janfeb1987

COMMUNICATION A RTS M AGAZINE Editor and designer: Richard Coyne

VOL. 28, NO. 8, JANUARY/FEBRUARY 1987

Executive editor: Jean A. Coyne Associate editors/ designers: Patrick Coyne, Stephanie Steyer

Editor's column ..... . . ...... . .. ... .. ... 8

Advertising and production manager: Kurt Klein

Wendy Richmond . .. . ........ . ....... . . 16 Tad Crawford . . . .. . .. . . . .. .. . . .. . ... .. 20

Production: Scott Perry Administrative assistant: Sue Ann Rousseau

Heinz Centennial Annual Report . . .. . ..... 26 Richard Hamilton Smith ... . . . .. . . .... . . 34

Circulation manager: Nancy Hagemann

Dyer/Kahn . .. . .. . .. . . ... . . . . . . . .... . . 44 Subscription: Marie Garcia, Betty Willis Traffic: William Rayburn Contributors: Tad Crawford, Byron Ferris, Mark Fulton, Barbara Gordon, Jim Johnston, Larry Klein, Marty Neumeier, Rhodes Patterson, Wendy Richmond, Mill Roseman, Dugald Stermer

Wieden & Kennedy .... . ......... .. . ... 54 Charleen Kinser Designs ..... . . . .... . ... 62 Twenty-seven Chicago Designers ......... . 70 Magazine on Wheels . . ........ . .... .... 78 Rick Meyerowitz . .... . . . . . . ...... . .... . 82

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Communication Arts Magazine (ISSN 0010 -351 9) 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.

Copyright 1987 by Coyne & Blanchard, Inc. Second class postage paid at Palo Alto, California and additional offices.

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Call for entries, Photography Annual ....... 91 Kurt Klein ... . .. . . . .. . . . ..... . . . ..... 96 Barbara Gordon ...................... 100 Book reviews . . .. . ...... ...... . . ...... 102 Call for entries, Illustration Annual ........ 105 Clubs, Conferences, Seminars .. ......... 109 Materials, available literature .. . .... .. . ... 112 Index to Volume 28 .................... 115

Cover photograph by Richard Hamilton Smith

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EDITOR'S COLUMN The new tax law is now in effect. This may be tax reform.

It definitely is not tax simplification. In general, the new law would seem to offer favorable treatment to service businesses like advertising agencies and design firms where capital equipment investments are minimal. Since many of these firms were incorporated for valid reasons under past tax laws, it could be worthwhile to investigate a possible change to S Corporation or to a limited partnership. The tax effect on individuals will be a separate case for each, depending on income and what or how they buy or invest. Those with incomes between sixty and a hundred thousand, the range for many of the successful practitioners in this field, seem the least likely to benefit under the new law.

Like everyone else, I've been asking what seemed like simple questions and not getting simple answers. The lawyers and accountants are wading through voluminous books and papers, attending classes and seminars, and still have to qualify their answers. One problem they state is: "How do we know what else is going to change?"

We've had four major tax bills in the last six years.

Congress, I believe, is now convinced that we the people want stability in our tax laws, but ... There is a technical correction bill to be passed this year. Committee members admit that there could be substantive changes. Lobbying pressure for other changes will be heavy, and Congress has not had a record of standing up to pressures or making tough decisions. However, they are being pressured from other directions, the growing deficit and the unpopular position of voting further spending cuts or new taxes.

They might stand tough against tax giveaways and just clean up the errors and ambiguities. New taxes are possible, but it is unlikely they will be income taxes. New excise taxes and oil import taxes are more probable choices.

There has been some mention of a national sales tax but I doubt that would fly. Retailers would scream, and it would be a cruel burden on lower income people who are already suffering from social security taxes that exceed their income taxes.

Though it has not been heavily publicized or understood, there is a history of lower income tax rates actually producing greater tax revenue, especially from the upper income brackets. Tax shelters with debatable future gains lose their allure, and many of them have been curtailed in the new law as it presently stands. Also, the burgeoning underground economy and other forms of tax cheating become less worth the risk of being caught.

One of the questions I asked was: "What is the status of the tax deductibility of a subscription to CA ?" The answer was that it doesn't change much. For corporations and for other forms, partnerships or sole proprietorships, doing business in this field, a trade magazine is still a 8

Communication Arts January/February 1987

legitimate business expense. Since CA is beneficial to their career performance, employees can also deduct it on their itemized tax forms. Under the new law, this is added to other miscellaneous deductions like interest on a home, charitable contributions, union or professional dues, etc., and everything in that total that exceeds two percent of the adjusted gross income is deductible. For someone who does not choose to file an itemized tax return, it's not a factor, the same as under the old tax law.

There's a phrase I should inject here since it seems to accompany any advice of this nature that I've read. "Check with your tax advisor." The accountants' organizations have done their PRjob well.

0

Six years ago (Jan/Feb 1980) we published an article on Bradbury Thompson. I closed the design of that article with three pages devoted to a major project he had just completed, The Washburn College Bible. It was one of the most beautifully and intelligently designed, and soon to be one of the most honored and awarded, books of this century.

The entire text was set in lines of varying length, each accommodating a complete phrase, just as the words might be spoken. This provided better comprehension and poetic appreciation without modifying the language of the King James Version. The typeface was Saban Antigua, designed by Jan Tschichold in 1967 and based on a face originally cut about 1532 by Claude Garamond.

Other features of this three-volume Bible included, as a frontispiece of each volume, an original signed and dated print by Josef Albers. Reproductions of religious art masterpieces preceded each of the sixty-six books of the Bible. These were selected by J. Carter Brown, Director of the National Gallery of Art, from collections throughout the world. The original limited edition of 398 sold for $3500.

Later, a new edition of the Bible, in one volume, 1800 pages, slipcased, with reproductions of the Albers prints, was published by Oxford University Press. Some copies of the Oxford edition are still available from the original, and now exclusive, publisher for only $75. The Washburn College Bible, attention: Debby Shively, Washburn University Bookstore, Topeka, KS 66621.

0

Richard Hamilton Smith's photograph on our cover was taken in Grand Teton National Park with the snow fog masking the base of the mountains. It was a personal photograph taken during a vacation in the area.

-R.S.C.

TOYOINKS AND COLOR MATCHING SYSTEM. NOT JUST BETTER COLORS. ABETTER SYSTEM. We have come to accept it as characteristic of the Japanese that when they do something, they do it well.

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Exhibits: Planning and Design

by Larry Klein Introductions by Albert H. Woods and Harold J. Skramstad, Jr. Designed by Walter Barnard.

Published by Madison Square Press Available Spring 1987. $45.00 Over 100 exhibits by 45 Internationally known designers Including Barry Howard, John Follis, Herb Rosenthal, David Strong, Bruce Burdick and Chermayaff &Geismar.

252 pages, full-color.

275 photographs, hardbound 10"x 10!'

Containing diagrams, charts, blueprints and a resource section.

Topics Include: exhibit overview, commercial exhibits, museum exhibition, lighting and audio-visual.

The resource section provides information about museum organizations, trade shows and expositions, professional design organizations, stock system manufacturers, publications and periodicals of interest to the trade.

Prepublication Offer Communication Arts Is making a Spacial Prepublication Offer. Advance payment of $39.50 includes shipping and sales tax.

E

XHIBITS is a book that was truly created to fill a need.

Anyone who will be involved in designing, commissioning or fabricating exhibits, on any scale, should have it. Larry Klein has done an impressive, intelligent job of organizing a vast amount of information and quality examples into a book that is both practical and stimulating. In essence, this book was begun in 1980 when I commissioned Larry to write an article for CA on exhibit design. Since he had an established reputation as one of the finest commercial and museum exhib it designers in the country, much of this was drawn from his own experience and supplemented by his contacting other outstanding exhibit designers for information and examples of their best work.

The article ran in three parts in 1981 and drew a response that demanded expansion into a book. We investigated for other books on the subject and found a void, so we set plans and vague timetables. But a book for the design field is something you do for reasons other than money and it has to be done in free time. Larry had precious little of that in the next four years. First it was major exhibit and environmental design projects for Bright & Associates where he was a senior vice president. Then he took on one of the most demanding but satisfying jobs of this decade, Design Director of the Los Angeles Olympic Organizing Committee. This continued well after the Games were over as he supervised the design and production of two beautiful, thick volumes of the Official Report of the Games and was project director of the "Olympic Experience" exhibit that was shown for five months at the Los Angeles County Museum of Natural History.

We are not book publishers, so I looked for one who would be willing to publish the quality book we had envisioned .

Madison Square Press shared our feelings and Larry worked with Editor Jill Bossert on finalizing the manuscript. Walter Bernard designed the book and the jacket.

Our 47-page article has been developed and expanded into a 252-page book, the first quality publication on this important field of design.

Dick Coyne, Editor, Communication Arts

Fill out the Information below and send to: Communication Arts, P.O. Box 10300, Palo Alto, CA 94303

0 Payment of $39.50 Is enclosed.

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Or order now and we will bill you $39.50 plus $2.00 shipping when the book becomes available.

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Jtendy Richmond

REAL TYPE The other day my car got towed, so I took a bus to the office. You can learn a lot when you have to stand in one place for fifteen minutes with nothing to read but the stuff taped to the lamp post. One flyer caught my eye.

"Desktop Publishers: Laser typesetting for your Macintosh from our Allied LlOO typesetter. $15 per page. While you wait. Located next to McDonald 's~' That seemed appropriate. Cheap type fast. I tore off one of the little tabs with the telephone number and stuck it in my appointment book.

I was already familiar with the basics of creating pages on the Macintosh and getting repro. I knew how many typefaces were available, and I knew the typesetter was a Mergenthaler. (The L stands for Linotype.) I knew some of the benefits: You can compose and lay out all the typographic elements of a page-type, rules, and patternswithout using codes. The repro comes out of the typesetter with all the elements in place, so you cut down on paste-up. And I knew some of the drawbacks: The current selection of typefaces available for the Macintosh is limited; as of November there were only about twenty-one families. Most of the people using desktop publishing don't ask for much more than Times Roman and Helvetica.

Bembo is just a silly word.

I had been using a Macintosh to play with different headlines and new wave patterns. I decided to do an experiment. When I got to the office, I called the Laser typeshop.

"How many fonts do you have?" I asked.

"About forty. " (That means about ten families.)

The person on the phone gave me a quick rundown of typeface names. His list included a few that were produced by typographically naive entrepreneurs. I told him that those didn't count as typefaces.

"That's true:' he said, "not all of the fonts are old, historical typefaces like lTC~ ' Clearly his background was not typesetting.

He asked me some questions to make sure that my file would typeset correctly. "What program did you use?

Do you have more than three fonts in your file? Did you set the Chooser to the LaserWriter instead of the ImageWriter? Did you proof the page on a LaserWriter?"

I felt like I was taking a test. My grade was barely above average: I did select the LaserWriter, and I did proof the page on the LaserWriter. That was good. I used MacDraw, and a lot more than three fonts. That was bad.

16

Communication Arts January/February 1987

"MacDraw's font menu is listed differently than other software:' he explained. "This confuses the LlOO, and a complicated job won't set, so you have to load the MacDraw file into another program to stabilize it. And you can't use more than three fonts because there's a timing problem on the network; the fonts get in each other's way and there's a collision. But it can handle big type~ ' He talked about the oversights of software developers and the temporary software fixes that you can buy for fifty dollars.

He listed the programs that were due for revisions, and predicted which ones would be ready when.

He may not know type, but he sure knows his Mac. I asked if he would make the necessary corrections on my disk. He said that would defeat the whole purpose of this kind of typesetting. " The type is cheap because it's handson for you , hands-off for us. We' re not responsible for anything other than getting your file into the typesetter and pulling the repro out. You 're responsible for the placement, the spelling, the spacing, the specing .. .

Basically, you 're avoiding the cost of our labor."

I decided to simplify this experiment. I retyped the headlines in Microsoft Word, chose three styles ofPalatino and made them 127 points high. I was tired of the patterns anyway. I stored the file on a spare floppy disk, put it in my pocket, and went to get my car from the tow lot.

Then I drove to the Lasershop and got a space right in front of McDonald's. I went next door to a large, airconditioned office, littered with Macintoshes. The typesetter was in the corner near the darkroom. I found the person I'd spoken to on the phone, and handed over my disk. While the job was running, he talked about different software programs, Macintosh tricks and new products from Apple. Within fifteen minutes the job was set: a page of real type for fifteen bucks, and I didn't even use up the parking meter.

I got back to the office and looked more closely at the repro.

The characters were nice. It was, after all, Mergenthaler type. The spacing was so-so. This had nothing to do with the typesetter, and everything to do with the software program that I used to make the headlines; there was no way to modify the space between the letters. Desktop publishing programs are just starting to include built-in kerning and control ofletterspacing and wordspacing.

And Palatino was OK, but I really wanted Bembo.

Laser Typesetting for your Macintosh. It's real type, but it's not real typesetting.

Not yet, anyway.

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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-color catalog write: Comstock, 32 East 31 St., New York, N.Y. 10016 or call (toll free) 1-800-225-2727 or(212) 889-9700 inN. Y.S.

Tad Crawford

LEGISLATIVE UPDATE January brings the opening of the new session of Congress, an appropriate moment to review what happened legislatively in the last Congress and what we may expect in the next two years.

Bills affecting visual communicators in a variety of ways were introduced in the last Congress. Both for better and worse, none of these bills were enacted. Included in these bills were an amendment of the work-for-hire provision of the copyright law, a bill to extend the manufacturing clause and restrict the printing of art books abroad and a moral rights bill for artists.

Work-for-Hire Work-for-hire has been covered frequently in this column (May/June, 1983; May/June, 1984; May/June, 1986; and September/October, 1986). The 1976 copyright law provides that employees, or free-lancers who sign work-for-hire contracts to do certain limited types of assignments, are doing work-for-hire. This means that the employer or commissioning party is the author of the work for copyright purposes and owns all rights. The actual creator of the work has no rights whatsoever in the work.

Problems abound with work-for-hire. Intended by Congress to be a narrow loophole to the principle that the creator of a work is its author for copyright purposes, the loophole has engulfed the principle. The extensive coercing of free-lancers to sign work-for-hire contracts was fully documented in the 1982 Senate hearings.

More recently, courts have handed down startling precedents which make free-lancers into employees. This deprives the free-lancer of copyright without even the warning provided by the requirement that a written workfor-hire contract be signed. Senator Cochran (R-Mississippi) has steadfastly supported the struggle of the creative community for fairness in this aspect of the copyright law. S.2330, his bill in the last Congress, would have clarified the meaning of employee and restricted the use of work-for-hire contracts for free-lancers.

Propelled by the American Society of Magazine Photographers, the Graphic Artists Guild and the New York Society of Illustrators, a 46-group coalition of creators' organizations pushed for hearings on S.2330.

Senator Charles McC. Mathias (R-Maryland), Chairman of the Subcommittee on Patents, Copyrights and Trademarks, stated his desire to chair hearings on the bill.

However, the impeachment trial of Judge Claiborne made Senator Mathias unavailable to hold these hearings.

© Tad Crawford 1987

20

Communication Arts January/February 1987

Senator Cochran came forward to offer to chair the hearings. Preparation for the hearings moved forward as witnesses were selected and testimony finalized. However, not being a member of the Subcommittee, Senator Cochran's participation had to be approved by Senator Strom Thurmond (R-South Carolina). The Subcommittee staffers believed this approval to be a formality. In a dramatic decision on the eve of the hearing, Senator Thurmond refused to allow Senator Cochran to chair the hearings.

This ended any possibility that hearings on work-for-hire would be held during 1986. Yet it is clear that 1987 will see work-for-hire bills identical to or closely similar to S.2330 introduced in both the House and the Senate. Once that happens, the push for hearings will begin again.

Relying on grassroots support, the Coalition will seek to make a record documenting the injustice of work-for-hire as a crucial step in moving to amend the law.

The Manufacturing Clause The manufacturing clause expired on June 30, 1986, but not without a struggle in which Senator Strom Thurmond once again played a prominent role. As reported in this column (January/February, 1986), the manufacturing clause in our copyright law limited the ability of publishers to print books abroad and import them into the United States with full copyright protection. One of the limited exceptions to this rule allowed predominantly pictorial books to be printed abroad and imported into the United States. Originally scheduled to expire in 1982, the clause was extended to June 30, 1986 over a veto by President Reagan. · The cost of protecting our printers from foreign competitors had been borne by our publishers and public in the form of higher book prices. Historically infamous as a censorship mechanism, extension of the manufacturing clause found its support among those seeking to ret~liate against foreign competitors and to benefit special interests in the United States. Senator Thurmond intr.o duced a bill to extend the manufacturing clause indefinitely and make its provisions apply to all books, including pictorial books.

Despite united opposition by publishers and creators, it appeared the Thurmond bill would move inexorably to passage. The question was not whether the bill would pass, but whether the expected veto by President Reagan would be overridden.

However, opposition to Thurmond's bill solidified around the very negative impact it would have on the administration's effort to reduce barriers to international trade. Condemned from many quarters, the bill never

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reached the floor for a vote. Some feared that it might be revived, but any likelihood of that will have to be assessed in 1987.

For the visual communicator, the demise of the manufacturing clause reinforces the ability of the creator to reach the public with challenging imagery. In this way, the profound public policy goals underlying our First Amendment are served and diversity of expression encouraged.

Moral Rights Moral rights include the right to be credited as the creator of work and to have that work reach the public in an undistorted form. Widely adopted abroad, the concept of moral rights conflict with work-for-hire which denies the right of authorship and leaves no avenues by which the form of the work may be protected. This conflict and state moral rights legislation have also been discussed in this column (January/February, 1984; September/October, 1986).

Senator Kennedy CO-Massachusetts) has now taken the initiative with respect to moral rights. Late in the last Congress, he introduced a bill to guarantee moral rights for

22

Communication Arts January/February 1987

visual artists. His bill, which will undoubtedly be reintroduced early in 1987, protects works of fine art of recognized quality. In addition, the bill would waive the requirement that copyright notice appear on visual works and provide for a payment back to the artist on certain resales of original art.

The drawback of the bill is that it does not cover commercial art generally, nor does it cover reproductions. The bill explicitly states that the authorship right, "shall not apply to works made pursuant to contract for trade or advertising use~' Hearings on this bill were held on November 18, 1986.

This offered the opportunity for specific provisions of the bill to be closely examined and the exclusion of commercial art reconsidered. However, there is no doubt that Senator Kennedy is providing a valuable service to the creative community in championing the cause of artists' rights.

Tad Crawford, attorney and author, is also active as the publisher of the ASMP Silver Book and other annuals.

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I t's true that variety is the spice of life. Spice that is, not pickle. I f it were the pickle of life we could have a real mess on our hands.

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A CENTENNIAL REPORT Bennett Robinson and the staff at Corporate Graphics Inc. have been doing the H. 1. Heinz annual report ever since CG I was founded, ten years ago.

This year, they were asked to do something different. It was the hundredth anniversary of the first venture overseas by the original H. 1. himself (he's referred to, in this report, as the Founder), an event celebrated in England by the knighting of his grandson, the current chairman. The focus was to be on the company's offshore activities in, as the introduction puts it, "scores of countries on all six of the inhabited continents of planet Earth~' If the tone of that introduction is a bit Hollywoodian, the comparison is not inappropriate. Putting together this annual report seems to have resembled nothing so much as a major motion picture production.

What Robinson decided to do was to focus on seven events significant in the history of Heinz or of companies it has acquired in different parts of the world, and to reproduce these as double-spread paintings with the kind of attention to details of time, dress, setting and props that one has learned to expect in costumed extravaganzas or nostalgic recreations of earlier times. Robinson spent the good part of a year researching visual references for the illustrations; he's listed among the six names credited with editorial/research contributions to the report.

"I'm a person who loves accuracy.

It would have bothered me if one of these elements was wrong, or the trees weren't in bloom, or whatever.

Then it would have been like PR, and I wanted it to be real.

"I felt that in each of the areas we wanted to focus on, there was one main event-one in Canada in 1912, one in Australia in 1934, and so on.

Data had to be dug up. In almost every case, we had to practically re-create, 26

step by step, what everything looked like. There are actual people shown in many of the illustrations, people who are identifiable personalities.

They had to be re-created, as well, and recognizably.

"I found out, by the way, that anything you want in the world is in the National Archives in Washington.

Anything! We found a wonderful researcher we put to work there, and I myself spent a great deal of time in the picture collection here at the New York Public Library.

