and "Worried Sun." For a copy of this twelfth edition of Bizzaro's Catalog, write the company at P. 0. Box 126, Annex Station, Providence, Rhode Island 02901 .

"Ideas on Display" ... That is the name of a new publication produced by ExpoSystems, the "largest

manufacturer of modular displays." Using case histories, this full color magazine discusses various uses and technology involving the creation, installation and purposes of displays. For a free copy, write ExpoSystems, 3203 Queen Palm Drive, Tampa, Florida 33619.

Dynamic Graphics Catalog . . . This purveyor of clip art has published a new catalog of "camera-ready art, artists tools and professional references." It contains three new publications: "Menu & Restaurant Graphics, Volume 2," "Cover Designs, Volume 3," and "Health Care Graphics, Volume 3." The company also offers the Toyo® color system, Rotatrim® paper cutters and C-Thru® artists tools.

Any of the products listed in the catalog may be ordered by mail or through a toll-free number. For a copy, write Dynamic Graphics, Inc., 6000 North Forest Park Drive, Peoria, Illinois 61656.

line artwork, a superbly realistic imitation of a final piece of color printing can be produced at an early stage of a design project-long before the job is run." In short, a comp. The booklet in question is a guide and handbook to the uses of said method, which, not so incidentally, needs no darkroom and requires only tap water for development. To receive it, contact Customer Service Department, Letraset USA, 40 Eisenhower Drive, Paramus, New Jersey 07653.

Xerox Library of Typedesigns ... Should you own or lease a Xerox 2700 II Distributed Electronic Printer, or a 2700 DEP, or a 3700 Laser Printer System, you may be interested in this Xerox Library of Typestyles packet, including their Helvetica and Century Schoolbook series.

For your copy, write Xerox Corporation, 701 South Aviation Boulevard, El Segundo, California 90245; or call (800) 558-1444, from California, (800) 558-5650.

Letrachrome Handbook ... First, to explain: "The Letrachrome imaging system is a process for producing a high-quality color image as a one-of or in very small quantities. Working from a negative, made from normal

•

7

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For two weeks each summer (for three summers) you study with superstars like the former faculty listed below The rest of the year you 're working on independent study assignments and making a few longweekend field trips to study with the top communicators right where they l1ve and work . Places like New York .

Toronto . Chicago and London .

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Study With the prOS DAVID AL TSCHILLER. MARSHALL ARISMAN . ALLAN BEAVER. JOE BOWLER TOM CARNESE STEVE COSMOPULOS. PAUL DAVIS BEANIE D'ANDREA. LOU DOAFSMAN . 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 PLAPLER SAM SCALI . EILEEN HEOY SCHULTZ . DANIEL SCHWARTZ . TOM SGOUROS . LEN SIROWITZ BERT STEINHAUSER BARRON STOREY DON TROUSDELL. ROBERT WEAVER

99

Jim Johnston

In late October, one of the trade publications sponsored what was heralded as the "First Annual Conference on Global Creativity."

A commendable objective. Although, in large part, the conference narrowed down to a debate between those who believe a campaign that works in New Zealand can work in New York, and those who believe the global village still has a lot of differences between neighborhoods.

This focus can be credited to two parties. First, Prof.

Theodore Levitt (he of "marketing myopia" fame) who first raised the issue of global brands, global branding and global marketing. Second, the indefatigable Saatchis who leaped on Levitt's thesis as though it were a thoroughbred horse, and are riding it at breakneck pace as a platform for their ever-expanding empire.

Two items of special interest.

O&M's Norman Berry and Jay Schulberg argued on the side of Goliath-showing work from their formidable agency to prove the point.

But it really proved another point. For the best of their commericals had a decidedly British flavor which may reflect the influence of Mr. Berry and other British expatriots now laboring in Ogilvy's vineyard.

While the best of ours vs. the best of theirs debate wasn't much of a contest, Mr. Schulberg moved the weary comparison between American and British creativity to a new and lower level, arguing that "their dreck is as bad as our dreck."

Cheers for the Saatchis (a little healthy chutzpah hasn't hurt the advertising business yet) but hiss!!! for Levitt for creating the horse in the first place.