"For example, I came up with an interior view of the club car on the very train-I think it was called the Century of Progress-where H. 1. II, grandson of the Founder, was riding in Australia back in 1934, and where he happened to meet the then Prime Minister and a future PM, Menzies, who offered him some suggestions as to a proper location for the Heinz factory he was looking to set up. We dug up dozens of pictures, of the people themselves, the clothes of the time, all the details we wanted to recapture. It's all authentic; the casual reader wouldn't notice, but that's the kind of stuff that turns me on~'

Communication Arts January/February 1987

For other scenes to be pictured, Robinson relates, research data and astonishingly pertinent picture references were supplied by Heinz staff people, or those involved with the predecessor companies that Heinz later acquired. For the scene depicting dedication of a factory site in mainland China, he said, "We had only one miserable out-of-focus 8x10, but then I got a guy in Pittsburgh on the phone; he'd been there at the ceremony, and he came up with books and books of snapshots he'd taken.

Exactly what we needed~' Similarly, a man named Albert Nipp, who had been employed at a canned fruit factory in the little town ofElst, Holland, in 1944 when it was occupied by the Germans and an Allied parachute assault was mounted (as

Above is a portrait of Chairman Henry J. Heinz II and President Anthony J. F. O'Reilly at Heinz-U.K:s centenary celebration.

Painting by Max Ginsburg.

Right: 1878 painting of The City of Berlin in which Henry J. Heinz sailed eight years later and opened the British market for Heinz products with sales to Fortnum and Mason.

The painting is slightly cropped vertically on the wrap-around cover. Painting by Antonio Jacobsen.

First page of the text on the United Kingdom.

Drawing of the Hayes Park office with cows grazing on the lawn by Jean-Franc;;ois Alleux.

Painting of young H. J. Heinz II calling on a grocer is by Ellen Thompson. Drawing of a London bus by Doug Smith.

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HEINZ IN HISTORY

described in Cornelius Ryan's A Bridge Too Far), kept amazingly detailed scrapbooks of every detail in the town, including the labels on the products produced by the ftrm, which later became part of Heinz. His records provided the data for the John Berkey painting of that dramatic assault, in which Nipp himself is seen standing on the factory roof, watching the parachutists descend.

The basic format of the book was dictated by a painting which Robinson had spotted in the offtce of his key Heinz contact, PR VP Tom Mcintosh.

It was an 1878 work by a then-popular marine artist, Antonio Jacobsen, of the transatlantic motor-sailer City of Berlin, the very ship on which, eight years later, Founder H. J. Heinz set off on the journey which launched the company's offshore successes, and which the report was designed to commemorate.

Treated as a strong horizontal wrapping around front and back covers, the Jacobsen painting set the style for seven full-color illustrations which Robinson commissioned, each by a different artist.

Those illustrators were chosen, he added, for their ability to capture the quality of the various times and places.

Thus, Kinuko Y. Craft was commissioned to do the China scene-"I wanted the flavor of the scene, and I thought an Oriental artist would do it righe' For a scene showing farmers and teamsters in Canada in 1912,

"Skip Liepke's stuff looked like the early part of the century to me, and he's so comfortable with working people~'

Max Ginsburg-"l'd never known about him until I got his mailing"did the Australian club car scene, as well as a painting of the chairman and president, used in place of the traditional photograph with the Letter to Shareholders. Julian Allen was assigned a carnival-like scene in Venezuela. Jim McMullen recreated a trading post in what was then Rhodesia, in 1923. For a depiction of a historic moment in Milan, Eraldo Carugati dug up many of his own references on the scene, including the selfsame notary's table on which a key agreement was signed, back in 1908.

In addition to the paintings, Robinson commissioned 38 black-and-white illustrations, done by 16 different illustrators. These are interspersed in the pages of copy describing events and achievements at the various Heinz locations around the world.

"I wanted to use them like initial letters in a text~' Robinson explains, "so I wanted different styles~' Among the styles represented are those of Burt Silverman and David Johnson, with four illustrations each; Ellen Thompson, Theo Rudnack, Tom Lulevitch, William Low and Rosemary Webber, with three each; JeanFran~ois Alleux, Doug Smith, Barry Ross, Jacqui Morgan, Michael McCurdy and Andrzej Dudzinski,

Right: Milan, March 28,1908, Dr. Cesare Scotti, physician, Dr. Cesare Comotti, chemist, Dr. Edoardo Borioli, lawyer and Guido Vercelli met in the office of Federico Guasti, a notary public, to form a company that would "exercise the trade of food products~· Originally called "Plasmon:· the company is now Plada and the base firm of the company that is Heinz in Italy. Painting by Eraldo Carugati.

1912 scene in Leamington, Ontario, in the famous "greenhouse of Canada:· horse-drawn wagons of some 200 growers in a line more than half a mile long. Four years earlier, the citizens had voted for an expenditure of $10,000 to buy an old tobacco factory and make the building available to what a local businessman called "the Heinz Pickle Company."

Painting by Malcolm T. Liepke.

Henry J. Heinz II, aboard a train rolling toward Canberra in 1934, looked for a seat in the club car and came face to face with history when he made the acquaintance of Prime Minister Joseph Lyons and cigar-waving Attorney General Robert Menzies. Soon they were in deep conversation, discussing his assignment to find the most favorable location for a Heinz factory in Australia. Painting

by Max Ginsburg.

In 1983, a Russian visitor came to the Heinz installation with Eugene Whalen, president of the Food Council of the United Nations and formerly Canada's Minister of Agriculture.

The two of them put on their Heinz hats and posed with some Heinz products. The Heinz people wrote in their report: "He is the youngest member of the Politburo and there is speculation that he may be a future leader of the Soviet Union~· Drawing by Rosemary Webber.

Drawing in the Australia text section to symbolize cooperation between Heinz-Canada and Heinz-Australia in genetic research on tomatoes. If, for example, Canada finds a strain that looks promising, they ship the seeds to Australia and let them grow plants during the Canadian winter. Then they send the seeds back. Drawing by Michael McCurdy.

28

Communication Arts January/February 1987

HEINZ IN HISTORY

each with two, and one apiece from Michael David Brown, Wen-Yuan Hu and Ryota Kawai.

Design and production of the Heinz job, Robinson relates, was pursued simultaneously with the 40 other annual reports that the ftve CGI design teams turn out each year, under his overall supervision. In addition, the fum recently went transcontinental, opening a full-service Los Angeles offtce, with which he's also involved.

Fortunately, he says, "Heinz is an off-season report, published in July, so it didn't come in the high frenzy of the annual report season~'

-Mill Roseman

This annual report, featuring the centennial of Heinz's expansion outside the U.S., is set against a background of a very good year as shown on the financial highlights page below.

In fact, this is the eighth consecutive year with growth in both sales and earnings.

In that period, the sales volume has more than doubled and profits have tripled.

Right: The Olivine Industries compound as it looked in the early twenties in Zimbabwe (Rhodesia at that time). Olivine was founded in 1906 when Harry Margolis set himself up as a grain trader. By 1982, when Heinz acquired a majority interest in the company, it had become the country's leading maker of soaps, edible oils, margarine and candles. Now, in this country with an economic condition much better than most of Africa, and rising, the company also produces Heinz products. The first factory run of 100,000 tins of baked beans sold out in a week. Watercolor painting

by James McMullan.

San Joaquin, Venezuela, was down on its luck.

Once it had enjoyed a modest prosperity when the highway went right through the town, but a new autopista, a high-speed expressway, bypassed the area. Then excitement came w ith the news that a big food company from the United States was buying over 150 acres of Hacienda Cura. The citizens staged a parade to celebrate the opening of Al imentos Heinz with its jobs for the populace. Watercolor painting by Julian Allen.

Guangzhou, Peoples Republ ic of China, October 16, 1984 was the scene of groundbreaking for a new baby food factory.

Heinz- UFE is a joint venture between Heinz and two provincial organizations.

Painting by Kinuko Y. Craft.

H. J. Hanz Company and Consoltdat<d Substdum r:s

HIGHLIGHTS

(dollars in thousands eru pt pu sharr data)

Rttum on Awragt Sharrholdm ' Equi!y (in percent)

Oio1dmds and Earnings pu Common Sharr (in doll:us) • Di vidends • Earnings p<>r share Five· year compound growth: Dividends 16.9%. Earnings per share 13.7%

Sales Operating income Net income Per common share amounts: Net income Dividends Book value

$

4,047,945 491,477 265,978

$

3,953,761 454,121 237,530

8.98

206,331 85,524 923,520

158,830 78,833 759,708

136,971 70,245 726,697

Cash and short-term investments Working capital Total debt Shareholders' equity

405,255 704,479 540,588 1,360,007

346,485 686,955 463,413 1,230,454

310,642 606,394 448,676 1,120,659

134,125,804

136,102,374

139,662,554

Average number of common shares outstanding Current ratio Debt/invested capital Pretax return on average invested capital Return on average shareholders' equity

2.20 .87'h 10.17

1.77 28.4% 31.0% 23.3%

1.93

1984

Capital expenditures Depreciation expense Net property

Resta~mmt:

Communication Arts January/February 1987

4,366,177 551,121 301 ,734

1985

1.70 .67'h.

8.19

Sharr and pu shart amountsf or pnorytars havr bu n rrstattd to rrjltcttht two-Jor-ont stock split oftht compat1)''S common stock that btcatnt tjfraiw Stpttmbu 23, 1985.

30

1986

.77'h.

1.91 27.4% 30.5% 22.6%

1.81 28.6% 29.0% 21.0%

31

HEINZ IN HISTORY

The first Heinz production facility on the European continent came in 1958 with the purchase of Taminiau Conservenfabrieken, an old and respected maker of jams and canned fruit with headquarters and a factory in Elst, province of Gelderland in The Netherlands.

On September 17,1944, Gelderland had made front-page news. Near Elst is Arnhem, site of a bridge (A Bridge Too Far) that, along with another bridge at Nijmegen, had to be taken before the Allies could free The Netherlands.

"On that day," recalls a Heinz veteran, shown standing on the roof in the painting;· "we

32

Communication Arts January/February 1987

looked up in the sky, and how happy we were.

The sky full of parachutes, falling so graceful.

The British Airborne Division. There was much fighting still to be, and our factory changed hands twice in one day between the Germans and British. And then, on September 26, which I will always remember, a British Army captain offered me a cigarette. By that I knew at last we had been truly liberated. It was the best cigarette I had in my lite:' Painting by John Berkey.

Black and white illustration of the "tomato" visitors' center in Leamington, shown in the Canada text. Asked about the structure, the woman behind the counter said, "You're in the home of the Heinz factory, and Heinz buys 38% of all the tomatoes grown in Canada. There are 1,200 tomato growers here in Western Ontario, working about 30,000 acres of tomatoes.

That's upwards of 45 square miles. Canada used to be totally dependent on foreign countries for tomato paste ... So what kind of building would you have put up? A rutabaga?"

Illustration by William Low.

33

RICHARD HAMILTON SMITH At straight-up eleven o'clock on a Friday morning in Evanston, Illinois-when the natural gloom of a rainy fall day was being largely offset by a well dispersed forest of elms and maples at their peak of seasonal color-a lithe and rangy stranger eased out of his doughty 4-wheel-drive vehicle without disturbing either his back-pack or the enormously long-lensed camera slung casually over one shoulder. Having been briefed by my Palo Alto connection, I knew he had to be R. Hamilton Smith, a Minnesota based photographer of increasing national acclaim. And the reason for his coming to me-rather than the other way around-was his presence in the Chicago area to work on a major photography book on the State of Illinois.

My visitor's primal enthusiasm for the medium was immediately confirmed by his excited comments on how the canopy of color on our streets related to what he had covered earlier in the week (from a helicopter) in the flooded western Illinois woodlands along the Mississippi.

Here, indeed, was a true believer in not just the power of image making, but in the joy ofthe process, itself.

Smith's addiction to the medium could be termed an unexpectedly high return on an investment in someone else's education. "My college roommate couldn't pay his half of the rent in our senior year, so I paid it. And still being under-funded at year's end, he offered me his old Yashica camera (one lens and no internal metering) in payment. I put it up to my eye and liked the order it gave to the scene. So I said, 'Great, how does it work?'

"Up until then, I had not played with any cameras at all.

Our family had a camera but I had never really shot that many pictures with it, for whatever reason. I had played around with a lot of art media trying to find something, but I didn't have the patience for drawing and painting.

My mother was very creative, and she was also highly supportive in letting us kids do whatever we wanted. And if we got bored in one area of creativity, she would urge us to try another. My dad was in the Air Force, so we lived in a lot of different places.

"So when the photography opportunity came along, it sort of satisfied a mechanical aptitude that I have. I was the kind of kid that the day after my dad gives me a bicycle, he comes home from work and finds the whole thing taken apart and strewn all over the garage floor. I wanted to know how it worked, and then I'd put it all back together again. I did it with toasters, clocks and just about everything else with moving parts.

"Even so, I'm not into what might be termed as 'technomania; the latest gadgets and all that. I purchase certain lenses because they do a particular thing for me, and support the ways I want to see things. People often ask me what camera to buy, what lenses and so on34

Communication Arts January/February 1987

but I'm just not into all of that; all cameras and lenses today are as good as the photographer will let them be.

"I've never taken any classes, never gone to school in photography. And after my roommate gave me that camera and showed me basically how it worked, I figured that the only way to learn to use it was to go out and shoot a lot of film. So that first summer ('71), I bought sufficient film to accommodate some 500 exposures.

I think that there's maybe one image left on that first summer's work, and I keep it around just for nostalgia's sake. Going over that first season's shoot, there were certain things that interested me and, after awhile, I became more conscientious, as well as more daring, and kept a little notebook on how such experiments as pannings and double exposures were working out.

"My first job after college was in the north woods of Minnesota, where I lived and worked in a YMCA community camp, and was there, all by myself, over the winter. And the first time I took my old Yashica out into a below zero January day, it just screamed and died on me. So I traded it in on a second hand Pen tax, which I loved, and purchased additional lenses for from time to time. And that old Pen tax was my sole camera until about '77'!'

Smith recalled that at about three years into his photography experience, he realized that his interest in the camera extended far beyond its application as a handy recording device, and that his facility with such technical aspects as f-stops and shutter speeds was much less important than composition and related aesthetic differentials.

"I found myself seriously looking at pictures in books and magazines and assessing their qualities against my own photographs. And not being naturally over-modest, I concluded that my own pictures had many of what appeared to be the requisite qualities for the market place.

Unfortunately, I had no real idea of how to go about getting them there.

"As it turned out, my timing couldn't have been better.

In that period from '76 to '78, a number oflegislative initiatives led, ultimately, to the setting aside of various wilderness tracts around that area. And since I had accumulated a large collection of photographs on just these kinds of environments, some people heard about me, and my pictures started getting sold and being widely reproduced. 'This is really neat: I told myself, and selling those first images was certainly a gratifying development.

And while I realize now that my prices were ridiculously Personal photograph used as an album cover. Anne Robinson, art director; Windham Hill Records, client. "My next door neighbor had dropped his screens onto the grass during a house painting project.

A summer storm interrupted his work, but whetted mine:·

35

R. H AMILTON SMITH

low, it didn't matter at the time. What really mattered to me, then and now, was making pictures~' In the first flush of success in selling some of his images, Smith continued with his job on the camp's administrative staff, and actually put aside his camera to avoid conflict of interest. But he soon discovered that the withdrawal pains were too severe. "Midway through the summer of '78, I knew I was through at the YMCA camp, and had to pursue photography on a continuing basis.

"By then, I had accumulated a few tear sheets and something of a track record, so my wife and I left northern Minnesota for the Twin-Cities. Having lived in the north woods for nine years, going to the city was a pretty intimidating prospect (and coming to Chicago would · have been unthinkable).

"Again, my timing turned out to be good. Three weeks after our arrival in the Minneapolis/St. Paul area, I got a call from a National Geographic photographer who had set up a series of nature photography workshops in the big ski areas of the region. At one of these, the person scheduled to run the workshops had to cancel out just three weeks before the opening, and he recommended me for the job. So we were rescued from the city at the eleventh hour, and headed back to the woods; this time, in northern Wisconsin.

"I stayed on there for one year, finding that the combination of doing workshops and also acting as press photographer and darkroom jockey for the resort was both uninspiring and unrewarding from my career perspective. However, it was a real learning experience. And the emphasis on black and white photography (including making prints by the hundreds) helped solidify my preference for color.

By that time, I knew that color was where my heart was, that color is the way I see the world. Once in a while, I get a black and white assignment, but most of the time I prefer not to do ie' On their second try, the Smiths' move to the Twin Cities (1980) achieved more permanence, as well as a new prominence for the middle name. "I started using R. Hamilton Smith as my by-line because I had found myself being confused with several other photographers named Richard Smith~' As the interview progressed, I was subjectively cheered to find that Smith shared some of my own predilections in photography; on such basics as lenses and light, for just two examples. "I love long lenses. Only infrequently do I shoot with a normal lens. And if someone told me that tomorrow I had to leave for six weeks shooting in Nepal, and could bring only two lenses, I'd probably choose a 300mm and a 24mm. For some reason, I prefer the extremes.

36

Communication Arts January/February 1987

"I learned about light and composition in the woods. The back country of Northern Minnesota is a very subtle environment; not like the Grand Canyon, where you walk up to the edge and it takes your breath away. The north woods region doesn't have that kind of impact, but before you realize what's happening, its special quality gets to you.

For one thing, it's more disorder than order. I found myself making simpler and simpler images, reducing visual options down to one, two or three elements. For me, those were the evocative pictures; pictures that said what the place was really about.

"Among the consequences of this experience, I'm not intimidated by natural light-in contrast to many studio photographers who feel out of situation control when dealing with natural light. So I brought those lessons and those responses with me to my new urban base. And I continue to bring the same lessons to corporations, advertising agencies and design firms; where I'm known for simple graphic, naturally well lighted images~ ' I couldn't imagine a better closing argument for the case of R. Hamilton Smith, Photographer.

-Rhodes Patterson Postscript: "By the way... beginning January, I will be dropping the initial 'R' and using my full name as a credit line, byline, etc."

-Richard Hamilton Smith

Grackle in a fl owering crab apple. Les Line , editor ; National Audubon Bird Calen dar, clie nt.

Hog was shot for a book entitled Minneso ta II. Robert Reynolds, desig ne r; Dou g Pfeiffe r, pu bl isher; Gra phic Arts Center Publish ing, cli ent.

Ti ger in winter was used in Minnesota II and as a poster entitled " See how fast you can cross-country ski:' Bob Barrie , art director; Mike Lescarbeau, copywrite r; Fallon McElligott, agency; Minnesota Zoolog ical Gardens, cl ient. " Immed iately after squeezing off this fram e, the tiger leaped fo rward, extended his paw through the cage netting, and missed disemboweli ng me by a few inches: '

37

38

Communication Arts January/February 1987

R. HAMILTON SMITH

Left Page: Cabs and motor home, shot while hanging from a 150' crane, were used as an ad for Winnebago Industries, Inc. Amy Usdin, art director; Carmichael-Lynch, agency. "During the shoot one of the cabs overheated and blew a radiator. Great timing and the perfect touch:' Unfiltered twilight harvest shot resulted from an extended sunset afterglow and a long exposure .

Paul Panoc, art director; Farm Journal magazine, client.

Boathouses on the Mississippi before dawn in Red Wing, Minnesota for Minnesota II. Robert Reynolds, designer; Doug Pfeiffer, publisher ; Graphic Arts Center Publishing, client.

Skier at dawn, shot for Minnesota Tourism . Rod Booth, art director; Colle & McVoy, agency.

This page: Hanging pots shot in a yurt, a Mongolian tent popular as an overnight dwelling along cross-country ski trails. Ginny Hosletter, editor; Cross Country Skier magazine, client.

Aerial photo contour planting was shot, but not used, for Minnesota II book.

39

R. HAMILTON SMITH

Personal photograph of trees in a meadow.

White barns shot for an upcoming book on Illinois. Jim Patrick, publisher ; Foremost Publishing, client.

Personal table-top shot later used as the cover shot for Developing the Creative Edge in Photography. Karen Geller-Shinn, picture editor; Bert Eifer, publisher; Writer's Digest, client.

Grain elevator with moon. "This is not a filtered shot, but the result of the weirdest sunset I've perhaps ever seen:· Paul Panoc, art director; Farm Journal magazine, client.

41

R. HAMILTON SMITH

42

Communication Arts January/February 1987

Unpublished photo shot for Minnesota II book.

Robert Reynolds, designer; Doug Pfeiffer, publisher; Graphic Arts Center Publishing, client.

Kevin and Ronnie Harmon shot at the Iowa Hawkeye stadium. Barbara Henckel, picture editor; Sports Illustrated magazine, client.

Men fishing off of a bridge was used for Minnesota II.

43

DYER/KAHN

A shiny dark car of indiscernible manufacture appeared suddenly at the airport curb.

moved if you had ambition, so Dyer did it. "Manhattan formed my real learning ground~'

"Rod couldn't make it~' the driver apologized, opening the passenger door. "Maybe it's better this way. At least you'll arrive at the studio intacC' The driver turned out to be Tim, an account executive at the design firm. Tim punched it. The road blurred.

But Dyer, after five years of sedulous work, abruptly decided to strike out for the West Coast. "Just to see if' His reception in Los Angeles was not as warm as the climate. It was 1962, and the design scene there was still in the incubator. No job and no car, Rod rode around town on public transit. "I made friends with Keith Bright, Norm Gollin, Robert Miles Runyan-all doing wonderful work. But no work for me~'

Only seconds later-or so it seemed-a one-floor elevator ride presented us at the studio entrance. Dyer/Kahn, Inc., the glass door said. Design, Advertising, Communications.

Inside, hazy north light from Wilshire Boulevard filtered down through industrial windows, illuminating a large, rectangular workroom. It looked for all the world like a tropical fish tank which had been inadvertently bumped.

The specimens within, varieties of every color and stripe, darted back and forth in hurried agitation.

Just then the glass opened, and carried forward on a wave of noise came Rod Dyer. "Sorry about the chaos~' he said, smiling casually. "We're having a busy day."

That particular greeting may as well have been a recording.

By all accounts the design firm of Dyer/Kahn has a busy day every day. It's the kind of place that thrives on haste, where disorder reigns and clutter is king. Stacks of Japanese magazines punctuate tables overflowing with work in progress. Everywhere the effluvia of modern culture lay strewn in colorful abandon.

Rod himself looked like a page from one of those magazines. He was wearing a rumpled, black linen suit that may have been designed last week and will probably be tossed out tonight, only to be replaced by an even more stylish one tomorrow.

The work generated by the L.A. designer is no less fresh.

If you came across an example of it, reproduced with the credit, "Rod Dyer, age 52~' you might assume the numbers had been transposed. His is some of the most youthful design produced in a city famous for youthfulness. And he was born about as far away from L.A. as you could possibly get: Pretoria, South Africa.

His career got its start in Johannesburg when, at the age of 16, he attended a technical college to study commercial art and photography. These classes led to jobs in local ad agencies.

"As I think back to Johannesburg~' he mused, "my portfolio was fairly pathetic~' New York was where you 44

Communication Arts January/February 1987

A job with Jerome Gould finally broke the ice, and Dyer began designing packages for Anheuser-Busch, Laura Scudder and Ford.

From Gould he moved to the legendary agency, Carson/ Roberts, and three years later took a position as head of graphic design for Charles Eames. After six frustrating months, however, disagreements over the Herman Miller account led to a parting of the ways. "I was fired, actually."

Yet the year was 1967, and in 1967 exciting things were in the wind. The record industry had begun to adopt a more openminded attitude toward design.

"It was a time when I felt I could come out of my shell~' Dyer took a job designing packages for Capitol Records, and after a year of successful covers-not to say revolutionary-he quit to go it alone.

"When I broke away from Capitol, I was doing everything myself. I picked up the jobs, I designed them in the car, and I set up the shoots when I got back home~' He had built a photo studio adjoining his design studio, and, working out of a rented house, transformed himself into a one-man art factory. But what separated Dyer from the crowd of would-be music designers, and ultimately earned him a looming reputation in the entertainment industry, was his knack for grasping the big picture. "Most designers were content to bring in a cover, pick up a check, and walk out with the next cover. Because of my agency training, I began exploring the promotional possibilities of music as well. It was hectic, but it was fun. In the late Sixties I was doing about ten albums a week, and at the same time cooking up complete promotions-posters, mobiles, counter cards, ads-whatever I could think of' In retrospect, the brilliance of the spotlight may have inflicted Dyer with temporary blindness. For in 1972 he gave up his design business to set his sights on the New York world of fashion photography. As fate would have it,

In the sixties, the sudden rush of music that came out with the social conscience movement kept record companies very profitable, allowing them to take chances on a lot of acts and album covers.

According to Rod Dyer, "The only limitation was your own imagination. There was a sense of freedom in the artwork and people were responding to that:' Companies outside the record industry aiming for the same youth market were also responding by asking Dyer for that forward thinking approach, exclaiming "We want something that looks like an album cover," enabling his business to expand into other areas.

Growth began to level off in the middle seventies and record companies, overstaffed and carrying too many unprofitable acts, began to cut back on business. Then the price of vinyl nearly doubled in two years and the industry was hit with a slump.

"Everybody cut back:' Rod remembers. "The creativity went out and the wind was blown out of everybody. Most of the good designers working for the record companies moved on into other areas where the budgets were healthier."

Today, newer technologies have changed the record cover permanently. First audio cassettes, then compact discs and video cassettes have decreased the image area to a few inches. Will this become a creative outlet because of the need to differentiate product in a crowded store? "I don't think they've even started to scratch the surface yet. They have to start getting very creative with their packaging:• The Wailers Catch a Fire for Capitol Records.

Dyer was art director, designer and photographer.

"They loved the idea, so we went ahead and did it. Totally impractical in the sense that it had to have a grommet put in the side of it, which didn't help when the records got stacked because the grommet was damaging the records:' Billy Holiday Blue Lady for Coral Records; Rod Dyer, art director.

45

his money ran out before his ship came in, and he was summarily forced to accept the plan as a mirage. "Three months. It was a complete disaster. I scurried back to California, flat broke and humiliated~' His spirits lifted, though, when his first week back yielded a new car and ownership of a house. "I made a deal with my old landlord, then I did a $200 album cover and leased a Porsche. I thought: if I can do all that in a week, imagine what I can do in a month~' The rock-and-roll business, still inchoate in the Sixties, had by the Seventies blossomed into big business, and Dyer's business grew in proportion. "The hippie era was in full swing. Tons of products were coming out. I was designing for MGM, Dot, Liberty, UA, Motown-all the companies.

"Deep down inside I always wanted my dream studio, which I finally got. But along with the dream studio came all the nightmares of business. I had a dozen people working for me, yet I was doing the design, handling the client contact, and managing the studio all at the same time. I coped by sneaking in at five every morning. That was my design time, from five to seven-thirty. After a while, though, my clients discovered they could wake up early and call me~' There's no need to dwell on Dyer's dilemma. The story of the stressed-out designer is too common to elicit much interest among readers of this magazine.

Dyer's tale, however, unlike some of those told by owners of studios, resolved itself rather happily. A friend and former boss, Jack Roberts, suggested Rod might contact a young man of his recent acquaintance. He was working in professional theatre, Jack had said, an all around manager. Jack had heard him speak one evening. Very impressive. Maybe Rod should give him an interview.

Enter Bob Kahn. Compared with the theatre, design management must have seemed like a walk-on part, because within a few short years Kahn had completely organized Dyer's business. He was soon made a partner.

"When I came aboard in 1979;' said Kahn, "we did very few estimates. Little was put in writing because Rod worked with people he knew, mostly in the record industry. After we finished a job he'd tell them, 'Well, we've got about $3500 46

Communication Arts January/February 1987

DYER/KAHN

Symbol for 20th Century Fox's The Man With One Red Shoe; Rod Dyer, art director; Bill Murphy, designer and illustrator. The advertising campaign started as teaser billboards showing the shoe with no title.

Isaac Hayes for ABC Records; Dyer was art director, designer and photographer.

One of a series of jazz records for MCA Records ; Rod Dyer, art director; Vargan, designer.

Two spreads from a brochure and ads for Guess, Inc. Paul Marciano, who runs the in-house advertising agency, and photographer Wayne Maser create the direction and theme for each campaign then turn over the photography to Dyer and Clive Piercy who act as designers. "They usually get models out of Europe, models that haven't had any work in the U.S. so that they have a fresh look, a fresh face each time their advertising comes out. The advertising is extremely effective even though it does offend a certain group of people. It's good though because it creates a lot of publicity. I've seen the ads slammed in Adweek and then receive rave reviews in Time magazine:'

47

DYER/KAHN

in time, and about $1500 in type~ They'd reply, 'Okay, bill me $5200~ Rod would turn to the bookkeeper and say, 'Invoice MGM $5200~ But more often than not what they said was, 'We've only got $4000 in the budgee And Rod would say, 'No problem~" While Dyer still determines the style and direction of the business, Kahn has developed the support systems: estimating, scheduling, cost management, negotiations, sales. "I handle things like staff supervision, insurance policies and legal problems-I leave the creative side to Rod. He's the boss.

"In fact, everything about the studio is a reflection of Rod, including the pace. He always has ten things to do at once. I've watched him. If he only has eight, he goes out and finds two more~'

Logo for Piccola (tiny in Italian), a small cafe-style restaurant. Rod Dyer was the art director and designer.

Left to right : Rod Dyer, Bob Kahn Frank Zappa Studio Tan for Warner Brothers Records; art direction and design by Rod Dyer ; illustration

by Gary Panter.

Poster promoting Golden Earring for MCA Records/Trak Record ; art direction by George Osaki; design and photography by Rod Dyer.

Two from a series of posters for Center Theatre Group Theatre/Ahmanson Theatre. Rod Dyer was the art d irector and Hoi Ping Law the designer. Steven Madson illustrated A Patriot For Me. Michael Bryan colorized a Dick Zimmerman photograph for The Hasty Heart.

In an effort to match Dyer's appetite for creative work, Kahn has added a full-time administration layer that so far includes a new business person, a media person, an account executive and several bookkeepers. "Everyone in the office has learned to stop what they're doing and deal with problems right when they come up. If you need an answer to a question, you just go and ask it. It's not rudeness here. It's called management by interruption.

It may appear chaotic to a passing observer, but in reality it's a highly orchestrated system~' "It's just plain necessary;' said Dyer. "With music packages, for example, the turnaround time is very quick. Sometimes you do them in a day. Others, maybe a week at the most. And that's final art, including illustration. It's conveyor belt design. When I review portfolios, I always look for ideas. A lot of beautiful books are like smokescreens for a lack of conceptual ability. I need people who can think ten different ways at once~' As the roster of clients expands, the staff grows larger (now up to 25) and the pace even more febrile. The company's list of entertainment projects still forms the mainstay of the business, swelled by the advent of cable TV, home video and compact discs. But the partners have lately placed equal emphasis on fashion, food and real estate, as well as on more conservative categories such as industrial and high-tech.

Is there any difference between entertainment work and corporate work? Kahn smiled. "Only the way you dress for the presentation~' -Marty Neumeier

48

Communication Arts January/February 1987

-·--· --------

ijliii!.IP!IJ

8 IP T. U -I If. H, II U

O M.NCCFMii

~~

49

DYER/KAHN

Movie poster for Atlantic Releasing's Extrem ities; Rod Dyer art directed and co-designed with Bill Murphy.

Ahmad Jamal '73 for Casablanca Records. Rod Dyer art director and Phillip Chiang designer.

Dyer art directed and designed the Dwight Twilley Band Sneak Preview cover for Shelter Records.

Dyer art directed, designed and illustrated the wrestling poster for the Signature series commissioned by then design director Arnold Schwartzman of the Los Angeles Olympic Organizing Committee. The art was generated by silkscreening the image off register and then color separating.

50

Communication Arts January/February 1987

51

DYER/KAHN

S · 11 · 11 · N · rl, · I · N · IJ Spectrum Foods was interested in merchandising products to sell through their Spuntino restaurant and commissioned Dyer to create the logo. Clive Piercy was the designer.

Exhibit booth for Hughes Communications ; Rod Dyer, art director; Clive Piercy, designer. "We were trying to get attention for them and we were met with a great deal of resistance. Bob had to go out and do a lot of talking but ultimately they came around.

It's been successful for them and they've continued to use it at various shows:' Spreads from promotional brochure produced in the mid '70's for Westland Graphics, a printing company specializing in work for the record industry. Dyer was responsible for the art direction, the majority of the photography and was co -designer with Phillip Chiang and Jon Echevarrieta.

Dyer art directed, designed and illustrated two posters for Spectrum Foods' Prego restaurant, used to promote a fund-raising event for a local hospital.

Sagra Del Vi no means festival of wine and Festa Della Vendemm ia means festival of the vintage. " It's a quick doodle but after ten quick little doodles, I pick one.

There's very little time for me to do any drawing and it's a nice release:'

52

Communication Arts January/February 1987

F

u ;Ia 1-

H J

R

... ... c "'N D R E ,.. 0

WE

53

WIEDEN & KENNEDY In the opinion of an Advertising Age overview of the nation's advertising agencies, two out of seven of the "hot creative shops" are in Portland, Oregon.

The Wieden & Kennedy offtces are at the edge of Portland's Old Town, a block away from another creative agency, Borders, Perrin and Norrander. The two ftrms are not connected, sometimes compete for clients, and established themselves from different directions, but there are similarities. BP&N's phone book ad says, "timid clients need not apply." Wieden & Kennedy say, "no new clients, please~' In its fourth year, W &K is already working at 120% of capacity.

tising theme is 'What's the truth here?' The truth is the only thing that works for both the client and the reader."

I think two things shaped these ideas. One is that Dan grew up with advertising.

Well-judged risk is one ofWieden & Kennedy's themes.

Not so much in breaking sound advertising principles; W &K ads are soundly produced, but in trusting a strong idea and knowing that the target reader will understand an ad's human communication and the emotion it generates.

His father, Duke Wieden, is one of the area's most respected advertising people, a founder of the American Advertising Museum, and a former principal of the Joseph R. Gerber Advertising Agency where Duke worked with the legendary Joe Gerber. Among the many creative ideas to come out of that agency was the translation of the name of the Hirsch-Weiss sailmaker's loft from the German to become the trade name "White Stag" when that company turned to the manufacture of the nation's ftrst skiwear. Coincidentally, White Stag is now an advertising account ofWieden & Kennedy.

Duke Wieden brought all of the agency excitements of creative ideas and business successes home with him plus a deep understanding of the good and the bad parts of the craft. Two sons, Ken and Dan, entered advertising as copywriters.

A second factor that was to shape the attitudes oftoday's agency was a two-year experience at McCann-Erickson.

Dave Kennedy had come from Chicago to a post as an art director of the McCann offtce in Portland and Dave and Dan worked together and talked together.

Dan Wieden says, "We're a very emotional shop and we produce emotional advertising. I guess one of the reasons is because the place we work allows us to explore emotions. Not without some guidelines and limits. We're very serious about advertising and we care about the craft. It hurts to care. What matters in fmding an adver-

This was the time in the '70s when the McCann national organization had established survey pre-testing of ads and recommended the proven-best way to make ads; big photo, headline, body copy and sig at the lower right.

The intent of the research, formulas and copy-absorption tests was, of course, to give certainty to advertising clients.

In 1985, Malcolm Forbes for Forbes magazine, headed his editor's column "The most brilliant ads since Volkswagen Beetle:' referring to Wieden & Kennedy's campaign for Nike running shoes. Steven Heller and Seymour Chwast in an Adweek "Design 1985" article chose Wieden & Kennedy ads for Soloflex and Honda Scooters-"Superlative ads are those designed with a certain amount of risk~'

54

Communication Arts January/February 1987

Recently, Dan Wieden was to say at an Ad Age workshop in New York, "I spent two years in an established 4As agency. The demand for predictability is ruining this business, making human communications stilted-near impossible. Take whatever makes you feel comfortable, safe and certain and flush it.

A year later, they'd moved to a full floor of civilized offices, and with an increased staff of fifteen, added work for Soloflex fitness equipment and Speedo swim suits.

Dan, a competition swimmer in college, knew the Speedo language. They were fast building an image as a sportsoriented agency.

"Stay fresh, have fun. There's always some element of risk in a new advertising idea~'

Nike was expanding and diversifying and decided to increase its market share with a multi-million advertising push. That promised to be a lot for a young agency to handle and W &K found itself in an agency review with San Francisco's Ogilvy & Mather and Los Angeles agencies, Doyle Dane Bernbach, William Esty and Chiat/Day.

In 1981, when one of Oregon's fastest growing companies, Nike, moved its running shoe advertising back to Portland, Dan Wieden and Dave Kennedy joined William Cain, Inc. to work on the account.

Dave Kennedy says, "Nike was very demanding. It's the whole athletic nature of that corporation. I mean they are laid back and crazy and all that stuff ... but being sportsminded, they are very competitive.

"There are a lot of advertisers who really don't put you to the test, like, 'is this really as good as it can be, guys?'

It's all that Endorphin in their brains, somebody said.

Without that challenge to top performance, I don't think we would have achieved as much.

"At the William Cain agency, Bill always said an agency should be like a box of warm puppies~' "We wanted to be like Dobermans;' Dan said, so on April Fool's Day, 1982, they left with the Nike running shoe account and opened Wieden & Kennedy in an office that looked like a one-car garage.

Nike gave them everything they could handle and more, and they still took on a data processing and a hospital account.

Nike split the account between Chiat/Day and W &K. Chiat/Day produced a name-building corporate campaign which included dramatic outdoor boards during the Los Angeles 1984 Summer Olympics. Nike's tennis shoe division ads and some apparel division pieces were placed

by Chiat/Day, but Wieden & Kennedy retained Nike's running shoe account, the kid's division and other apparel advertising.

Dan Wieden said, "We were more than thrilled to keep our part ofNike. The outcome gave our small Portland group a huge shot of self-confidence. We knew that we'd grown tremendously because Nike had demanded it of us and that we could apply what we did for them to virtually any accoune'

Point of purchase poster for Nike shoelaces. Dan Wieden , copywriter; Susan Hoffman , art director; Pete Stone, photographer.

55

WIEDEN & KENNEDY

In the spring ofl986, Nike returned all of their advertising to Wieden & Kennedy. Two blocks away, Portland's other Oak Street agency, Borders, Perrin & Norrander, put together an ad for the trade and local press, "Congratulations, Wieden & Kennedy. The other shoe has fmally dropped~'

In their third year, with a large body of work for lifestyle products, Nike, Speedo, Soloflex, they sent their portfolio off to Los Angeles' Neil Leventhal, manager of Honda's motor scooter division. Now they're working for Honda as well.

One of the W &K Honda Scooters commercials, shot in New York, is a study of street life set to the sound of Lou Reed's 1972 "A Walk on the Wild Side~' Reed, sitting on a Honda Elite, utters the only dialogue at the end, "Don't settle for walkin' ~' W&K clients point to consistent quality of work, genuineness and honesty and a desire for a collaborative effort in the client's interests. "Not just wanting to protect their flanks and their own ideas~' A visit to the agency now shows a well-ordered section of offtces for account services, media, accounting and offtce operations. But the creative section on the south side of the atrium-centered floor is like a boiling cauldron of bubbling soup.

"We don't have much structure;' they say. "We're sort of making things up as we go. Everybody works on everything~' Dave's offtce is full of memorabilia. Dan's ancient oak roll-top desk is in the corner next to his computer/ word-processor. Art directors Susan Hoffman and Rick McQuiston are nearby and copywriter Jim Riswold wanders around thinking. Ask them a question and they all pitch in with comments. And they all work incredibly hard because they like what they do.

Susan Hoffman is very direct and charmingly honest.

"I like to work and border on the workaholic;' she says, "I did the Nike 'shoelaces' series with Dan, and I work on Honda, White Stag, the ADP computer systems account, and KINK, our radio client's things.

"Advertising is a challenging job. It's not like being a banker.

Friends say, 'Wow, it's like being able to play school; and in a way, it is. You get to be creative and people have a sense of humor. It's something to like in life~' Jim Riswold smiles, "I haven't taken a vacation since I've been with W &K~' Jim adds, "Dave and Dan aren't scared of anything. The shop's motivated by two creative people and you know where their heads are coming from. They're creative people first, business people second. Do the ads and the rest falls into place.

56

Communication Arts January/February 1987

The Wieden & Kennedy creative staff. Standing: David Kennedy, Dan Wieden, Rachel Nelson. Seated: Janet Champ, Susan Hoffman, Kristi Myers, David Jenkins. On the floor: Jim Riswold , Barrett Rossie, Rick McQuiston.

"They're great family men and they both live way out in farm country; Dave is in Estacada, 30 miles out of town and Dan in Dundee, 25 miles the other way. Hicksville East and West. Dundee population: the Wieden family."

Dan Wieden had said in his Ad Age speech, "Oregon is not exactly heavily populated, but the people you get to know, you get to know intimately. So you get to talk one-to-one, in contact, not in social skirmish.