No sensible creative person who has traveled past Staten Island would question the point that garbage knows no boundaries.

The hapless advocates of the global premise were bludgeoned from both sides of the Atlantic by the likes of Tony Brignull (CDP /London), Len Weinrich (Fletcher Shelton Delaney/London), Paul Weiland (ex-CDP writer and one of England's top film directors), Claude Marcus (president of Publicis) and John Hegarty (Bartle Bogle Hegarty/London).

But the question of whose garbage smells worse? Well, Mr. Schulberg sought to give the honors to England, based on a series of commercials selected at random from one night of television in London.

So much for the players. The real purpose of this report is to capture a few impressions. And to pass along what impressed one observer as wisdom.

In general, the Brits had the better of the Americans, not only in terms of the work shown, but in the substance of their arguments.

The best of the U.S. contingent were Barry Day, Norman Berry and Bill Tragos-and, as you know, two of the three carry passports issued by Her Majesty's Government.

Tragos, one of the four founders of TBWA and a Greek from St. Louis, came into the fights a pronounced underdog representing what's now called a "smaller agency" (of course, a quarter of a billion dollars is small, compared to the mega-agencies of Interpublic and Ogilvy).

But one came away with the feeling Tragos understands international business better than those carrying the banner of the massive agencies.

Most speakers showed TV commercials to reinforce their point (whatever that point might be) so the conference provided a neat if not concise opportunity to compare the state of U.S. advertising with the state of British advertising.

100

By my scorecard, the Brits won rather handily.

Communication Arts January/February 1986

Therein came a rather amazing surprise: British dreck just doesn't explore the depths of our dreck-as would have been confirmed if Mr. Schulberg had only plucked nine or ten commercials at random from one night of television in New York. (On the other hand, one has to ask if the world is ready for Crazy Eddie.)

Second, even the truly international Mr. Tragos gave comfort to those who believe the best work is East of the Atlantic, not East of the Hudson. For work from TBWA/ London and TBWA/Paris was discernibly better than that from TBWA/New York.

The most impressive speaker-with the most impressive work-was Mr. Paul Arden, who labors as creative director for Charles and Maurice at Saatchi & Saatchi/ London. In the grand tradition of Mr. William Bernbach, Mr. Helmut Krone, and Mr. William Gage, Mr. Arden looks less like a creative type-or even an advertising man-than a rather natty accountant.

His delivery matched his appearance. No Churchill, he.

But his words sliced to the heart of the matter like a Wilkinson sword.

Mr. Arden began by acknowledging "global" advertising is not easy, but the opportunities are enormous if it can be done. Having said that, he explained that the Saatchis have identified the one communications element that

PRATT CENTER TRANSLATES COMPUTER GRAPHICS INTO YOUR LANGUAGE. travels across national, sexual, religious, racial linesand that's art.

Whether you agreed with that logic or not, Mr. Arden's argument was most persuasive-and the Saatchis' work was even more impressive.

In the U.K., observers have been announcing the decline and fall of Saatchi creativity for a number of yearslogically based on that law of nature that says big is ultimately ugly.

But the Saatchis appear to keep rolling along. With art direction of a level that would do credit to a world-class design firm. With headlines and copy that are consistently at the edge. And with a marvelous lack of any "agency look" that would betray the originator.

Now, for your consideration, a few thoughts gathered by the various speakers that may either guide you-or spark your own thoughts.

So you can translate your creativity into dollars.

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For more information call or write: Perry Jeffe, Director, Pratt Center- Dept CA, Nine Skyline Drive, Hawthorne, NY 10532, 914-592-1155.

What marketers sell is a product-but what the consumer wants is a brand. (Day) You can't buy brand. It either happens or it doesn't. (Ibid) Global chic isn't global marketing. You have to start with need. (Ibid) Factories make products. Consumers buy brands. (Berry) At the end of the conference, I walked out of the Fashion Institute of Technology, through chattering hordes of FIT youths and felt more than a bit depressed.

For it seemed obvious that the giants of the U.S. advertising business will capture their share of "global" clientsand make a few clients "global" who would be well advised to limit their horizons.

And despite the three-day dosage of British creativity, it was just as obvious that we Yanks still rest smugly in our provincial beds, convinced that our better work is the best in the world-and even our dreck ain't that bad.

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101

THE AlGA CONFERENCE We have the impression that when the AlGA plans a conference you can count on a blast. When the 1985 first national conference was held in Boston, Hurricane Gloria blew right through the middle of it.

AlGA Board member Ralph Caplan told us, " Once the American Institute of Graphic Arts got the idea that it should go national, what do you do, you have to meet."

The First AlGA National Graphic Design Conference was called for late September under the banner " Toward an American Graphic Design Community."

Though the invitations said Boston, the conference programs assembled at the Massachusetts Institute of Technology across the Charles River from Boston proper.

The Kresge Auditorium , on MIT's Cambridge campus, seated over 1200 participants. Almost half again that number wanting to attend this first national conference devoted exclusively to graphic design had to be turned away.

We had wondered if the Aspen Conference, for years the nation's largest annual design assembly, was in a way being replaced; if the Aspen planners, so many of whose names show up on the AlGA rosters, were at last wanting a more urban setting for a yearly design gathering.

We asked David Brown, AlGA President for the past three years, how the AlGA, which early on was an institute of book designers and perceived as primarily a New York organization, decided to hold a national conference.

"In 1980," he said, "at a Board retreat in Tarrytown , New York, some seven of us gathered for the express purpose of discussing 'What should be done with the AlGA? ' It was a spirited meeting and we decided to go national , largely through the formation of chapters in other cities.

"We knew that sometime we had to do a national conference based on the idea of a graphic design community. I wrote a ' white paper' in 1981 devoted to that theme."

Since that time AlGA chapters have formed in Boston, Cleveland, Los Angeles, Philadelphia, San Francisco, Washington , DC, and Texas and national membership has approached 5,000.

How do you start a conference labeled "graphic design community?" You jam a 1200-person graphic design mob together in a stand-up cocktail party Thursday evening to talk about Hurricane Gloria slamming its way up the coast from Florida.

The first evening's post-banquet program was given to the AlGA tradition of honor awards. David Brown noted, "As with all communities, we have our heroes and our elders and it is right that we honor some." Leo Lionni received the 1985 AlGA Medal; Herman Miller, Inc. was given the Design Leadership Award (" It used to be called the ' Enlightened Client Award' but we changed that") ; and a special Citation to several design firms for the 1984 Olympics in Los Angeles.

102

Communication Arts January I February 1986

Most everyone that Thursday night hurried back to hotel or motel room to watch television. The news pictures showed Hurricane Gloria roaring up the Eastern seaboard on a path that might hit Boston . Shots of the battering of coastal towns were frightening and riveting, and no one thought to complain of violence on television.

The next morning, though the Boston sky was flat and gray with the stillness of an approaching storm , the Kresge Auditorium was packed . Tom Wolfe, a favorite pop-culture critic and author of such books as From Bauhaus to Our House and The Right Stuff, was scheduled to give the conference keynote address. An encompassing observer of the American arts and technology scene and its conditioning of the mass culture, Tom Wolfe has an open-eyes view of everything from the neon art signs of Las Vegas to the machine art of customized cars, from the postures of PostModern architecture to the trend arts of the gallery. " Remarkable," he began , " this first conference about the graphic arts. The graphic arts are one of the two great new 20th century arts-the other being film. " The graphic arts have entered the consciousness of everyone at every level in quite instinctive ways. Now, young gallery artists and architects raid the graphic arts. Look at Michael Graves' Portland Public Service Building. Of course, a building needs four walls, but what happens on those four walls came from drawings."

Now that we' ve entered the Information Age with so much access to everything from the past, it's like a big closet filled with everything. '' Now art directors can rummage around in the Big Closet. They say, 'Let's do a Cassandra, or a Kandinsky, or even maybe a Herbert Matter.' " As Tom Wolfe warmed up to his joyful task of observing the field of graphic design he exclaimed, "And look at annual reports now. They 're so lush , such heavy stock, such shining colors. I don't read them. I eat them. " Most of them taste like marzipan .''

That was to be repeated through the conference, " We printed that on 170-lb. marzipan cast-coated."