"In advertising creativity now, there is no center. As a writer from Alaska told me recently, the only place good advertising comes from with any consistency is that place between your ears.

"The biggest crime is not caring. Treating advertising as only a business is hardly fair to the client. Anyway, that's no fun. You might as well go catch ftsh~' I don't know if this young agency's amazing success has come from their "lifestyle" accounts having found them or from the agency's having assembled a staff that suits the "lifestyle" understanding of their client's needs.

Somehow, they seem to match their major clients in a current world.

I do know this; when I talk to them about anything but advertising or sports, their eyes glaze over and turn up to the ceiling.

-Byron Ferris Two ads from a campaign for Speedo America.

Jim Riswold , copywriter ; Rick McQuiston, art director; Randy Miller and Pete Stone, photographers.

One ad from a series for American Honda Motor Company, Motor Scooters Division. Jim Riswold , copywriter; Susan Hoffman, art director; Gregory Heisler, photographer.

Ad for White Stag. Barrett Rossie, copywriter ; Rick McQuiston , art director; Stephen Wilkes, photographer.

Just add oompetitive waters.

Whenever theresa pool heated by competition, you'U find more swimmers coming to the blocks in Speecio. In suits like the Miami. e{. · A suit with a fit, a ted, and a look that can mean only one thing.

You'll look good on the victory stand.

Think of it as afbrschebrthe pool.

Sure, the Speedo Sydney is one great-looking suit. But we didn't make it~ you could show off by the pool all day long. Once you c

put it on and ted the fit, and how it cuts through the water; you'll know exactly what this suit was meant for:

1be time of your life.

,......._ '

a~__,

~?£..£..'0

V

u.s. "-'-'S... ........, .....

or triple stitching each THE MOUNTAIN IS 40~ ~fu' even at the highest double seam. Reinforcing critical THE TEfiiiERATURE IS lr And~ arowK1 these mate- stress points. Waterproofing THERE'S NOI' MUCH rials, we've included technical places you can't even see.

Finally, we tailor every last YOU CAN DO ABOUT features that help you forget detail into a fit that helps you THE MOUNTAIN• about the e!emen~. and con· move with more comfort and centrate on the tnp downhilL Before you master the mountain, you had better master the cold.

That's why, at White Stag, we engineer every piece of our men's and womens skiwear with one important assumption: U you didn't need special protection from a harsh environment, you wouldn't need special, high-performance clothing.

Starting with extra barriers to block the wind Zippers that won't freeze, and extend all the way through the collar. Drawstnngs that adjust your waistline. Well-placed compartments that store your accessories, and roomy, accessible pockets with warm, flannel lining.

To top it all off, there are precisely constructed hoods that keep you covered, then

Gore-Tex:" We add insulation, like Thinsulate~ that won't let

features together as if your life depended on it Carefully

hand~::=~~~~~·

Al.WAYSWEAkAHELMETANUEvt~

HONDA II.!JIJII

tuck~~ ~!~~i~~

freedom. Whether you're skiing

~thm~~~~:

would even dare.

We could probably get away with less care and trouble.

Some manufacturers do, so shop carefully.

After all, once you're on the mountain, it's more than just clothing.

It's the most important ski equipment you owrt

fo-WHITESTAG

We know the mountain.

ltEAOYOliROWNERSMAHUALCAREf'UU.Yt.ll-8»-447-4100btiR .... Aflft'llJU1L CI I9116""'"'--~Morlor Co. , lnc.

57

It is a symbol d heart, d

rourage. And to deveJoft it ~r8JUiresa gooCi

Just as essential is the right piec2_d equipnent.

Each ecemse must be performed cor:recdy. <:orrect in form. Correct in balance.

For if the two ma~ musde groups whi:h oomprise the human chest are to grow quickly, and with natUral symmetry, there must be proper resistana! ~a natwal range dmotion.

Soldlex builds the chest.

Wilh the same effidencv and~ that it builds the rest ii the~ For a free broChure, call~. In Canada,I~IOO;.

VHS Video brochure also available upon request

The opportunities have never been greater.

But the pace is about to quicken. The curves are already getting sharper. And the time you have to respond is shrinking to a fraction of a second.

If a dealer ever needed to be in control, its now.

It is no longer enough simply to automate tasks that were once done manually.

Somehow, someway,you have to see down the road, plan for whats ahead, and then execute those plans flawlessly.

You have to integrate your dealership. Totally. So that when one department makes a transaction every file in every other appropriate department is uPdated. Automatically. Within seconds.

And what an advantage if you had something like MIS, the Management Infor-

58

Communication Arts January/February 1987

mation System- exclusive with ADP- that allows you to customize rep<>rts on demand. Get a haiidle on what is happening in your seiVice, parts and sales departments.

And run them, instead of them running you.

Most important?

You need that kind of suppon from a company you can count on. For systems that work And seiVice thats never ending.

All of which explain why so many dealers are buCkling up withADP. Once you do that, hitting the aa::elerator is a whole lot easier.

For more information, call roll-free in the U.S. and Canada: 800-ADP-ADP-ADP.

WIEDEN & KENNEDY

Ad from a series for Soloflex. Dan Wieden , copywriter ; David Kennedy, art director; Dennis Manarchy, photographer.

Ad for ADP, Inc. Dan Wieden, copywriter ; David Kennedy, art director ; David Davis and Fred Ingram, illustrators.

Television commercial for Nike shoelaces.

(Opening frame focuses on boys' feet. Camera pans up to their faces) Three Boys : This is it. Th is is ours.

(Cut to g irl in yellow) Girl : This is what's prime . Mint.

(Cut to boy in glasses) Boy : Tie 'em like th is and it gets the girls totally stoked .

(Cut to girl in red tights tying fancy shoelaces.

Cut to girl with glasses) Girl : You 've got to be original. You 've got to be primo perfect.

(Cut to boy in orange) Boy: Like they're definitely in.

(Cut to boy in black) Boy : So fine. So funky.

(Cut to girl in blue and black) Girl : They're cool.

(Cut to boy in sweatshirt) Boy: What's cool is what I do in 'em .

(He turns and walks away) Dealer Tag. Susan Hoffman, art director ; Dan Wieden,writer ; David Kennedy, creative director; Chris Meltesen and Joan Laxer, producers ; Tom Higgins, director; BFCS, production company.

Television commercial for Nike.

(Aerial view of wheat) SFX: Wind blowing , bird call. Breath ing, feet pounding on road.

(Pan over running figure) Super : It never ends. Nike/Air. (Fade to black) David Kennedy, art director; Dan Wieden, writer; David Dwiggins, producer ; Caleb Deschanel, director ; Riverrun Films, production company.

59

WIEDEN & KENNEDY

WORLD

LONG

Ads for Nike This page: Steve Keenan, copywriter; David Kennedy, art director; Henry Ngan, photographer.

Dan Wieden, copywriter; David Kennedy, art director; Bob Petersen, photographer.

Right page: Jim Riswold, copywriter ; Susan Hoffman and David Kennedy, art directors ; Pete Stone , photographer.

Dan Wieden, copywriter; David Kennedy, art director; Pete Stone, photographer; David Davis, illustrator.

DISTANCE RATES

LOWERED. Congratulations, Ingrid Kristiansen and Carlos Lopes.

~

60

Communication Arts January/February 1987

ONCE AGAlN NIKE BR1NGS ACROWD10 ITS FEET

Athletes aren' t the only ones rising to the occasion in our shoes.

But that doesn' t come as a surprise to us. Because we've spent the last few yea rs developing infants' shoes that make

a little one's first steps easier.

How? Starting from the bottom,our shoes have fl at outsoles to lessen those all-toofrequent wobbles and topples.

There's more to these outsoles. They' re very light. And

WHI/1111 DOIIBJ; WMRL It's a complicated, confusing world out there.

Just about the time you have

~~~!r.o;~;er=!. ~

two mile stretch of concrete. Followed by a rain-soaked field .

If you're a runne~ there just aren't many simple answers m life.

Save one.

The ¥.affle.

As familiar as this shape has become, nothing is better qualified ~~k~ the worst the

::tt

t~::=~will='Jrue

in to act as an independent shock absorber- penetrating softer swfaces, pushing into the midsole on harder ones.

thet re rubber. So they bend eastly at the ball of the foot.

On top of all that, we made the uppers fro m either so.ft leather, canvas, or nylon.

All of which are very flexible.

And very comfo rtable.

One last thing. Every ike infants' shoe has an extra wide

and deep toe box. To better baby's foot. And make the shoe the shape of a much easier to get in and out of.

Infants' shoes from ike.

Proof that what goes up doesn' t have to come d own~ At least not quite so often.

•...... '""'"

a drde, fo r exam ple, the W..fne appears to require Jess torqu e to rotate, and should lessen both strain an d fati gue.

That's not to say we have n't tried to make imp rovemen ts.

'1M!'ve come out with variations of that famous square ever since we introduced it, way back in 1972.

Via high speed fil m and computer analysis, we discovered tha t most runners tend to toe-out when they land . As a result, on

:ft~~~~~~~~~f~~~~7nes.

But that's about it.

As far as discovering some revolutiona ry new shape o r system better able to carry you th roug h a

~~~~fi,';~~~; a~~~:~lfsehaven't.

At our research lab in Exete~

~"J:ti'!":;~;,;w~o:::'C:.,~ the cushioning of a running sh oe a full lOpercent.

;:~ i.~ Th~tuldHjonof\I!MfflntothtumtJhot

tignific•ntlyrrducnimp•ctlhoc:k.

Granted, it is possible to

~~s!o~fl:.~~u~~=~Pa muCh tliickel; much softer rubber.

to ;ot:t~":~ ~~~~~~~tt;:r: -

5

ed more radical, remember.

Sometimes there's a defini te

advantage t~ being square.

Unfortunately. that means giving up both traction and wear.

W! also suspect the Wlffle's square shape is superior to others durinll those criticaJ in direction or stride. Compared to

hl'l'rl!lrr , O~Irl

changes

61

CHARLEEN KINSER DESIGNS "I'm Thaddeus P.J. Bear, just about the classiest bear around. That's not conceit, just honesty. I'm the world's only edgewise bear. I live between the woods and civilization, between wisdom and innocence, between the beginning and end ofgrand adventures.

Sometimes, riding around in my Rolls (in the back seat of course), having a cold Ova/tine, I hear this call. I pick up the phone, but there's no voice on the other end; it's just the call of the wild."

-Forever Toys, catalog

Thaddeus P.J. Bear, T.R?s Bear, Gnome Tom Griswold, Dumb Bill Troll and many other real and mythical creatures are all part of the wonderful world of Charleen Kinser.

She designs toys. Actually, one cannot call them toys; they are characters. "They grow into toys, but to me, they start out as part of a world that I'm building~ ' That world began with T.R?s Bear, one of numerous projects Charleen created while working as craft editor for Sphere magazine and writing several how-to books. " I wanted something large that could be a toy, that people couldn't buy but could make themselves~ ' T.R?s Bear (yes, that stands for Teddy Roosevelt) is 60" tall, 62" around and weighs in at a whopping 23 pounds.

She first made this large bear for her daughter, Maggie.

Instead of pillows, Charleen thought it would be more fun for her to curl-up and read in the lap of this giant thing.

Something to cry on or kick when she was angry. Something big enough to support all the growing up feelings children experience.

This was not Charleen's first attempt at toy design or character development; she brought a very diverse background to her business. After two and half years at Chouinard Art Institute in Los Angeles, she started at UPA, (United Productions of America) in Burbank, working on film animation and story development.

"They were the modern answer to animation. Walt Disney had the expensive full animation and UPA was a creative group of people who were trying to do it cheaper and so do it in another direction. They did limited animation and some really innovative, lovely things. But it wasn't at all like Disney with the full , flowing animation ~' The young group at UPA worked with some top New York illustrators, Xerox Corporation and many people in the entertainment industry to create some of the first animated commercials. Charleen discovered " that an animal, no matter how human, must retain its animal characteristics, and that a generic silhouette will not speak successfully to the audience~' From Burbank, on to London, she continued working for UPA setting up an animation department and teaching this

62

new method. She collected three Cannes Festival awards for story, character and background design. Eventually, she found herself in Paris, working for Les Cineastes Associes, where she headed the story department and targeted the English market.

After returning to the States, Charleen worked as a freelance designer/illustrator/independent film producer in Los Angeles. She worked with UPA and Disney, with Jerome Gould designing exhibits for Convair and Fluor Corporation and with Saul Bass doing illustrations and package design work for Kleenex. She produced Mattei's first black and white animated television commercial. " It was a wonderful enticement to think that we were going to television with toys~' She also free-lanced for Mattei working on early prototypes of soft-bodied dolls that could talk. "It was difficult as a free-lancer in the toy business. You're kept out of the backrooms, because they're so nervous about their secrets being dispursed. So you're kind of working with one person or another, in the outer offices~'

Left : Thaddeus P.J. Bear.

Mark for Charleen Kinser Designs.

Below: T. R:s Bear and friend . The following excerpt is from the Forever Toys catalog: "T. R:s Bear demands your immediate respect.

Walk to him carefully, but quickly-you want to meet him before you lose your nerve-now, while he still looks like a gentle protector of the woods. He is the patron of lost and troubled creatures, but he's not everybody's friend . Around here, legend has it that T. R:s Bear has tumbled with the best of them, Mr. Theodore Roosevelt, and made him tremble too. Only later were they buddies:· Charleen and Maggie Kinser, writers.

Then in Chicago, working with Marvin Glass and Associates, Charleen designed a group of stuffed toys for Sears. This group of"growlly animals" was translated into mass-produced toys, with very unsatisfactory results according to the designer.

"The fabrics were not hand picked; well, maybe they were, but they were picked for price instead of feel. The color wasn't quite as subtle. When you take out the detailing and the little hand-placed eyes and the tucks and the pinches and the fine quality fabrics, you get a whole other thing.

They came out looking just gross! What I was trying to do was much more caring, I think. Of course, I was making it by hand. What did I know? They were mass-producing.

"I guess the bug was planted at that point. If I was going to ever do something really sensitive and nice, I would have to do it myself' Charleen continued working as a free-lance designer.

Her career followed her husband's. Where Bill would go, she would go. "It may not have been perfect for the next step in my career, if I had a career that I thought of that way. But I figured that almost any place I was, I could find something to do. Mind you, I was a mother, with two children and enjoying it very much ... But I wanted a Saab and I wanted to go to Sweden to pick it up. So my husband said, 'Hey, get your portfolio. I'm not buying you a Saab~" Bill Kinser also attended Chouinard Art Institute as well as the University of Illinois and the Graduate Institute at St. John's College in Annapolis, Maryland. He has worked 63

CHARLEEN KINSER DESIGNS

as a graphic designer, art director and advertising manager.

He taught at the Universities of Illinois and Georgia, The High Museum School of Art in Atlanta and the University of Baltimore, where he helped in founding the Master's Program in Publication Design.

In 1976, after this peripatetic career, Bill was offered a teaching position at Penn State University. The Kinsers and their two children settled in central Pennsylvania.

Starting a business in their home, Charleen began to design and manufacture the kinds of toys she had always wanted to make. The entire family embraced the business.

Bill Kinser was recruited as the graphic designer. (He, in turn, has assigned a few of his graduate students the task of designing posters for some of the toys.) Daughter Maggie further developed the characters through her whimsical writing and son Tom designed and crafted wooden toys.

When the bears, gnomes, frogs and trolls began taking over the house, they moved the business to a converted, hundred-year-old Pennsylvania bank barn. Here they have a small group that does all of the cutting, some sewing and all of the stuffing and finishing. Everything is done by hand. They even use old treadle sewing machines for more control.

64

they know it! That knowledge makes a difference. It gives the piece a great deal more life and beauty. The little subtle differences from one to another are part of the charm; they are hand-done' The stuffed animals are specifically taken from American characters. They also reflect the nature of the individual whether it happens to be a black bear or a gnome. Charleen does extensive research, reading about the mythical beasts, fairies and folklore, and even goes back to the skeletal structure of the animals.

"I have to know what the structure is underneath so that I know what I am trying to fake. Obviously, my pieces do not have backbones, but if I want a hump in a bear, I have to know where that is. It's not just getting the shape it would be, it's getting the shape of that kind of a character in motion. It is a gesture that is built into them. The gesture tells you more of who they are. I don't want it to be an offshoot of someone else's bear or rabbit. I want it to be an offshoot from a real rabbit with character.

"In going back to the source, as far back as I can, I think there is strength. I may not always use it as well as I should as a designer, but I try. I think all designers should go back to the source instead of the last offshoot that came out.

Not just in toys~'

Most of the hand-sewing is done out. Being a cottage industry, Charleen commissions people with little shops or studios. These people are taught the Kinser method of production.

Charleen's objective is to make the best designed and produced toys available; toys with personalities, an extension of the characters already in a person's mind, to insure a part in dreams and melodramas.

"Character can't be mass-produced. It's not the machines that make our toys great; it's the care. A person isn't just whacking out paw pads. They're doing paws on bears, and

This is quite apparent the very first time you meet one of her characters.

-Stephanie Steyer

Communication Arts January/February 1987

Left page: Charleen Kinser surrounded by her characters.

The Pennsylvania bank barn studio.

This page: Poster announcing Pi-Chi and Fan-Fan, new panda bears. Margret Von Conta, designer/illustrator.

Sales promotion poster; typeface is "Bearamond"; Leslie Strother, designer.

Maximilian Rabbit. More from the Forever Toys catalog: "I'm the rabbit Who's in charge Of all the gnomes, The bears, the trolls Who run around at large.

I toil from day to night To keep the forest new.

Once I've tidied up one mess, There's another mess to do:' Charleen and Maggie Kinser, writers.

CHARLEEN•KINSER•DESIGNS

RDI•BOX•488•BOALSBURG•PA•16827

FOREVER• TOYS

65

66

Communication Arts January/February 1987

CHARLEEN KINSER DESIGNS

Coloring book-style poster ; Bi ll Kinser, designer/il lustrator.

Baby bears are 21" long wtih a wrinkly " fur" su it, a little big for their bod ies.

Promotional poster ; Leslie Strother, designer/ illustrator.

Announcement poster ; Bill Kinser, designer/illustrator.

MfEf NIM

l,._. __

PONG

Mttt Nim Pong , our IArgt .

20-pound, {llll·grown .

giant panda . Ht is approximt~ttly 48 '' tall

~~~ :~

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lht nriddlt.

uniqutly-pGnda pqws and {ttl lh•ndstitchtd and ,Udtd}, art soft cowhidt.

Thtbllu:ktyturt gloss . Tht{llr isluxurious acrylicf•bric.

Htis so(t-st uf(td with 100 % polytsttr(ibtr.

67

68

CHARLEEN KINSER DESIGNS

Studies for Koala Bear; Charleen Kinser, illustrator.

Mama Rabbit, Tom's Toad and Gnome Tom Griswold . The catalog elaborates on their characters : "Fascinating to all creatures and a conjuress of peace, Mama Rabbit believes in only two things : manners and motherly love:· "Tom's Toad resembles the American Toad even in the feel of his cool leather skin, wrinkles, bumps and all. Unlike his tiny cousins, he has endless patience with small boys and trolls. He likes the game of toss-toad , sandboxes and nights under the coverssomething his natural counterparts prefer to avoid altogether." " In the Autumn of 1727, gnome Tom Griswold arrived in Americathe only gnome on the continent. Like a force of nature, he charms and confuses people and animals as it suits him . He has the run of any household or woods, for his magic is awesome:· Charleen and Maggie Kinser, writers.

Small folder announcing a new character; Bill Kinser, designer/illustrator.

Chari«n K i ~UeT"

A (crafty and suave) member of the family.

o.....,., Boabbura.

Pcnraylvanil .

urn out the lights.

He's at home in a wink; He's built to slither, And his eyes are pink.

His bedtime manners Are worse than atrocious, And for a full-grown monster, He's slightly precocious; He's under the bed, And into your socks, Give him one cracker And he takes the whole box.

Sly is the Creature Under the Bed. Like the gargoyle, his distant cousin, Sly guards the gateway between the friendly sunny world of daylight and dust bunnies, and the DarkWorld, where all monsters have spent some time. He has friends there, and he knows them by name, but he's on your side; He can convince fellow-goblins that your room is too dark and scary for them. Now that's a fast-talking monster. And a valuable bed buddy.

69

THE 27 CHICAGO DESIGNERS AT 50 In an elegantly festive mid-September dinner party in Chicago, the 50th anniversary of the Twenty-Seven Chicago Designers was duly celebrated. In attendance were present members, past members, wives and husbands of present and past members, and assorted friends and well-wishers.

And capping a program awash with visual and verbal nostalgia, copies ofVolume 36 of the organization's core publication were distributed to the dinner guests.

As anniversaries go these days, an organization's first halfcentury is not a real big deal. After all, our own youngish nation celebrated its second century a full decade ago, and the weekend super bash that marked the centennial of New York City's "Lady Liberty" lingers still in our memories of the summer of'86. But while the family nature of the Twenty-Seven's celebration attracted neither fireworks nor tall ships, its accomplishments in that period do merit an appreciative salute from the larger design community.

For openers, this organization published the first of what has turned out to be a durable, proliferating breed: the graphic arts SOURCEBOOK. In its 50-year span, there have been thirty-six volumes (one every 1.388 years on average), all produced in quantities sufficient to meet each designer member's own mailing list needs, plus substantial overruns for sale in selected bookstores. In 1940, for example, the price at Kroch's and Brentanno's for Volume 5 was a bargain at $2.50. And Volume 36, at $22.50, isn't bad either, as contemporary art books go.

Second, the founding Twenty-Seven somewhat brashly listed themselves as " Designers" at a time when most of their fellow practitioners still felt more comfortable (and undoubtedly less challenged) by calling themselves " Commercial Artists" or "Advertising Artists ~' And certainly not least was the resolution of the TwentySeven to maintain their independence as designers in these exercises in cooperation. The organizing premise was-and is-to produce an impressive graphic forum in which to showcase the work of twenty-seven individual designers in one appealing collection.

The foreword of Volume Eleven (1947) reiterated the goal forthrightly: "These designers have come together not to form an organization, but to produce work representative of the creative ability to be found in the graphic arts of Chicago. Each designer planned and produced his own insert, and positions in the book were determined alphabetically. It is the hope of the participants in this enterprise that this book will serve as a means of better acquainting those interested with the work of Chicago designersenabling them to distinguish between the different designers and their special fields of work-and that it will bring more business to the designers and better design to business ~' That particular mission view-from decades back-works well for design and designers today.

-Rhodes Patterson

* * John Averill TYPO G RAPHI C DES I G

*

ER •

155

EAST ONTAR I O STREET • CH I CAGO

" Artists. like all humans. ore judged not by their best, but by their worst work. Averill's

feats In design , typography. and adve rtising are the talk of the country ; but to me his greatest

feat Is this: he neve r lets down"-James Mongan, Mills

70

Communication Arts January/February 1987

ove lt y Company. C hicago

Cover of the first 27 Designers book, published in 1936. Printed on uncoated papers, the book was 8"x 8" with a plastic comb binding. Each designer produced a four-page insert, and these were bound in alphabetical sequence, a form that has been continued over the fifty years.

Below, left to right: Title page of the book.

First page of John Averill's insert.

Opening page of Oswald Cooper's insert.

Opening page of Elmer Jacobs' insert.

MA E

I.

II

E

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.J

A

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0

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S

71

THE 27 CHICAGO DESIGNERS

ORIGINAL27

CURRENT 27

OTHER ALUMNI

Norman Andersen*

David Anderson '82

Franz Altschuler '57

John Averill*

Jeff Barnes '82

Carl Anderson '51

Joseph Carter*

Hayward R. Blake '62

Robert Askren*

Rodney Chirpe*

Ron Bradford '75

Bruce Beck '55

Oswald Cooper* Ray Daboll*

Bobbye Cochran '86 Robert Lee Dickens '72

Ed Bedno '65 Rainey Bennett '47

Robert Sidney Dickens

Joseph Michael Essex '79

Ed Boehmer '39

Everett Eckland*

Joseph Godlewski '86

Charles W. Bracken '51

Stanley Ekman

John Greiner '82

David L. Burke '69

Harry Farrell*

Susan Jackson Keig '75

John F. Carafoli '72

Henry Harringer*

Wendy Pressley Jacobs '82

David Chapman*

Elmer Jacobs*

Robert & William Kaulfuss '62

Egbert Jacobson*

Diane Kavelaras '82

Francis Chase '38 Jay Conley*

Karl Peter Koch*

James L. Lienhart '70

John Dolby '82

Ed McCabe

John Massey '69

Gene Douglas*

R. Hunter Middleton* M. Vaughn Millbourn

Bill McDowell'84

Pat Dypold '77

Franklin McMahon '50

Cliffe Eitel*

Edgar Miller

Carol Naughton '82

R. Vale Faro '47

Dale Nichols Taylor Poore*

Art Paul '70 Norman Perman '57

Joseph Feher '38

A. William Fleming '44

Doug Rader*

Henry Robertz '67

Morton Goldsholl'49

Bert Ray*

Randall R. Roth '59

James Hayes '48

Gustav Rehberger Paul Ressinger*

Greg Samata '83

James Higa '68

Don Strandell'84

Edward Hughes '69

Frank Riley*

Peter Teubner '79

Joseph Hutchcraft '79

Ernst Spuehler* Earl Uhl*

Rick Valicenti '86 Jack Weiss '76

M. Martin Johnson '37 E. Willis Jones*

Steve Keller '82 Larry Klein '57 Elsa Kula '57 Janet LaSalle '60 Joe LaViolette '51 David Lawrence* Charles MacMurray '70 Lindell Mabrey '57 Gordon Martin* Don Marvine '71 John McKee '49 Everett McNear* James Minnick '68 Phoebe Moore* Ken Olson '43 Rhodes Patterson '68 Joe Pearson '53 Park Phipps* Herbert Pinzke '57 Weimer Pursell '38 Phillip Reed* Carl Regehr* Mike Reid '69 David Root '71 DeForrest Sackett '39 Robert Sinnott* Willard Smythe '37 Fred Steffen '55 Edward Sullivan* John Temple '51 Robert Vogele '79 Lute Wassman '63 Wayne Webb '69 *Deceased

Photog raph by Rhodes Patterson

Guests at the 50th Anniversary dinner viewed a display of the books.

Right: Center spread of Egbert Jacobson's insert, 1937.

Center spread of R. Hunter Middleton 's insert, 1937.

Opening page of M. Martin Johnson 's insert, 1939.

Page of Bert Ray's insert, 1939.

72

Communication Arts January/February 1987

Vol

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Karnak Black Karnak Block Condensed Karnak Obelisk

empo Light

Eden Light Eden Bold

Tempo Heavy Italic irEMPO INLINE

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THE 27 CHICAGO D ESIGNERS

Page from Stanley Ekman 's insert, 1942.

Page from Joseph Feher's insert, 1942.

Open ing page of Joe Pearson 's insert, 1953.

Open ing page of Charles W. Bracken 's insert, 1953.

Right : Spread from Phoebe Moore 's insert, 1957.

Spread from Gordon Martin 's insert, 1958.

Spread from Bruce Beck's insert, 1958.

74

Communication Arts January/February 1987

U.S. ARMY AIR COR @

TH1<STtiOIOO..

.1

<Jt-, i~tll"l \\l"Otr' 111.111~

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phoebe moore

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th.tt of 0111 L'XPl'll in torpm.lll' idcnLiL) ; liH:n tlw o ne of .t

ck ... i~nn of pnntin~. or h<xlb, 0 1 annual reports, or l·xhibitio ns.

/:.nth 1jlh, 11 urlli'llln 11 hmrd upo11 tltr mmr talrnt tht:: ab ility to sec a problem in rdation to a clien t's needs, a nd to solve it in terms mea ningful to the public .

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I I I I 75

THE 27 CHICAGO DESIGNERS

Page from Hayward R. Blake's insert, 1962.

Opening and second page from Robert Sidney Dickens' insert, 1965. The format had changed from the square of earlier books to a horizontal, 10 x 8Y2, perfect bound.

Right: Cover of the 1986 book.

Page from Susan Jackson Keig's insert.

Spread from Jeff Barnes' insert.

Page from Rick Valicenti's insert.

Page from Norman Perman's insert.

The current book is 10 x 8¥./ , perfect bound. As in the previous books, the individual designers arranged for their own typography, color separation and printing. To achieve continuity, all of the inserts were printed on lkonolux Gloss 1001b. Text; the divider sheets with biographies and photographs of the designers were printed on lkonofix Matt Color 751b. Text, Red.

Designed by Nature

Second best package/ Designed by Dickens

76

Communication Arts January/February 1987

L«<:porl HiJtorw::.ITNr/. Uckporl, 11/i"Off.

TNil, m the I & M C.mll N1tiotull Htrit~St Corridor; lws hrstorial lftiJrtnshigrwgr 1ID11g 2-milt 10utr; Jamt a( Corlm Rttl, olhtr;SIIrulbl#sttdirtg/WitnadiC. B10Chu"W!tht"'i/rrl(lp1ulsmaplorrrt10rtofhrstonclltdllm!grot~tt.

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77

MAGAZINE ON WHEELS The concept of editorial content in transit advertising isn't new. Erwin Winston, who is now chairman of what has become the largest transit advertising company and the third largest outdoor advertising company in the United States, decided 20 years ago he wanted to entertain bus riders in New Orleans with quotes, poetry and health tips. The idea was brought back to life three years ago as a way of compensating the rider for accepting transit advertising and to upgrade and stimulate the advertising environment.

Now based in New York, Winston Network's Streetfare Journal follows a simplified thematic format more like the special issue of a magazine but in the form of six 11" x 28" panels. Each issue is distributed equally throughout advertising space aboard city buses and reaches 10 million riders in New York, Los Angeles, Chicago, Philadelphia, San Francisco and Washington, D.C. Themes are created by Marc Karzen, Winston Network's creative director; Philip Stimpson, Winston's managing director and Marc Winston, president of Winston Network and publisher of Streetfare Journal, based on what they feel would be interesting to the rider during a particular season. Their ability to comment editorially on current topics has been fortunate as Karzen is quick to point out they work several months in advance. "It's sort of a whimsical approach but we've been extremely timely with a lot of themes we've done~' The issue on weddings coincided with the Harvard/Yale research study on a woman's chances of being married and was in the buses the same week as the Newsweek cover story. The issue on treasures hit the buses during the exploration of the Titanic and Mel Fisher disbursing money from the treasures he found off Key West. "That one was total luck~'

78

Communication Arts January/February 1987

Karzen, who is also the staff photographer for NBC's "Late Night With David Letterman~' shot the photographs for the premiere issue on roller coasters more out of necessity than creative reasons. "Marc Winston said 'I like your concept but I want something in five weeks~ Which I thought, okay, fine. There was no time to do anything but dig into my own archives and come up with something that seemed appropriate. I had shot a story celebrating the lOOth anniversary of the roller coaster and was able to reuse the pictures. Then I called Drenttel Doyle to get involved~' Drenttel Doyle Partners, a new agency in New York with strong experience in editorial design, is responsible for design execution on each theme. Stephen Doyle, creative director, explains, "We were brought in to work with Marc in order to establish a stronger identity for Winston and Streetfare Journal."

The greatest success of Streetfare Journal has been its ability to enhance the advertising environment. Art directors and account executives riding the buses have called Winston Network asking for samples to push inside bus advertising to their clients. "There's no question it has heightened the awareness of transit advertising within the ad community," explains Philip Stimpson. "People think it's not a great environment because we have more local people who don't have the big national advertising budgets. We wanted to give a good example of how effective high quality transit advertising can be~' As to the future, Stimpson indicated the focus will be in making the themes more "Advertorial~' to attract specific advertisers as a tie-in to a specific theme while maintaining their informative and entertaining approach to the readers. "We've got to walk that line a bit but we don't feel we would have to lose the integrity that we have~'

80

Communication Arts January/February 1987

MAGAZINE ON WHEELS

A Day in the Life of

AMERICA

-

IIo_........,....,_ "' ...... ............. at_ AO.•*,._~­

..

---· --·--Left: Bride on horse ; Rick Harrison, photographer.

Moonies wedding; Abigail Heyman/Archive, photographer.

First marriages ; Herbert/Frederic Lewis, photographers.

This page : A Day in the Life of America, Collins Publishers ; Nicole Bengiveno, photographer.

Swimsuits ; Deana Mueller, photographer.

Theatre; caricatures courtesy of Sardi's, New York.

Treasure; J. P. Nacivet, Leo de Wys, photographers.

81

HOLD THE RED INK, MERGER ON THE RIGHT

by Rick Minorwitz

My name is Rick Minorwitz. I'm an illustrator. Chances are you know my work. If you're an art director one of my originals is probably hanging in your living room. I've been in the business for a while and I thought I knew it pretty well, but recently there have been a lot of changes and I've had a lot of adjustments to make. Listen.

It wasn't more than a week ago. I was standing in front of the Modern museum trying to choke down a pretzel the size of a hubcap, when who should emerge from under a cloud of blue smoke being laid down by a crosstown bus but Isadore Shnapps the illustrator, dressed, inexplicably, in a burlap sack and pantaloons with a smile on his puss that would make a hyena jealous.

He spotted me, called out in greeting, "Hiya, Sport:' and followed with a handshake so vigorous that a knot of pretzel wedged itself in my throat.

82

"Merger?" This was news to me. "Fill me in, Izz. I'm in the black about this~' "In the black? That's not what I hear." He snorted. "Don't forget, Pal, we have the same accountants~' He was right. Feinschmecker and Yentz CPA's had been doing my taxes for five years now and had as their clients some ofthe best illustrators in New York. Izzy Schnapps was one of them. He was a man of considerable reputation whose work was everywhere. But like many illustrators recently he'd had some slow times.

"Funny thing:' he was saying, "but I don't see your work around much. Did your agent die? Or are you on some kind of sabbatical?"

"Izzy:' I wheezed, "long time no see. You're looking pretty good but what's with the sack and clown pants?"

He'd touched a nerve. Work had been slow for me too, but why should I tell him. "No, er. .. everything's just dead. I mean fine:' I said, recovering nicely and deftly smearing some mustard from the pretzel on my tie. "But tell me Izz, what's this about a merger?"

"Listen, Sonny, I get all my duds at Bijan now, right down to my gotkes:' he boasted. "Why this jacket's the latest in Italian In, and these pants cost me a bundle. But what the heck, it's only money and I'm rolling in it since the merger last week~'

"Well, Kid:' he gloated, "things are changing in the business now. Trends come and go faster than doughnuts in a diner. I was having trouble keeping up with them.

My agent used to run interference for me but the pressure got to her and she ran off to the Moluccas with her guru.

Communication Arts January/February 1987

I hacked it for a while after that but then the phone stopped ringing and I was thinking my career must be over. That's when I knew I needed to do something. So I called Fineschmecker and he had a solution for me.

Now I'm on Easy Street. Why, my safe deposit box is so stuffed it's groaning more than the sandwich board at the Carnegie Deli~' "Really? What did he recommend?" I blurted out. "What's all this about a merger?"

"Why, I've got a partner now," he crowed. "I've merged with Seymour. Now it's Schnapps and Crust, Inc. But why ask me? Phone your accountants. I'll lend you the quarter."

I was stunned. Seymour Crust, one of the best known illustrators in the world, merging with Izzy?

"B .. but how? B .. but why?" I stammered.

"Why?" said Izzy. "Why not? Look, Champ, I'm on my way into the museum to talk over our coming retrospective. They say it'll travel to ten cities and Europe, but who's complaining? Give a call sometime, we'll do lunch~' Spinning on his Guccis, he propelled himself into the crowd at the entrance and was gone.

No sooner had he disappeared into the Modern than I ducked into a nearby phone booth and within minutes was speeding down Seventh Avenue to the offices of my accountants, Nelson Fineschmecker and Walter Yentz.

"So;' began Fineschmecker when I was seated in his thirtyeighth floor office in the Lockjaw building, a plush and vinyl aerie paneled in seersucker and redolent of pastrami and pencil shavings. "You got our bill?"

"Never mind that, Nelson. I'm here to talk merger.

What's this I hear about Izzy and Seymour tying the corporate knot?''

"Ah yes;' he said, his eyes misting over with pride. "Some deal that was and to think it's just the beginning. I love it so much I could squeeze myself! Listen, Boychick, this is going to be bigger than hotpants and you, who dropped in out of the blue, you're going to be in on it on the ground floor yet! I have plans ... " "Wait a minute, wait a minute!" I shouted, leaping to my feet and fracturing a shin on the glass conference table.

"Explain this now or I walk, Fineschmecker, with or without hotpants!"

"Okay, Boobie;' he soothed. "Cool down before you set off the sprinklers. Here's the dope. You've noticed that there's

a rush among ad agencies to merge recently? They've discovered that the more they conglomerate, the more services they can offer clients. The more offtces they have, the more publicity they can get and the more money they make, at least for the boys at the top. Sure, there are people getting hurt but there are also people cashing in like you wouldn't believe! There are agency heads banging into each other trying to be swallowed by other agencies, bigger or smaller. As long as there's plenty of money sloshing around it doesn't matter. They want to be gobbled up for three or four or ten times their actual value. They've got stock in the company and they want to cash in!"

"B .. but that's unfair!" I sputtered.

"Of course it's unfair!" he cried, triumphantly. "That's what's so nice about it! So some secretaries lose their jobs and collect unemployment in the Bronx. So some guys in the mailroom have to sell their giant radios to pay the rent. So some schmendrick writer has to take his daughter out of private school. What do the boys at the top care?

They're rolling in it. Their BMW's are purring and their Jacuzzi's are ftlled with champagne!"

I sat back, startled, confused. "All right;' I said. "I understand, but it's just greed. I can't accept that it's nice to be greedy."

"Not just nice;' he cooed, "but patriotic. Keep it here where we deserve it before it gets taken away by someone else, like an Arab or a Russian. Do you want all our advertising agencies to be run by Russians? Now, let me tell you how you ftt in. For years now illustrators have been easy pickin's for the agencies. They pit one against the other. They get low prices for promises for future jobs that never happen and they hold onto your money after you bill them, long enough to send your kid through college (as if you could afford it). Some illustrators do okay but the days when they made headlines are over. It's time to get together. To stand up to them. No more divide and conquer and we need it by Monday! Let's beat 'em at their own game. When I'm done with this, every illustrator in New York, in the whole country, will have the same phone number. Mine!

And the same accountant. Me! Let 'em try to threaten to go somewhere else. There won't be somewhere else. The bid stops here!"

I was stunned. In the ftve years I'd known Fineschmecker he'd only had one original idea and that had cost me $2,500 in fines and an $800 fee for the tax audit. But this, this was revolutionary!

83

MERGER ON THE RIGHT

"It's devilish!" I cried. "Where do I sign up?"

Nelson was a demon on the phone. His voice slid through the wires like enchiladas through an Englishman. He was irresistible. In half an hour it was all done. I was on my way home in a taxi and a messenger was rushing with the contracts to the studio of my new partner, Paul Dervish.

I had scarcely arrived home when the phone rang. "Studio:' I answered. I recognized the voice on the other end. It was Perry O'Dontill, art director of Time magazine.

"Minorwitz, is that you? I just heard about the merger. It's great Babe. Your two styles combined in one painting.

Just the look we want for our cover on Richard Nixon and his new diet book. The coolness and intelligence of Paul Dervish and the affordability of you! Sketches on my desk tomorrow morning. Nice talking to you. Let's do lunch sometime~'

I stood there for a moment trying to make sense of this.

A Time magazine cover? Diet book? Nixon? Two styles?

In one painting? Holy Moly! There was more to merging than I thought. Could I combine styles? Should I? What about my integrity as an artist? A quick glance at my bank balance allowed me to stifle my conscience. Within minutes I was hard at work, one artist trying to be two.

The sun was rising as I put the fmishing touches on my sketch and staggered to bed for a few winks, exhausted but jubilant. I'd done it! I'd merged our very different styles and made it work!

Two hours later I was in the Time/Life building being fmgerprinted and x-rayed for explosives before receiving the pass that qualifted me to ride the elevator to the magazine's thirty-second floor offtces. I passed through a gauntlet of hostile drones and found myself being ushered into the inner sanctum, the offtce of Perry O'Dontill, A.D. "Welcome, Mon ami:' said Perry, presenting a moist palm to shake. "I'd love to chat but I've got to brainstorm a special issue commemorating the hundredth anniversary of the electric chair. Where's the masterpiece?" Just at that moment the phone rang. "It's for you:' he said, handing it to me as he mauled open my envelope with the intensity of a grizzly bear extracting a camper from his sleeping bag.

It was Nelson and he sounded excited. "Good morning:' he puffed. "I trust you got a good night's sleep and I hope you're sitting down. I've got great news. You've been taken over. Bought. Double merged!" I was stunned.

"Taken over, Nelson? How? By whom?" I cried.

84

Communication Arts January/February 1987

"By one of the biggest names in the business, that's who:' he exulted. "R. 0. Drechman and the Paint Tank Studio.

This is a banner day for merging. Ivan Earmuff the designer has just gobbled up Seymour and Izzy. I'm telling you, Boobie, it's like a chain letter. All we have to do is sit back and let the money start rolling in! I can smell the action in the air. It smells lemony, like furniture polish. I gotta go now but I'll keep in touch Mr.-Almost-a-Rich-Guy. Ciao~' I stood uncomprehending for a moment. Then wheeling about I tore the sketch from Perry's grasp and bolted from the offtce.

"What's going on?" he shouted. "I love it! It'll look great over a newstand!"

"I'll be back by lunchtime:' I called, ricocheting off a desk and caroming into the hallway. "I've got to make some changes. I've just been re-merged!"

I made it downtown, through crowds of unmerged people, to my Village studio, in ten minutes flat. If you were permitted a view into that studio a scant ftve minutes later, you would have seen not the handsome, trim physique of the successful man of just a day ago, an important man, a man who owns his own co-op! Instead, bent almost double over a hot drawing board, you would spy a gnomelike creature, paintbrush in crabbed paw, whimpering and cursing as he laid waste to yesterday's masterpiece, accompanied by the continual wheezing of a tubercular air-conditioner and a peptic ulcer that bubbled and squeaked like lava in a volcano.

So involved in the process of integrating my new partner's style into the art was I, that I only slowly became aware of a faint but incessant buzzing in my ears. A few well aimed whacks on the side of the head with my T-square failed to rid me of this disturbing symptom. I was beginning to wonder what form of cancer could cause such an effect when I realized to my consternation that someone had been ringing my door buzzer for at least ftve minutes.

I sprang to the door and let in an agitated and sweating Walter Yentz. Walter, the junior partner, stood 5 feet 3 inches in his Tony Lama's. He had a hat size of 31/4 and a waist just a bit larger. When frightened he could retreat into his own attache case. How a diminutive twerp like him ever got to be one of my accountants still mystifies me, but I'd no time to meditate on that, he was steaming.

"Listen, Bigshot, I don't enjoy being kept waiting in a dark hallway while you live it up in here:' he complained.

"I don't know what my rate is for ringing a doorbell. But you can bet it'll be on my next bill~' He spoke animatedly while opening his case and removing a pile of contracts, pencils, pens, erasers, notary seals, breath mints and what appeared to be a well used oven timer which he set for ten minutes with the deftness of a master butcher weighing his thumb with the veal. "Busy, busy, busy," he was saying.

"Very busy on your behalf. Say hello to your new partners, Pella~' I stared dumbly at the forms. What had I gotten myself into? How would I earn more money by merging if I couldn't fmish one job?

Walter began filling me in on recent events. "Jim McMoney, the water colorist, failing in his attempt to buy a small reservoir in the Catskills for his own private use (he'd planned to bottle and sell the water to his students) was cash poor and thus easy pickin's for Richard and Mark Heft, the father and son team. Ed Soiree, known for his acerbic wit, had bought his two imitators and shipped them back to Czechoslovakia before being himself taken over

by Maurice Send up, the children's book artist. Robert Flossman the airbrush king took over the Empire Compressor Company and intended to put an end to his competition. He was stymied by Ed Korny, the New Yorker cartoonist, whose hairy neurotics are the perfect compliment to his new partners, Bernie Flukes and Bob Peach, legends from their own time. They've swallowed up Flossman and his airbrushes and are themselves fighting off a merger with Wilson MacWayne who is desperately wooing Barbara Nestle with an eye toward bringing together his concepts and her drawing under one roof. . ~' Somewhere I thought I could smell the distinctive odor of brains frying, and, as Walter paused for a breath, the phone and his beeper went off simultaneously and we heard a loud knocking on the door. Both of us leapt for the phone and the ensuing struggle has left the next moments a bit confused in my memory. But when the dust cleared and pandemonium had settled in, I held the phone triumphantly in one hand, a struggling Walter Yentz in the other and standing in the doorway amidst splinters and several hundred dollars of security hardware was the larger than life, fur coated figure of the King of the Illustrators, Milton Glamour.

"Hello!" I shouted into Walter's face, momentarily mistaking him for the phone. From my other hand I could hear the plaintive bleating of Perry O'Dontill asking for his Time cover.

"We need it Babe, we can't publish without a cover, even if it's just an ad for a movie~' he whined.

I needed time. Time to work, time to think, time to squirm my way out of a difficult situation. "Say, mister, guy you want not here~' I improvised. "Here Wing Fat glocery.

Maybe you buy some flozen dumprings. OK? Chop chop?"

I slammed down the phone and released Walter. He crashed to the floor just as I was, myself, lifted into the air.

Milton Glamour held me in a bear hug. If I hadn't already been sweating from my recent exertions, the hot weather and being cradled in mink, what happened next would have caused me to start.

"Minorwitz, I want you~' he growled. My heart took a short break and rivulets of sweat poured down my face. I struggled free of his embrace.

"Why ... er. ... Milton, what a surprise. You? Here? And why the fur? It's lovely but this is July. Ain't it a trifle much?"

(I was playing for time.)

"Listen, Kid, I didn't come all the way down here from my office over the Grand Union to talk haute couture with you.

However, if you must know, I wear mink in July because I'm Milton Glamour and you know what that means, don't you? It means I can do anything I want!" He trumpeted the news, shaking the walls and rattling the teeth in my head. "Nobody's bigger than I~' he went on, "I don't have to merge with anybody. I'm already everybody. I don't need things the way regular people do. Like you, you poor schlemiel. I already have things. I have a twelve burner stove. I have a car with six wheels. I eat in a different restaurant every night. Next week I'm going to redesign Switzerland. I don't need to merge with anybody. But then I'm thinking, 'Wait Milton, you are the biggest at everything but merging. Even if all the illustrators were rolled into one you'd be bigger. Except in merging. There you'd be smaller.' So I have to merge with everyone and then we'll all be one and that one will be me!" he cried. "So I know what I want. I want you. Every one of you~' He leapt toward me, arms wide, mouth open in a grotesque imitation of a smile. "Merger! Merger! Merger! Gimme merger!

I'm merger mad!" he ranted.

At that moment, just as my knees had liquified, a knight in the unlikely form of the little accountant, Walter Yentz, appeared. Wielding a lance that looked suspiciously like a rolling pin from my kitchen, and, standing on the dining table, Sir Walter dealt Milton such a klop to the forehead that art directors were jolted awake at their desks as far 85

MERGER ON THE RIGHT

away as Kansas City. Pivoting on his little heels, Walter faced me. I raised my arms to ward off the blow.

"Here, this is for you:' he said, handing me the telephone he'd been holding in his other hand. He dropped from the table and landed on Milton's back. Pounding his chest with tiny fists, head back, he delivered a fearsome jungle yell honed to perfection by years of listening to Johnny Weismuller records. He collected his things and paused momentarily in the doorway. A trace of a smile came over his face and he looked almost friendly as he said to me, "Y'know something, Bigshot? I never did like artists~' Cackling like a demented elf he descended the stairs, and, with a slam of the street door, was gone.

Numbly, I put the phone to my ear. "Y-yes?" I said.

"Boychick, is that you?" It was Nelson Fineschmecker.

"Some parties you artists have. Even from this far away I hear the fun. And to think, I would have guessed you'd be working:' he chuckled.

"Nelson:' I cried out, "Where are you? This whole thing is getting out of hand. I need some help. I .. ~' "And you've got the right guy," he interrupted. "But you'll have to wait till tomorrow. Today I'm going to make you rich. Today I'm in the Berkshires. I'm going to see Norman Rockwell. In a few hours you'll be merged with the greatest illustrator of all time~' "Nelson!" I shouted. "Norman Rockwell is dead!"

For a moment there was silence on the other end of the phone.

Then he whispered, "Who else knows about this?"

"Everyone:' I whimpered.

"Dead, huh?" he mused, "Well, never mind. I'll work something out. Listen kiddo, you hold up your end. I can promise you merging is the answer to everything, and, hey, get back to that party now. I don't want you missing out because of me. Heh, heh~' He hung up.

Well, that was a few days ago. Since then events have taken some unexpected twists. The merging of illustrators doesn't seem to be working out well. I've heard stories of brawls in studios over concepts, correct brush size and whether to use paper or board. Dozens of illustrators have been hospitalized to have kneaded erasers, markers and, in one case, a desk lamp, removed from their throats.

They had been stuffed down there, one guesses, none too gently, by irate partners.

86

Communication Arts January/February 1987

Speaking of partners, Walter has left the fum of Fineschmecker and Yentz and gone to work for the Yankees.

I understand George likes his feisty style.

As for Nelson, a person would've had to be blind or deaf not to have seen him on TV or in the dailies the last few days. His merger of General Foods, General Motors and K-Mart has created a mega-company with a GNP larger than Europe's. Now the President wants him for a new cabinet post, Secretary of Merging. Lee Iacocca wants him for a running mate, and I can't get him on the phone.

Milton Glamour hasn't been heard from for days. There's talk that he's planning something big. Like merging with Hong Kong and forming his own country, Miltonia.

As for me, I'm temporarily out of the business. That Time cover didn't work out and I'm lying low till my reputation can be resuscitated. They say that LeRoy Noodleman's portrait ofNixon in motion really caught the spirit of the man a lot more than mine did. Perry O'Dontill was promoted. And my kill fee has so many liens on it that lawyers from here to Tuba City are licking their chops in anticipation.

So for now I'm pushing homemade ices on a corner in Soho. "Irving's All Natural Ices" it says on the umbrella over my head. And I've got six flavors in the wagon's freezer. (Kiwi is the most popular.) I may not be famous, but, hey, I'm my own man and I'm earning decent money.

At least that's what I thought until this morning when this guy from the Dove Bar wagon came over to talk. He says we could do a lot better if we work together. A kind of joint partnership, a merger maybe. I told him it has potential and I'd sleep on it. Then I put in a call to Nelson. This may be the answer to all my problems. You never can tell.

Rick Minorwitz has recently split from the personality of Rick Meyerowitz.

Rick Meyerowitz lives in New York. He is best known for his work as an illustrator in advertising and works all over the United States and Europe. He's had a long association with the National Lampoon and has written and illustrated over 100 articles for them and did the poster for the movie Animal House. Rick has published two books of humor: Nosemasks, published by Workman and Dodosaurs- The Dinosaurs That Didn't Make It, published by Harmony Books.

Communication Arts is making available an excellent opportunity to expand your library by packaging combinations of past Annuals at special prices.

Featuring the best work in design, advertising, photography and illustration, the Communication Arts Annuals are an important reference tool for anyone involved with visual communication.

Every issue has high quality reproduction and utilizes special production techniques developed to reproduce work done with special colors, colored papers, etc.

Everything that was originally in color is reproduced in color.

DESIGN ANNUALS November 1983, 1984 and 1985

$36

ADVERTISING ANNUALS December 1983, 1984 and 1985

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DESIGN AND ADVERTISING November /December 1980, 1981 and 1982 $38

ILLUSTRATION ANNUALS

Because some combinations have only several hundred copies remaining, we must reserve the right to refund your money on any that have sold out on a firstcome, first-served basis.

July 1984 and 1985

PHOTOGRAPHY ANNUALS August 1984 and 1985

$20

ART ANNUALS July/ August 1981, 1982 and 1983

Postage is included. Please allow up to three weeks to receive the magazines. Foreign orders will take longer.

To order circle the combinations you wish to receive, fill out the information below and send this page or a facsimile with a check or money order to:

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individuali

Sure, the advertising business is a collaborative one. But collaboration is only as effective as the individuals contributing to it.

The power of individuali m is that it allows for freedom of expression, unlimited potential, and occasionalglimp e of genius. When the individuals at Eastern Light focus their di tinctive talents, singular achievements, and distinguishing artistic sensibilities on the same goal, the result is excellence. We invite you to collaborate with us by sharing your creative individuality. TOgether we can produce a great image for your client.

Paul Runyon & Tom Shillea, 1986