But at noon the announcement came: Hurricane Gloria was on its way and MIT was closing the campus. The Governor of Massachusetts had asked Boston to clear the streets. Most conferees bussed back to the Sheraton Boston to find the windows taped and plywood protective barriers being erected in the Boylston Mall as winds began to churn the air.

Undaunted , the AlGA Conference planners announced that the Sheraton ballroom was open to all conferees to gather and talk and the bar was in place. Hank Robertz of Chicago said , " This is a great unconference now.''

Roger Cook reported that the hurricane had closed his Princeton design office, that projects couldn't nag him , and that he could really enjoy wandering around to talk with other designers from all over the country. The Sheraton

management asked that all guests take a moment to close hotel room windows and fill bathtubs in preparation for hurricane emergencies. " Oh , oh ," Roger said , "I don't have a bathtub ; my room has a shower. Will you save some of your bathtub for me? " The ballroom buzzed with design talk. Christina Weber, Denver, observed , " I've been to a lot of conferences and this is the first time I've met so many people. We don't get this kind of conference at Aspen."

John Hornall , Seattle, replied , " Well , Aspen is about 'How can design better mankind?' Here the discussion is about ' How can design better designers?' " We took a moment to get to the Sheraton lobby and look out at the empty streets and the shaking trees as Hurricane Gloria peaked about 4:00 and overheard a student from the Rhode Island School of Design say, "You know, I've read about these designers for years and here they're so approachable. I even just talked to Jim Cross!"

Tom Monahan , Framingham, Maine, said, "I've been lapping up information here about how designers in other cities work.

Nationally, graphic designers are not a community, not as united as architects with their American Institute of Architects. But, now, at this AlGA conference I can think, 'there is an us.' " Hurricane Gloria passed to the west of Boston and we walked out from the Sheraton into still-forceful winds to feel the ozone filled air and its dark oiliness. Most of us from around the nation had never experienced a hurricane or the feeling of its passing. It had been real; not just a TV news picture, and it had enclosed us.

As for the conference, we suppose that any first effort must start by being a general review and this first conference about graphic design did an admirable job, as well as asking the question about a national design community. Loren Weeks, Portland, Oregon , said, "Perhaps we already have a community of knowing. I already know most ef the work on the slides they've brought to the 'show and tell' sessions.

It's already been published in the Annuals."

Sketching in the whole field of professional graphic design and its concerns in a short two days asked for a program schedule of a variety of subjects: design development from the past and the question of now extending design boundaries, the implications of technology, the business of design, public service and purpose, design education, and what the role of the AlGA should be in all of these.

During one of the panels about design education , Massimo Vignelli had pointed out that, as design was changing, so must design teaching change. "Today we access what has happened before. In the last fifteen years the accent has been on the structure of design ," the elements of a design and their arrangement, "and now we must add a change from these purely visual exercises to an attention to theory and

to history, and we must establish a new field of published criticism and documentation."

At coffee break, Frank Glickman, Cambridge, said, "I've thought about the problems of design education and it seems that with the cost of school now few people can afford more than the four-year design course. It takes the first two years to learn what Vignelli calls the structure of design. The remaining two years, the junior and senior years, are really all you get for serious development. Visual education really ought to start in high school so the first two years of college level aren't needed as founding courses.''

Jim Cross, Los Angeles, added, "And when you hire a graduate you have to become that person's teacher during the transition period to their becoming a real-world professional-and that can take years."

Paul Bowers, Professor of Design, SUNY-Fredonia, expressed some concern about one panel proposal-that the AlGA set design standards for teaching. "As an educator, I'm leary of that. Set-in-concrete standards are restrictive.

If the AlGA wants to make recommendations about requirements for design schools to gain accreditation to become degree-granting institutions, that would be practical."

The conference invited MIT's expert on computer graphics, Nicholas Negroponte, to present his views on the "Implications of Technology" and his overview and extrapolations of current developments touched off some passionate lunch break discussion. Hayward Blake, Evanston, Illinois, said, "Computer graphics can only raise visual literacy to the level of the monitor screen and by its very mechanics, is limited and is a filter of art. As for graphic designers, it reminds me of the time twenty-five years ago when the claim of electronic music was that it would get rid of all the players; electronically generated sound would replace all of the musicians.''