~~~~!ll}ight 113 Arch Street, Philadelphia, PA 19106 (215)238.0655/(215)829.0641 Represented by Maria Dzwonczyk (215)543.1957

H

0

P

P

E

R (R)

HOPPER

PAPERS

THE LINE CONTINUES

What marks a dynasty is accumulated greatness, accomplishments layered one upon the other, so that each generation, in presenting something new, draws upon the richness and innovation of the old.

It is thus with pride that we announce the debut of a paper with a most appropriate name: Dynasty, featuring the best qualities of its line, along with something entirely fresh.

Through craftsmanship comes a smooth silk finish that is a delight to touch as well as behold-and a hard printing surface with the kind of ink holdout fine lithography demands. With all Hopper grades, Dynasty shares runability, dimensional stability and excellent opacity. And it comes in the industry's most versatile weights: 80 pound cover and 70 pound text.

But on its own, Dynasty has a chromatic seledion of which no other Hopper paper can boast: a palette of colors that sings the arrival of this generation in bright, youthful terms.

Dynasty, like King Tutank-. hamun, is no mere addition to a family. It is another book in the unfolding story of the Hopper papermaking tradition-and like any link in a dynasty, it adds a spellbinding chapter of its own.

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HOPPER IS a reg1s1ered trademark ol Georg1a-PaC1flc Corporallon DYNASTY and lhe stylized "h" are lrademarks of Georg1a-Pac1l1c Corporallon

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CALL FOR ENTRIES 1987 PHOTOGRAPHY ANNUAL ANNUAL PHOTOGRAPHY COMPETITION SPONSORED

BY COMMUNICATION ARTS MAGAZINE

Photography for advertising, design, editorial or any other area of communication arts including unpublished, between March 22, 1986 and March 21, 1987 is eligible to be selected for the 1987 Photography Annual.

A distinguished, nationally representative jury of designers and art directors will select the 1987 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, 1987 Communication Arts also sponsors another annual competition, CA-87, where the entries are judged on the overall concept and execution in all areas of advertising and design. The closing date for CA-87 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, 1987.

No RETURN oF ENTRIES

Preparation of entries Each photograph is a single entry. A piece with several photographs must have a dot or some other mark indicating which specific single photograph is to be judged. If a single photograph isn't indicated, the entry will be disqualified.

CATEGORIES AI 1

Advertising (ad, poster, record jacket, packaging, etc.) ($12)

Al2

Advertising series-five or less ($24)

Bl 1

Book (cover, jacket, interior) ($12)

BI 2

Book series-five or less ($24)

El1

Editorial (consumer or trade magazine, newspaper) ($12)

El2

Editorial series-five or less ($24)

Fl1

Work produced for sale (poster, print, note paper, greeting card, etc.) ($12)

Fl2

For sale series-five or less ($24)

Il1

Institutional (company I association publication, annual report, facilities booklet, catalog, etc.) ($12)

Il2

Institutional series-five or less ($24)

Sl1

Self-promotion (printed pieces for artists, studios, agencies, printers, paper companies, etc.) ($12)

Eligibility

Sl2

Photography produced between March 22, 1986 and March 21, 1987 is eligible. Entries may originate from any country. Explanation of the function in English is helpful to the judges.

Self-promotion series-five or less ($24)

Ul1

Unpublished ($12)

Vl2

Series of unpublished-five or less ($24)

Campaigns or series are limited to a series of five photographs. If the entry has more than five photographs, indicate which are to be judged. If this isn't indicated, the entry will be disqualified.

Entries can be submitted as UNMOUNTED printed samples, e.g., ad tear sheets, pages or spreads, brochures, annual reports, books, posters, etc., or as transparencies, photographs, paper or plastic mounted 35 mm slides. NO GLASS. Please do not send any original slides or transparencies. CA cannot be responsible for damage or loss of any entry. Submission of an entry acknowledges the right of Communication Arts to use it for exhibition and publication in the 1987 Photography Annual.

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

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

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

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

Mail entries to:

Single units ... $12.00 each. Series ... $24.00 each series.

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

Notification of acceptance

or

Entry fees

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

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

Awards

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

Award of Excellence certificates for the photographer, client and art director of each accepted photograph will be mailed in September, 1987.

DEADLINE FOR ENTRIES IS MARCH 21sT, 1987

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

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A

This form and fees must accompany entries submitted to Photography-87

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

NAME

Tape this form (of facsimile to the back of each piece submitted to Photography-87 (no paper clips).

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

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COMPANY

CFORCAUSE~

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STATE

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Art Director _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ __

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$ _ _ __

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~FOR CAUSE~ DATE PROCESSED

B

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CFORCAUSE~

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

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

Art Director _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ __

Art Director _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ __

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

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

Explanation of function:

Explanation of function:

B

B

Tape this form (of facsimile to the back of each piece submitted to Photography-87 (no paper clips).

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

Photographer _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ __

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[CATEGORY]

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

Art Director _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ __

Art Director _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ __

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

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

Explanation of function:

Explanation of function:

CoMMUNICATION ARTS

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Compare hundreds of products and processes displayed by the industry's leading vendors, in the 250,000 square foot exposition.

Find the hardware, software and services to keep you on top in your field. Explore special exhibits and demonstrations featuring PC CAD, desktop publishing and MAP technology .. .lf it's state-ofthe-art, you'll find it at NCGA's Computer Graphics '87.

Discover graphics solutions for every application in more than 100 tutorials and technical sessions. Learn from the experts in Architecture Management Business Mapping Education Medicine Electronic Science Publishing Visual arts and Engineering design and much more!

foR MORE INFORMATIONI Simply return the response card and the information will be on its way. Remember-NCGA's Computer Graphics '87...

Solutions that work for today and tomorrow.

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Kurt Klein

DESIGNED PRINTING PROBLEMS Have you ever been on a press check where the pressman obviously did not like you, and you could not figure out why?

You had not acted officious or self important. You did not demand anything more than a decent printing job. Actually you were pleased with how the job was coming out and were complimentary. Why was he so grumpy?

Because it is possible your job, though simple as it may have seemed, had some design element in it that drove the pressman up the wall.

Let's take a look at a few examples of things that are difficult to deal with on press.

The first could be an annual report cover. The design is very clean and elegant. A beautiful blind embossing in the center; at top the company logo in the corporate color, small and understated; at the bottom is the company name and "1986 Annual Report" in 7-point type, printing in a nice warm gray. A simple two-color printing job with very little ink coverage. (The embossing, of course, is done off press.) What could be the problem with that?

Very little ink coverage.

Offset printing is based on ink and water, and good offset printing requires that the ink and water be properly balanced.

When you are only taking a tiny amount of ink offthe blanket, it is very difficult to maintain proper water balance, not to mention what is happening with the ink on the rollers that you are not taking off. The pressman is constantly fighting plates scumming, ink drying on the rollers, water getting into the ink fountain, and trapping problems.

What appears to be an easy job is a mechanical challenge.

Another "easy" job: (I know that I have mentioned this in a previous column but, as Samuel Johnson said, "People need to be reminded more than they need to be instructed~ ') You have to design a poster, but your client does not have the budget for four-color. No problem. A solid black background to attract the reader's eye, some good copy and a great halftone photograph. A real winner. So now why is the pressman looking at you cross-eyed?

In order to get a good solid black it requires a lot of ink on the paper. The first thing that happens is your nice photo begins to plug up, highlights to middletones get flat and middletones to solids get mottled. At the same time the excessive ink in the background is beginning to plug up the small type and the tackiness of the ink is picking the surface of the sheet. Then the picks of paper stick to the blankets and create hickeys. So, your background is full of picks and hickeys, your photo has gone to hell, the small type cannot be read, but your background is nice and black. Now you 96

Communication Arts January/February 1987

cut back on the ink coverage to eliminate those problems and your photo looks better, but the background is weak and gray.

Solution? Put a 40% screen of blue under the background.

The blue underlay will allow you to run with less black ink and it will also intensify the black. It will add a little cost to the job, but your client will be much happier and so will the pressman.

Here is another one that pressmen love. A designer has a booklet to design for a major corporation that has eight divisions. The designer decides that each division will be highlighted by a special color (divider pages, rules, sidebars, etc.). To match these colors with special inks, plus the four process colors for photographs, would mean a twelve color printing job. Obviously too expensive. So, the eight special colors will be made up of screen tints of the process colors.

This in itself is not the problem. The problem comes when the designer arrives at the press check with swatches of the special colors for the pressman to match. The designer will spend half the day adjusting the ink fountains in an attempt to match the swatches and still be very unhappy with the results and blame the pressman for doing a poor job.

Trust me. It is impossible, chemically and optically, to match a solid, special, ink sample with screen tints. You must work with screen tint guides to pick your colors and even then it is, at best, just a starting point. If the color match is critical you should invest in pulling some samples with the actual inks on the paper that you will be using. If not, accept the fact that you may be five percent off the color you have selected.

The last example is a mistake we have made a few times.

When butting two colors to each other, it is best to overlap them slightly. This is also true of trapping one color over another and reversing out an area within them. The first color that goes down should be made with a "spread" of the image so that there is some overlap of the second color.

It is nearly impossible to keep exact fits in such perfect register that there is no white of the paper, or the base color, showing through. The press will go in and out of register a little during the run of the job and some of the pieces will be showing a hairline of white or the underneath color.

A good pressman will constantly monitor the register to keep this from happening but in some cases it can be a losing battle. Particularly on a high speed web press. Our pressmen are not very happy with us when we do that to them, and you can be sure yours will not be smiling a whole lot either.

-K.S.K.

~~ rhe first lillie

so111eone called 111e fro111 Paris androlcyo, I thought it was a jolce,~Alex Tiani

T he Creati ve Black Book . 401 Park Avenue South . NYC 10016 . (2 12) 684-4255

··My first 'tax write-off in 1984 was a single page."

.. My last 'investment' in 1987 is a double-page spread."

THE CREATIVE BLACK BOOK® Where Stars Are Born

"I couldn't believe it. Me. Alex Tiani. Getting calls from Tokyo, Paris, Stockholm. For real work. But don't think this happened over night.

I took the long route. The one tha( takes over 20 years.

"Who knew about a job called 'cartoonist' when you got out of art school. You get a job doing 'mechanicals' and work your way up to art director. That's what I did for years and years and years. I had my little office, my little TV, my New York Times, my secretary and my security.

"My security is what got in my way of me thinking I was a cartoonist.

Cartoons were only something I did after my real job was done. It was a second income . Not my bread and butter. I had one foot in the door, the other out. I wasn't 100% anywhere.

Someone would call 'We have this big freelance job for you , Alex,' and I'd say 'Gee whiz, I can't take that on, it might get in the way of my real job.'

"One day, Thank God, I found myself without that real job. Otherwise I wouldn't be doing what I'm doing today. When I had to survive on my freelance, full time, my whole life took a different twist. First the calls only came once a week. Then two and three times a week. At least I was making a living. That's about the time the Black Book people came over and started talking my ear off about running a full page ad and building my career. I was very skeptical. But I did it for the tax write-off.

"Some write-off! The first ad brought in calls from all over the country. The second ad , a double page spread, brought in calls from all over the world. The exposure I get now is tremendous. The kind of work is sensational. Two years ago I got my first book. Last year I got my first movie. Next year? Who knows. I've gotten halfway around the world so far, but there's a whole other half I still gotta see."

Barbara Gordon

THE PHOTOGRAPHY SCENE TODAY For some years now, I've been involved with a seminar at one of the major professional trade shows in New York.

The seminars are geared to helping the professional photographers sell their services, mainly in New York advertising. I'd like to discuss some of the information that came out of this year's seminar.

Some things remain constant year after year. The people buying advertising photography still prefer to view your portfolio on up-size transparencies or prints instead of 35mm slides. They want to see only your best pieces, and 10 to 20 are enough to show on a fust call.

It is not necessary to show tearsheets. Show the original photograph if it's better than the tearsheet. If a tearsheet is bad, or just so-so, it's better not to show it at all, no matter how prestigious the client.

The agency people do use directories, all of the ones they receive. So, if you're advertising in directories, make sure the distribution is good. They also keep ftles of mailers.

Once again this year, everyone said that posters usually get thrown out-not enough wall space.

Twice a year is often enough to show your work at an agency, unless you have done something new that is pertinent to the agency's accounts.

Art buyers are more apt to make personal appointments to look at a photographer's work. Art directors seem to lean more to the "drop off'' policy, so it's probably a good idea to see the art buyer (when there is one) who can then steer you to the right art directors in the agency.

What dominated this year's seminar was talk of all the recent agency mergers. One of the ftrst comments of the photographers was that invoices seem to be taking longer to get paid. If your invoice goes in after a certain day of the month, it will probably be held for another month before it is even considered for processing. And the processing often is done in another offtce, in another part of the country, creating further delays. And, since the accounting offtce is often far removed from where the photographer lives, the photographer quite often receives a check, drawn on some bank that no one has heard of, that takes another two weeks to clear.

Also on the subject of invoices, clients are very cost conscious these days. Invoices are being scrutinized as never before. In some cases, if even one small item is undocumented, the whole bill will be held up until all the expenses are documented. So, to help the payment situation, make sure all invoices are in perfect order, especially expense documentation. One positive note: Most large agencies will advance money for expenses.

Because the agency clients are so cost conscious, the agency people tell us that they are asking photographers 100

Communication Arts January/February 1987

to be especially careful with their bids and estimates since they are probably going to be held to them. And, because many clients don't want to spend their money any sooner than they have to, a lot of jobs are handed out at the last minute (I think we can all vouch for that).

There was even some mention of clients requesting that some of their photography be done in Canada, with Canadian models, as a cost cutting measure.

The agency people were unanimous in their agreement that it is getting harder for a new photographer to get a foothold in a New York agency. Art directors are reluctant to take chances on anyone who is unproven. One of the art buyers told of calling in a gifted beginning photographer's portfolio twelve times before she fmally convinced the art director to give him a try. Fortunately, the story had a happy ending with the young photographer landing a major account, but it took a great deal of time, persistence and faith to effect this.

Out-of-town photographers are still benefttting from cost consciousness, since a client is more apt to hire a local photographer than to go to the expense of sending a New York photographer on location.

Agency mergers are still causing disruption on who is working on what accounts, and photographers are fmding it difftcult to keep track of prospective clients. The consensus of the group was that the larger an agency, the more bureaucratic, and bureaucracy doesn't lend itself to creativity. The agency people said there is still a lot of uncertainty about who will stay and who will be let go in these mergers. They all admitted that the agencies were running leaner than anyone has ever seen them.

The oversupply of free-lance photographers available still keeps it a buyer's market and a seminar wasn't needed to remind us of the fact that photographers' fees have remained relatively flat for some time now.

The agency people have no prejudice against photographers who don't have a permanent studio, but rent studios on ajob basis. In fact, many of the agency people felt that, with the escalating costs of studio space, it was only a matter of time before many photographers did business that way regularly, as many of the TV people already do.

The biggest complaint about free-lancers this year was the same as last year. No one likes " pests;' on the phone or in person, namely reps and photographers who badger people for work. In the pressed-for-time atmosphere that the agency people are in, they don't want to be badgered, especially by phone. If your work is good and appropriate, and you keep a presence in the fteld through your portfolio, advertising and promotion, the agency people say, " You don't have to call us, we'll call you ~'

SununaSketch.....

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A SummaSketch tablet turns any PC into a professional graphics workstation. That means faster input, superior accuracy, a more natural"pencil to paper" method of working, and the ability to get a tremendous amount of productivity from your software.

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\ Zip : _ _ _

Mail to: Summagraphics Corporation P.O. Box846 Berlin, CT06037

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BooK REVIEWS BRIEFLY NOTED:

Nothing jumped out this month so let's keep things brief.

DICTIONARY OF GRAPHIC ARTS ABBREVIATIONS Compiled

by L.W Wallis (Published by Rockport Publishers, Inc., distributed by Robert Silver Associates, 307 East 37th Street, New York, NY 10016, $8.95.) This volume is a collection of more than 5000 abbreviations and explanations for terms in the printing industry, including: WYSIMOLWYG (What You See Is More Or Less What You Get) in reference to video displays; WHIMPs (Windows, Icons, Mice and Pucks) are operator/computer interfaces and CLOUT (Concerned Librarians Opposing Unprofessional Trends).

THE NEW COMMERCIAL ARTIST'S HANDBOOK by John Snyder (Published by Watson-Guptill, 1515 Broadway, New York, NY 10036, $22.95 plus $2.00 shipping.)

A revised and updated version of Snyder's handbook of materials and how to use them. Over 400 entries from abrasives to Zipatone. A good reference book for students and professionals.

WATERCOLOR FOR ILLUSTRATION by Jacqui Morgan (Published by Watson-Guptill, 1515 Broadway, New York, NY 10036, $22.95 plus $2.00 shipping.) This is a good book for watercolorists who want their talent to work for them financially. Good examples abound amongst clear, concise text which is based on Jacqui Morgan's workshops at Pratt and Parsons. Topics covered include tools, equipment, methods, different surfaces and media, working on commission and marketing your work.

SHOPPING CENTERS & MALLS (Edited by Robert Davis Rathbun, published by Retail Reporting Corporation, distributed by Robert Silver Associates, 307 East 37th Street, New York, NY 10016, $44.95.) In my limited career as book editor for CA I have come to the conclusion that anything can be published. This book of250 somewhat fuzzy color photos is a collection of 55 International Council of Shopping Centers award winners for design and development. Since each center is given only a few pages to briefly explain a complex project, its use as a reference book is limited to little more than a quick overview of current trends. Surprisingly included are advertisements from developers which makes me question the price.

SEVEN DESIGNERS FoR SHOPS (Published by Rockport Press. Distributed by Robert Silver Associates, 307 East 37th Street, New York, NY 10016, $79.95.) In direct contrast to the previous book, this one offers a far more interesting overview of the best store interior displays by Japanese designers. Included are displays for restaurants, boutiques, food shops, bars and shopping malls.

249 pages. Higher price. No advertising.

102

Communication Arts January/February 1987

SPEAKING OuT ON ANNUAL REPORTS (Published by S.D. Scott Printing Company, 145 Hudson Street, 11th Floor, New York, NY 10013, $17.50.) Fifty-five prominent designers and print production specialists, advise and comment on better client communications, problem defining and solving and production planning. Each author's article is accompanied by a biographical sketch.

THE AIRBRUSH ARTIST's HANDBOOK by Fred Dell with Andy Charlesworth (Published by Running Press, 125 South 22nd Street, Philadelphia, PA 19103, $14.95.) Labeled as the essential reference for all airbrush artists, the book contains information on equipment, accessories, maintenance and the ever important facts on making a living as an airbrush artist. 160 pages, 200 two and four-color illustrations.

VERY BRIEFLY NoTED:

ANNUALS, ANNUALS, ANNUALS TYPOGRAPHY 7 The annual of the Type Directors Club (Published by Watson-Guptill, 1515 Broadway, New York, NY 10036, $35.00 plus $2.00 shipping.) Hardbound: 224 pages, 8 1h "xll~' 204 color plates, index.

TH E SILVER BooK The American Society of Magazine Photographer's Professional Photography Annual Book 5 (Published by Annuals Publishing Company, distributed

by Robert Silver Associates, 307 East 37th Street, New York, NY 10016, $39.95.) This is not ajuried competition.

ADLA:2 The thirty-ninth competition sponsored by the Art Directors Club of Los Angeles (Published by Madison Square Press, distributed by Robert Silver Associates, 307 East 37th Street, New York, NY 10016, $39.95.) Hardbound: 254 pages, 1P/4" x8~s~' over 450 color photographs, index.

GRAPHIC DESIGN USA:7 The Annual of the American Institute of Graphic Arts (Published by Watson-Guptill, 1515 Broadway, New York, NY 10036, $49.95 plus $2.00 shipping.) Hardbound: 384 pages, 9"x12 ~' 350 color plates, 400 b/w photographs, index. In addition to thejuried annual, 40 pages are devoted to the work of Seymour Chwast, the AlGA Medalist for 1985 and 36 pages to the WGBH Educational Foundation, recipient of the Institute's Design Leadership Award.

GRAPHIS ANNU AL 86/87 The International Annual of Advertising and Editorial Graphics (Published by Graphis Press Corp, distributed by Watson-Guptill, 1515 Broadway, New York, NY 10036, $59.50 plus $2.00 shipping.)

Hardbound: 256 pages, 9 lh''xl2 ~' 130 color plates, 738 b/w photographs, index.

-Patrick Coyne

Travels with Kash

The Himalayas

K ashmir quality- represented by the luster and softness of the legendary Kashmir goat- goes just about anywhere.

From the sparkling whites of the Rockies to the deep greens of Hawaii. Anywhere that color is critical and a rich, elegant feel is paramount.

Kashmir paper from Plainwell Paper... everywhere it goes, it brings a sense of quality and a touch of class.

Note: For information on how you can own your own collector's edition of "Kash" the Kashmir goat, that fabled bon-vivant and world-traveler, please contact your Plainwell Paper representative.

CALL FOR ENTRIES 1987 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 or unpublished, between March 22, 1986 and March 21, 1987 is eligible to be selected for the 1987 Illustration Annual.

A distinguished, nationally representative jury of designers and art directors will select the 1987 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, 1987 Communication Arts Magazine also sponsors another annual competition, CA-87, where the entries are judged on the overall concept and execution in all areas of advertising and design. The closing date for CA-87 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, 1987.

No RETURN OF ENTRIES

Preparation of entries Each illustration is a single entry. A piece with several illustrations must have a dot or some other mark indicating which specific single illustration is to be judged. If a single illustration isn't indicated, the entry will be disqualified.

Campaigns or series are limited to a series of five illustrations. If the entry has more than five illustrations, indicate which are to be judged. If this isn't indicated, the entry will be disqualified.

Entries can be submitted as UNMOUNTED printed samples, e.g., ad tear sheets, pages or spreads, brochures, annual reports, books, posters, etc., or as transparencies, photographs, paper or plastic mounted 35 mm slides. NO GLASS. Please do not send any original slides or transparencies. CA cannot be responsible for damage or loss of any entry. Submission of an entry acknowledges the right of Communication Arts to use it for exhibition and publication in the 1987 Illustration Annual.

CATEGORIES AI 1

Advertising (ad, poster, record jacket, packaging, etc.) ($12)

Al2

Advertising series-five or less ($24)

Bl 1

Book (cover, jacket, interior) ($12)

Bl2

Book series-five or less ($24)

EI 1

Editorial (consumer or trade magazine, newspaper) ($12)

El2

Editorial series-five or less ($24)

FI 1

Work produced for sale (poster, print, note paper, greeting card, etc.) ($12)

F 12

For sale series-five or less ($24)

II 1

Institutional (company I association publication, annual report, facilities booklet, catalog, etc.) ($12)

II 2

Institutional series-five or less ($24)

Sl 1

Self-promotion (printed pieces for artists, studios, agencies, printers, paper companies, etc.) ($12)

Sl2

Self-promotion series-five or less ($24)

UI 1

Unpublished ($12)

U 12

Series of unpublished-five or less ($24)

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

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

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

Eligibility Media art produced or published between March 22, 1986 and March 21, 1987 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.

Mail entries to:

No return of entries Entry fees Single units ... $12.00 each. Series ... $24.00 each series.

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

Complete credits and any necessary material for reP.roduction in the Illustration Annual will be requested at that time.

No additional fees are required.

Awards Award of Excellence certificates for the artist, art director and client of each accepted piece will be mailed in September, 1987.

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, 1987

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-87

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

NAME

Tape this form (of facsimile to the back of each piece submitted to Illustration-87 (no paper clips).

For series only

PHONE

COMPANY

CFORCAUSE~

ADDRESS

This is No. _ _ of _ _ .

CITY Illustrator _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ __

_

STATE

_ _Single Entries ..

_ _ _ Series.

Art Director _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ __

No return of entries

ZIP

. .. $12 Each

$_ _ __

...... $24 Each

$_ _ __

Total $._ _ __

Client _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ __ Explanation of function :

~FOR CAUSE~ DATE PROCESSED

B

Tape this form (of facsimile to the back of each piece submitted to Illustration-87 (no paper clips).

For series only

B

D

Self-addressed, stamped envelope included for acknowledgment.

Tape this form (of facsimile to the back of each piece submitted to Illustration-87 (no paper clips).

CFORCAUSE~

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

This is No. _ _ of _ _ .

CFORCAUSE=

Illustrator _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ __

Illustrator _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ __

Art Director _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ __

Art Director _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ __

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

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

Explanation of function :

Explanation of function:

B

B

Tape this form (of facsimile to the back of each piece submitted to Illustration-87 (no paper clips).

For series only

Tape this form (of facsimile to the back of each piece submitted to Illustration-87 (no paper clips).

CFORCAUSE~

For series only

CFORCAUSE~

This is No. _ _ of _ _ .

This is No. _ _ of _ _ .

Illustrator _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ __

Illustrator _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ __

Art Director _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ __

Art Director _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ __

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

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

Explanation of function:

Explanation of function:

COMMUNICATION ARTS

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

CLUBS, CONFERENCES, SEMINARS C HICAGO

WYOMING

STA announced its board: president Josef Godlewski, first vice president Patrick Whitney, second vice president Norman Din, vice president/treasurer Barbara Wasserman Vinson, vice president/secretary Oscar Anderson; directors: Dana Arnett, Philip Dunne, James Hansen, Robert Jensen, Diane Kavelaras, Thomas Kosak, Mark Oldach, Lorraine Wild, Janet Zaleski. Executive director is Jane Dunne. STA, 233 East Ontario, Suite 301, Chicago, IL 60611.

Ucross Foundation Residency Program provides individuals with space and time to concentrate on their work without distraction. A residency may run from two weeks to four months. Residencies are available in writing and the visual arts. A complete etching facility is included.

There is no charge for room, board or studio space. Application deadline is March 1 for the 1987 fall session.

For more information, send a self-addressed, stamped envelope to: Residency Program, U cross Foundation, Ucross Route, Box 19, Clearmont, WY 82835, or call Jane Cannon (307) 737-2291.

CoLoR Color Marketing Group, the international association of color professionals, announced the election of new officers to its executive committee: president Doris M. Crary, Prince Matchabelli; vice president Merle A. Lindby-Young, Knoll Textiles; treasurer Merritt Whitman Seymour; secretary Janet L. Carter, Mid-State Tile Company. CMG offers a forum of information on all facets of color marketing at its national and regional meetings and throughout the year. For information, contact CMG, 1133 Fifteenth Street, NW, Washington, D .C. 20005, or call (202) 429-9440.

RSCA The Rochester Society of Communicating Arts announced their board of directors: president Josanne Nowak, vice president Wayne Calabrese, secretary Barb Kimbrough, treasurer Henry Quantrille, membership committee Ann Thomas, speaker program chairperson Steve Roberts, publicity chairperson Joan Brandenburg. President emeritus is Bob MaHarry. RSCA, P.O. Box 18309, Rochester, NY 14618.

7

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

Isn't it about time you found out?

Syracuse University 's Independent Study Degree Program gives you an opportunity to work toward your MFA in Advertising Design or Illustra tion while you 're working full time. And you study face-to-face with the top designers and illustrators in the industry.

For two weeks each summer (for three summers) you study with su perst ars like the former faculty listed below. The rest of the year you're working on independent study assi gn men ts and making a few longweekend fie ld trips to study with the top communic at ors right where they live and work . Places like New York ,

Toronto, Chicago and London.

You'll find out mo re about how the pros work, you 'll make more connections and you 'll learn more than you can possibly imagine .

For inform ation co ntact: Director, Syracuse University ISDP I Room 10 610 E. Fayette St reet I Syracuse , N.Y. 13202 I (3 15) 423-3269.

prOS

Study With the ALLAN BEAVER. JOE BOWLER . TOM CARNASE. MIL TON CHARLES . STEVE COSMOPULOS. PAUL DAVIS. LOU DORFSMAN . GENE FEDERICO. DICK GANGEL,AMIL GARGANO, BOB GROSSMAN . DICK HARVEY. BOB HEINDEL. DOUG JOHNSON . DICK HESS. HELMUT KRONE .

HERB LUBALIN , WILSON McCLEAN , JIM McMULLAN . JACOUI MORGAN , DAVE PASSALACQUA. ARTHUR PAUL . LARRY PLAPLER . SHIRLEY POLYKOFF. HEID I RICKABAUGH . SAM SCALI , EILEEN HEDY SCHULTZ, ISADORE SELTZER. BERT STEINHAUSER . MURRAY TIN KELM AN. DON TROUSDELL & ROBERT WEAVER

109

~I ---11 s.c.A. 01·-·1 ~-: I l. .l. . Li .l.J. JiI...L_I

CLUBS, CONFERENCES, SEMINARS

I l•iil•ii

IDSA ILLUSTRATION Located in the heart of the nation's largest urban historic landmark district, The Savannah College of Art and Design is an independent, nonprofit, accredited college offering degrees in Architecture, Historic Preservation, Interior Design, Graphic Design, Illustration, Painting, Photography, Fiber Arts, and Video. Trips abroad, student apartments, financial aid, and job placement are available.

THE SAVANNAH COLLEGE OF ART AND DESIGN 342 Bull Street • Savannah, GA 31401 • 912/238-2484

B.F.A.

B.ARCH.

M.F.A.