"Well," Loren Weeks suggested, "I suppose the question is who will control the screen. The future worry for graphic designers may be that the computer wizards and engineers may become more visual."

Carol Neiger, Evanston, said, "I think that future technology will fill the gap between the technicians and graphic designers and, at least, the public is hearing the word 'graphics' in a new and wider context now.''

But then at conference end, almost as a final amazement for this first national graphic design conference, Boston's "Lightspeed" invited the conferees to see "Qolor" in action, a computer-driven design system that puts the new "graphics" in control of the graphic designer, an incredibly fast and sophisticated craft decision-making tool.

"What's the next conference going to be?" Mike Kennedy, Sacramento, asked. "A real live hurricane is a tough act to follow. Maybe next year the San Francisco AlGA Chapter will invite us out there." ... and program an earthquake?

-Byron Ferris 103

CLUBS, CONFERENCES, SEMINARS BOSTON

Computer use in design development, information management and design group management will be the focus of a new conference, "Design Management and the Computer," sponsored by the Design Management Institute of Boston. The conference, scheduled for February 5-7, will be held at the Charles Hotel in Cambridge, Massachusetts. Among those scheduled to speak are: Andrew Knowles, senior vice president, Prime Computer, Inc.; Paul Porter, manager product development, Wang Laboratories, Inc.; Nathan Felde, president, Lightspeed; and Mike Parker, president, Bitstream Inc. Topics to be covered include factors in system selection, development of purchase justifications, proper implementation of computer purchases and increased productivity through computer use. Also included will be a tour and reception at Boston's Computer Museum and a reception at Bitstream Inc. For more information contact Earl Powell, Director, DMI, 621 Huntington Avenue, Boston, Massachusetts 02115 or call (617) 232-4496.

MAINE The Maine Photographic Workshops Spring Resident Program begins March 17 and will offer three separate

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NCGA The National Computer Graphics Association announces a series of sessions at the Anaheim Convention Center in Anaheim, California. On May 11-13, tutorials on putting computer graphics to work in various occupations, including visual arts and design, will be offered. A technical session will take place from May 13-15, including case studies, research reports and panel discussions. Concurrently, a fourday exposition of computer graphics products and services will take place from May 12-15. For more information, contact NCGA, 2722 Merrilee Drive, Suite 200, Fairfax, Virginia 22031; call1-800-225-NCGA or (703) 698-9600.

SANTA BARBARA

The Greater Santa Barbara Ad Club is sponsoring a oneday seminar on Saturday, March 8. For information write or call Rich Barre, Greater Santa Barbara Ad Club, 206 E. Victoria Street, Santa Barbara, California 93101, (805) 564-4484.

SEATTLE

The Seattle Advertising Federation has announced its officers and board of directors for the coming year. President John Cheshier, sales development manager for KOMO Radio; first vice president Penny L. Taylor, sales manager for KSTW Television; second vice president Warren Payne, advertising manager for The Weekly; treasurer Jeffry Baker, advertising and sales promotions manager at Rainier National Bank. The board of directors includes Greg Bennett, The Seattle Times; Jann Blackborn, Washington Transit Advertising; Nicole Blom, Pacific Northwest magazine; Paula Charneski, KBRD/KTAC Radio; Pete Delaunay, Elgin/Syferd; Jim Gay, The Herald; Anne Henry, Livingston & Company; Mimi Kight-Kirsch, Seattle Northwest Publishing; Jane Lantzy, Jay Rockey Public Relations; Loraine Perkins, The Stimpson Associates; Doug Simpson; and D.J. Wilson, KIRO Television. For further information, contact Jane Lantzy (206) 728-1100.

• 104

Communication Arts January I February 1986

COMMUNICATION ARTS INDEX VOLUME27 MARCH/APRIL 1985 -JANUARY/FEBRUARY 1986 "A Day in the Life Of" (books) Article: Vol. 27, #1 (Mar/Apr), page 25.

ADAC Sacramento (art directors club) Article/portfolio on the art directors and artists club of Sacramento: Vol. 27, #5 (Sep/Oct), page 78.

Aguirre, Carlos Llerena (illustrator) Article/portfolio: Vol. 27, #1 (Mar/Apr), page 38.

AlGA (American Institute of Graphic Arts) Report on first national conference: Vol. 27, #8 (Jan/Feb), page 90.

Apple (computer firm) Article on company graphic design and advertising: Vol. 27, #2 (May/June), page 48.

Beall, Lester (designer) "Lester Beall: A Look Back": Vol. 27, #5 (Sep/Oct), page 84.

Chronicle Books (book publishing) Article/portfolio: Vol. 27, #5 (Sep/Oct), page 44.

Chwast, Seymour (designer/illustrator) Excerpt from The Left-Handed Designer: Vol. 27, #8, (Jan/Feb), page 34.

Communication Arts Annuals Illustration Annual: Vol. 27, #3 (July); Photography Annual: Vol. 27, #4 (Aug); Design Annual: Vol. 27, #6 (Nov); Advertising Annual: Vol. 27, #7 (Dec).

Crawford, Tad (attorney-at-law) Columns on law concerning artists.

"The Risk of Defamation": Vol. 27, #2 (May/June), page 16; "The Protection ofldeas": Vol. 27, #5 (Sep/Oct), page 104; "Copyright, The Manufacturing Clause": Vol. 27, #8 (Jan/Feb), page 20.

Davidson, Dave (photographer) Article on photosandwiches: Vol. 27, #1 (Mar/Apr), page 56.

Davis, Paul (illustrator) Portfolio from Faces: Vol. 27, #5 (Sep/Oct), page 54.

Design, Annals of "Boom Years: 1948-1973": Vol. 27, #2 (May/June), page 28.

Gordon, Barbara (artist's representative) Columns on free-lance scene. "The Designer's Portfolio": Vol. 27, #1 (Mar/Apr), page 92; "The Advertising Art Buyer and the Freelancer": Vol. 27, #2 (May/June), page 22; "Some Observations on the Free-lance Scene": Vol. 27, #3 (July), page 152; "Good Business Etiquette Is Good Business": Vol. 27, #4 (Aug), page 162; "Making a Living in Freelancing": Vol. 27, #5 (Sep/Oct), page 112; "An Update on the Free-lance Scene": Vol. 27, #6 (Nov), page 196; "On Your Own": Vol. 27, #7 (Dec), page 216; "The Portfolio": Vol. 27, #8 (Jan/Feb), page 84.

Heindel, Robert (illustrator) "Ballet in the Gallery": Vol. 27, #2 (May/June), page 78.

Hinsche + Associates (design firm) Article/portfolio: Vol. 27, #8 (Jan/Feb), page 58.

Johnston, Jim (advertising) Columns on advertising . Vol. 27, #5 (Sep/Oct), page 24; Vol. 27, #6 (Nov), page 190.

Leonard Monahan Saabye (advertising agency) Article/portfolio: Vol. 27, #8 (Jan/Feb), page 48.

Lloyd, Harvey (photographer) Royal Vikings' photographs: Vol. 27, #5 (Sep/Oct), page 60.

Mack, Stan (cartoonist) Excerpt from Stan Mack's Out-Takes: Vol. 27, #5 (Sep/Oct), page 50.

The Martin Agency (advertising agency) Article/portfolio: Vol. 27, #1 (Mar/Apr), page 72.

Mattelson, Marvin (illustrator) Article/portfolio: Vol. 27, #1 (Mar/Apr), page 62.

Moser, Barry (designer, illustrator and publisher) Article/portfolio: Vol. 27, #5 (Sep/Oct), page 32.

O'Rear, Chuck (photographer) Article/portfolio: Vol. 27, #2 (May/June), page 38.

Peters, Michael (designer) Article/portfolio: Vol. 27, #8 (Jan/Feb), page 24.

PorceUa, Philip (photographer) Portfolio of photographs of Arthur Fiedler: Vol. 27, #1 (Mar/Apr), page 122.

Rainer, Howard (photographer) Article/portfolio: Vol. 27, #8 (Jan/Feb), page 42.

Richmond, Wendy (computer graphic designer) Columns on computer graphics.

"Resolutions in Computer Graphics": Vol. 27, #1 (Mar/Apr), page 16; "Electronic Workflow": Vol. 27, #2 (May/June), page 13; "Wordprocessor": Vol. 27, #3 (July), page 148; "Electronic Comp": Vol. 27, #4 (Aug), page 168; "Mechanicals": Vol. 27, #5 (Sep/Oct), page 110; "Title Pages": Vol. 27, #6 (Nov), page 188; "The Wok of the Eighties": Vol. 27, #7 (Dec), page 204; "Letterforms": Vol. 27, #8 (Jan/Feb), page 86.

Sacramento (art directors club) Article/portfolio on the art directors and artists club of Sacramento: Vol. 27, #5 (Sep/Oct), page 78.

Samata Associates, Inc. (design firm) Article/portfolio: Vol. 27, #1 (Mar/Apr), page 46.

Shakery, Neil (designer) Book Voyages of the Royal Vikings: Vol. 27, #5 (Sep/Oct), page 60.

Smolan, Rick (photojournalist) Article on A Day in the Life Of books: Vol. 27, #1 (Mar/Apr), page 25.

Voyages of the Royal Vikings (steamship line) Selections from company book and magazines: Vol. 27, #5 (Sep/Oct), page 60.

John Waters Associates (design firm) Article/portfolio: Vol. 27, #5 (Sep/Oct), page 68.

Ziff, Lloyd (art director, designer and photographer) Article/portfolio: Vol. 27, #8 (Jan/Feb), page 68.

105

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 must reserve the right to refund your money on any that have sold out on a first-come, first-served basis. All orders must be accompanied with payment.

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.

NOV/DEC 1977

$1 8

MAY/JUN 1982

$12

William Rivelli Sheila Levrant de Bretteville Bill James Vickers & Benson Photomontages by Scott Mutter Ford, Byrne & Associates Portfolio of Trademarks

CA-77 Advertising & Design Annual

JUL/AUG 1978 The Art Annual1978 Illustration & Photography

NOV/DEC 1978

$18

CA-78 Advertising & Design Annual

NOV/DEC 1979

$1 8

$18

CA-80 Advertising & Design Annual

JUL/AUG 1981

$12

The Art Annual Illustration & Photography

SEP/OCT 1981

$5

Lou Dorfsman Kinuko Y Craft Dick Durrance II Levi's Billboard Trucks Corporate Annual Reports "Revealing Illustrations"

by James McMullan Atari Design Letterheads

NOV/DEC 1981

JAN/FEB 1983

$18

Gernsheimers/Partners Carol Wald Jerry Herring Sahlan Cherpitel Michael Schwab Bank of Kuwait Identity Corporate Photography Panel

106

$5

$12

MAR/APR 1983

Communication Arts January I February 1986

DEC 1984

$5

JAN/FEB 1985

$12

$5

MAY/JUN 1985 $15

$15

$5

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

$5

$5

Tad Crawford Annals of Design (3) Chuck 0 ' Rear Apple Computer Robert Heindel's Ballet

MAY/JUN 1984

SEP/OCT 1985

$5

$5

SEP/OCT 1984

$5

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

NOV1985

$15

CA-85 Design Annual

DEC 1985 CA-85 Advertising Annual

$12

$12

Photography Annual

Anita Kunz A/Greenberg Associates Gregory Heisler Bill Robles Larry Bender Computer Graphics for Design and Production/Bruce Hurn

$12

Photography Annual

Illustration Annual

AUG 1984

$12

Illustration Annual

AUG 1985

Anspach Grossman Portugal Braid! Braids Daniel Bittman Chuck Kuhn Hixo, Inc. Vincent Daddiego: Roll Over Vivaldi Herb Rosenthal 's Fountains Robert Parker: Copy & Graphics

JUL 1984 $5

MAR/APR 1985

JUL 1985

MAR/APR 1984

$5

$5

Deborah Sussman Arthur Meyerson Wilson Mclean Weymouth Design Art Posters Tad Crawford Index to Volume 26

A Day in the Life of . ..

Carlos Llerena Aguirre Samata Associates, Inc. Dave Davidson Marvin Mattelson The Martin Agency Candid P hotogra~hs of Arthur Fiedler

25th Anniversary Issue The CA Annual Judges Judging Process lmagesetters The Free-Lancer/Client Relationsh ip $18

$15

CA-83 Advertising Annual

JAN/FEB 1984

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

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

SEP/OCT 1983

$15

CA-84 Advertising Annual

Tad Crawford Short-Run Printing Jack Summerford Teresa Fasolino Primo Angeli Light Language Consensus on Type Corning Glass Works Annals of Design (1) Forecast of Ad Billings

DEC 1983

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

NOV/DEC 1982

JUL/AUG 1983

NOV1984 CA-84 Design Annual

CA-83 Design Annual

CA-82 Advertising & Design Annual

CA-81 Advertising & Design Annual

JAN/FEB 1982

SEP/OCT 1982

$5

The Art Annual1983 Illustration & Photography

NOV 1983

The Art Annual 1982 Illustration & Photography

CA-79 Advertising & Design Annual

NOV/DEC 1980

JUL/AUG 1982

$5

MAY/JUN 1983 Ken White Leo & Diane Dillon North Charles Street Design Organization Lanny Sommese Phillips Photographers Abercrombie & Bastiansen Alvin Lustig Remembered Computer-Aided Graphic Design

$5

SEE BACK OF MAGAZINE FOR AN ORDER FORM.

$15

CALL FOR ENTRIES 1986 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, 1985 and March 21, 1986 is eligible to be selected for the 1986 CA Illustration Annual.

A distinguished, nationally representative jury of designers and art directors will select the 1986 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, 1986 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-86, where the entries are judged on the overall concept and execution in all areas of advertising and design. The closing date for CA-86 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, 1986.

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 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 1986 Illustration Annual.

CATEGORIES AI 1

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

Al2

Advertising series-five or less ($20)

Bl 1

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

Bl2

Book series-five or less ($20)

El1

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

El2

Editorial series-five or less ($20)

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

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

Fl1

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

Fl2

For sale series-five or less ($20)

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.

Il1

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

Il2

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)

UI 1

Unpublished ($10)

UI 2

Series of unpublished-five or less ($20)

Eligibility Media art produced or published between March 22, 1985 and March 21, 1986 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 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 requeste~ at that time.

No additional fees are required.

Awards Award of Excellence certificates for the artist, art director and client of each accepted piece will be mailed in September, 1986.

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

DEADLINE FOR ENTRIES IS MARCH 21ST

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

B

A

This form and fees must accompany entries submitted to Illustration-86

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-86 (no paper clips).

COMPANY

For series only

ADDRESS

This is No. _ _ o f - -· ZIP

CITY

STATE

_ _ _ Single Entries.

.. $10 Each

Art Director·- - - - - - - - - - - - - - - - - - - - - - - -

_ _ _Series ..

. . $20 Each

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

No return of entries

Illustrator·_ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ __

Total$. _ _ __

Explanation of function: I F O R· CA U S E !

LDATE PROCESSED_j

B

Tape this form (or facsimile) to the back of each piece submitted to Illustration-86 (no paper clips).

B

D

Self-addressed, stamped envelope included for acknowledgment.

Tape this form (or facsimile) to the back of each piece submitted to Illustration-86 (no paper clips).

For series only

For series only

This is No. _ _ of _ _ ,

This is No. _ _ of _ _ .

Illustrator·------------------------

Illustrator·------------------------

Art Dir e c t o r · - - - - - - - - - - - - - - - - - - - - - - - -

Art D i r e c t o r · - - - - - - - - - - - - - - - - - - - - - - -

Clien,t__ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ __

Clientr_ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ __

Explanation of function ·

Explanation of function:

B

B

Tape this form (or facsimile) to the back of each piece submitted to Illustration-86 (no paper clips).

Tape this form (or facsimile) to the back of each piece submitted to Illustration-86 (no paper clips).

CFORCAUSE~

For series only

For series only

This is No . _ _ o f - - ·

Th1s is No . _ _ of _ _ .

Illustrator·------------------------

Illustrator_ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ __

Art D i r e c t o r · - - - - - - - - - - - - - - - - - - - - - - - -

Art Director·_ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ __

Client!_ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _~-

Client: _ _ _ _ _ _ _ _;___ _~_

Explanation of function :

Explanation of function

_:__ _ _ _ _ _ _ _ _ __

CoMMUNlCAnoN ARTs

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