For more information, clip and mail to: Admissions Dept./SCAD/342 Bull St./Savannah, GA 31401 Name ________________________________________ Address --------------------------------------City

State _____ Zip _____ Phone (

Graduation Date

) _____

School/College ______

Accredited by Commission on Colleges, Southern Association of Colleges and Schools.

The Print Production Toolbox.

... It can save you a lot of Turns."

-Communication Arts Magazine.

Graphics Master 3 has all the vital guidel ines and technical specifications for print production that are so hard to find when you need them most.

You 'll save many precious minutes, even hours that are often wasted in looking for the right answers.

The Graphic Tools and Production Aids alone are worth Its price. Each Graphics Master 3 includes: • Process Color Guide. Process ink color combinations and screen values for over

2,800 colors. Printed in two, 24-page coated and uncoated paper stock sections that provide easy comparison. Die-cut masks isolate any color.

• Copyflttlng System. 24-pages of alphabet showings for 344 typefaces. Over 2,000 typeface listings for 55 different typesetting systems and models are cross-referenced with character count (cpp) key numbers for more than 20,000 fonts in 5 to 18 point sizes. An easy-to-use scale fits copy to t.ype, and type to copy. A16-page Typeface Selector Guide with specimen showings of over 1,000 display and text typefaces .

• Proportional Scale. A built-in scale gives dimensions and percentages for reducing or enlarging art and copy. • Line Gauge & Ruler.

The 10" Rule measures inches, centimeters and picas. There's a pica and inch centering rule, and scales to measure type lines from agate to 17 point sizes.

No-Risk OHer. Graphics Master 3 is sold with an unconditional guarantee. Order and use it for 10 days. If not completely satisfied , simply return it for a full and prompt refund.

"The Best Print Production Workbook Ever Published ... " -Art Direction Magazine.

DEAN LEM ASSOCIATES, INC. P.O . Box 25920, Los Angeles, CA. 90025

D Please send ____copies of Graphics Master 3 at $57 .50 each. enclosed . Add $4 .00 per book shippin~ & handling charges. Outside USA add $6.00 per book. U.S. Funds only. No C.O.D.'s. In California add 6 ~ %Sales Tax.

D Check for$

D Visa D MasterCard#

Exp. - - - - - -

Name----------------------------- Title _ _ _ _ ___ Co.- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - Address----------------------------------------City------------------------------ State ____ Zip ____

110

The Industrial Designers Society of America announced their election results: president Peter Wooding, executive vice president Peter Bressler, secretary /treasurer Darrell Staley. Directors: Noel Mayo, James Pirki, David Tompkins, Harold Minick, Nancy Perkins, James Berry. IDSA, 1142E Walker Road, Great Falls, VA 22066, (703) 759-0100.

The society has published its 1986 Personnel Benefits and Practices Study. The study reports statistical data on compensation practices; personnel policies, vacations, holiday and leave; retirement plans; life insurance; medical insurance; disability insurance and fringe benefits for consulting offices, corporate design groups and self-employed industrial designers. The data represents all office sizes and geographical regions of the United States, and all figures are current as of June 30, 1986. This is available to IDSA members for $30 and non-IDSA members for $60. To order, send a check to IDSA, 1360 Beverly Road, Suite 303, McLean, VA 22101.

Communication Arts January/February 1987

CASH PRIZE

In honor of author/illustrator Lorna Balian, whose books in print total more than 500,000, Abingdon Press has announced the Balian Prize, a competition for unpublished authors/illustrators of children's books. First prize is $2,500 cash, guaranteed publication by Abingdon as part ofits children's program and $2,500 advance against royalty.

Second prize is $1,000 cash. All additional entries will be considered for publication. Entries will be judged on excellence in a children's book that emphasizes strong Christian values. Entries must include the complete typewritten manuscript for the text, one piece of finished art and three sketches. Enclose a self-addressed, stamped, envelope since non-winning submissions will be returned.

Deadline March 15. Send to Lorna Balian, Abingdon Press, P.O. Box 801, Nashville, TN 37202. The winner will be announced at the American Booksellers Association Convention in May.

SND The Society ofNewspaper Design elected and installed its 1986-87 leadership during the annual SND workshop.

Elected were: president Maggie Balough, assistant managing editor Austin American Statesman; first vice president Tony Majeri, deputy sports editor, Chicago Tribune; second vice president Rob Covey, design director, Seattle Times; secretary Nanette Bisher, creative director, The Register, Santa Ana, California. Dave Gray, managing editor/ graphics at the Providence Journal-Bulletin was reappointed to the post of treasurer. SND, The Newspaper Center, Box 17290, Dulles International Airport, Washington, D.C. 20041, (703) 620-1083.

ASPEN

Michael Crichton, author and filmmaker, has been named chairman of the International Design Conference in Aspen, Colorado to be held from June 14 to June 19.

Crichton will develop the theme "Success and Failure" for the conferees who will attend the week-long assembly.

He will be assisted by a steering committee of IDCA board members: graphic designer and filmmaker Saul Bass; psychologist and author Richard Farson; and graphic designer and IDCA president emeritus, Jack Roberts. Registration fees: $425, U.S. Funds, primary registration; $200, one additional member of the household; $125, full-time students (photo copy of current student I.D. required with application). Make checks payable to IDCA, Attn: Registrar, P.O. Box 664, Aspen, Colorado 81612. For further information, contact Deborah Murphy, (303) 925-2257.

MoNTEREY

Design Management Institute West/4 is scheduled for March 3 through March 6 at the oceanside Asilomar Conference Center in Monterey, California. Among the featured speakers are: Tom Hughes, director of creative development, Lotus Development Corporation; Kirk Davis, director of corporate design, Playtex Corporation; Dr. Sidney Parnes, founder of the Creative Education Foundation; V. Lorenzo Porcelli, president Porcelli Associates; Robert Blaich, director of the corporate Industrial Design Center, NV Philips, The Netherlands; Christopher Hacker, vice president for design, Dansk; and Chris Pullman, WGBH, Boston. The content and session format follows the Institute's tradition of fostering stimulating discussions and learning experiences. For more information contact Earl Powell, Director, DMI, 621 Huntington Avenue, Boston, MA 02115 or call (617) 232-4496.

ANA The Association ofNational Advertisers announced their new officers. Chair of the board George F. (Pete) Tyrrell, vice president, advertising Johnson & Johnson; vice chair Kim Armstrong, director of consumer advertising of AT&T; directors: Ariel A. Allen; Robert J. Blake, David K. Braun, J. Richard Briscoe, Charles E. Decker, Jr., Philip Guarascio, Claudia E. Marshall, Hans L. Stern, Blair Gensamer and Judy Ranzer. ANA was founded in 1910 and is operated for the benefit of some 300 member corporations whose products and services are advertised nationally or regionally. It is the only association in the United States concerned exclusively with the interests and needs of national buyers of advertising time, space and services. ANA, 155 East 44th Street, New York, NY 10017.

Work less.

•

Bill more.

To be profitable, you need to be efficient.

Not only in producing the job, but getting paid for it . .. from tracking time, to watching budgets, to collecting money. That's work.

But now, there's relief. DesignSoft is a powerful, easy-to-use software system that makes your billing easy and efficient. It's been developed by designers for anyone who bills by the job-designers, photographers, agencies, etc.

DesignSoft . . .

• • Organizes and automates record keeping • Records each time and expense entry for individual jobs by 270 user-defined categories, rates, and markups • Posts all entries to the correct jobs from one entry screen • Allows you to quickly review, edit, print, sort, and total data for up-to-date summaries, reports, statements, and custom invoices • Tracks open invoices, accounts payable, and income • Helps analyze job, client, and employee profitability • Is easy to learn and enthusiastically supported Bill your time. Don't spend it doing what

DesignSoft already does. For a detailed brochure and demo, contact: Highgate Cross & Cathey 130 W. Liberty, Wheaton IL 60187, 312-653-2700 Complete program-S495 .00, interactive demo-$12 .95 , shipping- S3.00.

Check, Visa!MC , AmEx

111

MATERIALS

IF YOU USE A PENCIL LIKE YOUR LIFE DEPENDS ON IT ...

RO LLED MATERIALS FILE

Safco Products Company has created a series of inexpensive stackable boxes designed to store drawings, charts, plans, blueprints and rolled art supplies. Available in 25, 37 and 43 inch sizes, each box is constructed of corrugated fiberboard, reinforced by a steel frame and will hold 36 tubes behind a 15 3/4" square dust resistant door. As with other storage systems by Safco, the utility is well thought out but a little lacking in aesthetics. Contact Safco Products Company, 9300 West Research Center Road, New Hope, MN 55428.

Learn about the new cost-effective ucom:puter graphic pencils" with unlimited colors, w1dths and patterns, that let you do layouts in seconds, comps in minutes, create storyboards, set type and forget about mechanicals.

Find out what's available and how it's being used, so you can choose the best pencil box for your operation.

At PRA'IT CENTER seminars and exhibits, the leading users and manufacturers fill you in on the latest equipment and techniques. These non-technical updates on new technology for Computer Graphic Arts & Design will help you, as they've helped thousands of others, stay sharp.

PROPORTION AND PERSPECTIVE DRAWING TOOL

COMPUTER GRAPHICS FOR DESIGN 87 June 1-3, 1987, Grand Hyatt, New York

COMPUTER GRAPHIC ARTS 87 December 6-9, 1987, Grand Hyatt, New York For free brochure, call or write:

Pratt Center for Computer Graphics in Design

Dept CA, Nine Skyline Drive, Hawthorne, NY 10532, 914-592-1155.

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PRESENTATION LETTERING SYSTEM

Varitronic Systems has introduced the Merlin Express Presentation Lettering System and claims it is the quietest, fastest and most portable lettering system on the market.

The 10-lb unit produces lettering between 6 and 36 points on an adhesive-backed tape and generates up to 18 characters per second using 8 point type. Why anyone would want 8 point adhesive-back type is beyond this reviewer. If it's not beyond you, contact Varitronic Systems, Inc., 300 Interchange Tower, 600 County Road 18, Minneapolis, MN 55426 for the name of an independent dealer near you.

CoATED CoLORED PAPERS

Street _ _ _ _ _ _ _ _ _ _ _ _ _ _ __

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In the voice of Andy Rooney: "Do you ever wonder why artists hold their thumb out in front of them while they're drawing a picture?" Well the future has come to those using the "thumb/pencil" method of transferring the measurements from a subject to the drawing paper.

Engineering Industries has created "Prospek:' a sighting device that is essentially two pointed strips of plastic with an adjustable intersection point forming an X. On the package is a drawing from the point of view of you as the artist holding your "Prospek" so the upper points line up with the top of a house and the bottom points align with the roof of the house on your drawing. Sounds difficult but rest assured it comes with "complete directions for use~' For information on area distributors, contact Engineering Industries, Inc., 407 South Nine Mound Road, Verona, WI53593.

-------32 East 31st St., New York, NY 10016

Communication Arts January/February 1987

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Pantone, Inc. has introduced the latest addition to their already large collection of color systems. Coatings Color Papers features 250 of the most popular colors from the PANTONE Color Guide and come in 10"x13" 7 pt. sheets coated with a satin matte finish. A metallic and semigloss finish is also used for some of the colors. Suggested retail price is $2.95 per sheet. Individual sheets and pocketsize color selectors are available from artist materials stores throughout the U.S.

Take

IDustration Seriously

SYNTHETIC ADHESIVE WAX

The major benefit I can see in using this synthetic wax from Daige Products is their claim it will never turn yellow with aging and that the " Tootsie-Roll" shape makes it easier to handle than the cubes. Press release states it has " superior controlled adhesion" and "easy lift off for repositioning~ ' How do it know? To find out for yourself contact Daige Products, Inc. at 1 Albertson Avenue, Albertson, NY 11507, or contact your local leading graphic art supply dealer.

NoN-Toxic MARKER

For those who can't resist putting things in their mouth, Eberhard Faber, Inc. has produced Colorbrite watercolor markers that are certified as non-toxic by the Arts & Crafts Materials Institute, (sort of the Good-Housekeeping of the art world), and are available in 12 non-bleedthrough colors. Contact your local art supply store or Eberhard Faber, Inc. , Crestwood Industrial Park, Wilkes Barre, PA 18773.

Portfolio Center announces a most extraordinary illustration program. Study one-on-one in the studio of a prominent illustrator. Study with Bill Mayer, Rick Lovell, Ian Greathead, George Parrish, Doug Montross, Mark Jones, Barbara Brice, Pat Mollica, Mike Lester, Trevor Irvin, Jack Jones, David McKelvey, and Bruce Young.

Portfolio (9] Center Please send me information on: 0 Photography 0 Commercial Art 0 Copywriting Name ______________________________ Address ----------------------- - - - City ______ State _______ Zip_ _ _ __ Phone -------------------------- CA4

GRAPHICS TABLET

Summagraphics Corporation has produced the first computer graphics tablet to support Microsoft Windows software creating the first true graphics interface for the IBM PC and compatibles. Several features , including the ability to scale input, make it possible to expand the graphic applications for PCs and compatibles. Further information is available by contacting Dr. Tom Davies, product manager, Summagraphics Corporation, 777 State Street Extention, Fairfield, CT 06430 (203) 384-1344 or Marty Taucher at Microsoft, Inc. (206) 882-8080.

20x ILLUMINATED MAGNIFIER

The Scope Mark-III sounds more like some high-tech spy device but is really a low cost 20x magnifier with a finetune focusing control and a built-in illumination system powered by replaceable AA batteries, $16.95. I suppose it could be used as a high-tech spy device. Distributed exclusively by Dengensha America Corporation headquartered at 199 South Chillicothe Road, Aurora, OH 44202. Batteries not included.

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

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LIGHT Box

Plan Hold Corporation claims their 390 DL light box has an advantage over other light boxes because of a patented light " baffle" designed to limit the natural fluctuation of a fluorescent bulb and distribute the light evenly over the entire work surface. No mention is made if the light box accepts SWOP standard 5000k lighting. (See Kurt Klein's column, CA December 1986.) For more information, contact Plan Hold Corporation, Department 6177, 17421 Von Karman Avenue, Irvine, CA 92714.

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Graphic Design: An established program that has received international recognition for excellence in design education. Emphasis in corporate/institutional communications, publication design, 3-0, and information design.

Candidates with demonstrated expertise in these areas as well as typography, corporate 1.0. or design systems are encouraged to apply.

Industrial Design: A program with broad definitions of the profession emphasizing product design, furniture and lighting design and computer aided design problem solving.

Candidates with expertise in these areas as well as materials and processes, environmental design and design methodology are encouraged to apply.

Candidates for both positions are expected to have established professional records in their areas. Both positions carry a minimum rank of Assistant Professor, a renewable three year contract and are tenure track. Salaries are competitive and will be commensurate with experience. Priority will be given to applications received before February 15, 1987. Apply by sending resume to :

Chairman, Design Search Committee

School of Art DM-10 University of Washington Seattle, WA 98195 The University of Washington is an equal opportunity affirmative action employer.

113

MATERIALS

Joyce, that's a Neenah paper.

No, we're not leaving.

The stationer's closed.

LITERATURE FoR YouR FILES A request on y our letterhead to the following companies will bring yo u the literature described . . .free, unless otherwise noted.

Letter-Rite zypeselector... is an eight-page type selection guide of over 100 typefaces available as pressure sensitive vinyl letters from Letter-Rite. Letters are available from 1/4 inch to 4 feet high in one piece. Custom modifications such as condensing, expanding, outlines, reverse cutting and perspective are also available. The typeselector also contains instructions for estimating copy length. Write for your free copy ofTypeselector to Letter-Rite, Inc., 9000 W King Street, Franklin Park, IL 60131.

KIMBERLY Writing- makes quite a show anytime day or night Contact your Neenah Paper Merchant for complete details.

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Commercial Art Career moving in London, Atlanta or Los Angeles The American College for the Applied Arts, Atlanta and Los Angeles, and The American College in London afford students the opportunity to earn a degree while transferring, without any loss of academic credit, between the colleges.

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The Best of '85 ... is a portfolio of letterheads chosen by Gilbert Paper for its 49th annual Golden Quill Awards letterhead competition. The enclosed samples show the usual usage of embossing, foil stamping and printing techniques and are comparable to the winners of previous years. Also included is a call for entries for the 1986 competition. Please contact your nearest Gilbert distributor for a copy and/or more information.

Verbum .. .The journal of personal computer aesthetics is called " The journal to dream by" in their press release and I must say the contents are a little nightmarish. This new quarterly explores literature, poetry, art, humor and philosophy as expressed by personal computer users and their equipment. In fact the whole magazine is produced on the Apple Macintosh computer and LaserWriter with near-letter quality results. Also included are reviews of software and hardware and technical tips. Special introductory subscriptions at $21 for 4 quarterly issues (regularly $28), are available by writing to Verbum, Donovan Gosney, Inc., P.O. Box 15439, San Diego, CA 92115.

Introducing Four New Paper Colors ... A portfolio from Hammermill Papers Group introduces four new colors to their offset opaque and cover lines. Sample sheets are cut at funny angles and imprinted with 4-color watercolor illustrations of animals to show how a ram looks on Mist Green, a squirrel looks on Lilac, an elephant looks on Steel Blue and a shore bird looks on Rose. With that picture in your mind, contact your local Hammermill merchant or Hammermill Papers Group, Erie, PA 16533 for your own copy.

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'lbeAmericanCottege for the Applied Arts

Bizzaro Big Rubber Stamp & Supply Catalog .. . As previously reviewed in this column, Bizzaro's 15th catalog contains 20 pages of unusual, interesting, strange and useful stamps and supplies. The catalog is available for $1.00 and every rubber stamp order comes with a free mystery stamp.

Write to Bizzaro, P.O. Box 16160, Rumford, RI 02916.

-P.C. 114

Communication Arts January/February 1987

COMMUNICATION ARTS INDEX VOLUME28 MARCH/APRIL 1986-JANUARY/FEBRUARY 1987

The American Advertising Museum Article/exhibit: Vol. 28, #5 (Sep/Oct), page 94.

Frankenberry, Laughlin & Constable (agency) Article/portfolio: Vol. 28, #5 (Sep/Oct), page 82.

Arnoldi, Per (painter/designer) Article/portfolio: Vol. 28, #1 (Mar/Apr), page 44.

Geer, DuBois, Inc. (advertising agency) Casa Lupita menu : Vol. 28, #1 (Mar/Apr), page 62.

ASMP (photographer's organization) Article on American Society of Magazine Photographers: Vol. 28, #1 (Mar/Apr), page 82.

Burson-Marsteller Design Group (public relations) Article/portfolio on internal design group: Vol. 28, #1 (Mar/Apr), page 64.

The Califomias (advertising campaign) Article on campaign for the State of California by keye/donna/pearlstein: Vol. 28, #1 (Mar/Apr), page 52.

The College Marketing Game (recruitment graphics) Article/portfolio: Vol. 28, #2 (May/June), page 90.

Colossal Pictures (art that moves) Article/portfolio: Vol. 28, #5 (Sep/Oct), page 54.

Communication Arts Annuals Illustration Annual: Vol. 28, #3 (July); Photography Annual: Vol. 28, #4 (Aug); Design Annual: Vol. 28, #6 (Nov); Advertising Annual: Vol. 28, #7 (Dec).

Corporate Graphics (design firm) 1986 Heinz Annual Report: Vol. 28, #8 (Jan/Feb), page 26.

Crawford, Tad (attorney-at-law) Columns on law concerning artists. " Work Made For Hire": Vol. 28, #2 (May/June), page 18; "Authorship and the Copyright Law: Work for Hire and Moral Rights": Vol. 28, #5 (Sep/Oct), page 22; "Legislative Update": Vol. 28, #8 (Jan/Feb), page 20.

Crolick, Sue (art director) Article on promotion of creative people to creative people: Vol. 28, #1 (Mar/Apr), page 58.

Dyer/Kahn (design firm) Article/portfolio: Vol. 28, #8 (Jan/Feb), page 44.

Fili, Louise (book designer) Article/portfolio: Vol. 28, #5 (Sep/Oct), page 64.

Magazine on Wheels Article: Vol. 28, #8 (Jan/Feb), page 78.

Meyerowitz, Rick (illustrator) Humorous article on mergers: Vol. 28, #8 (Jan/Feb), page 82.

Moss, Jean (photographer) Article/portfolio: Vol. 28, #2 (May/June), Gordon, Barbara (artist's representative) page 80.

Columns on free-lance scene. "Advertising Photography Market in New York": Vol. 28, #1 Next (logo) (Mar/Apr), page 30; " Telephone as a Selling Paul Rand's design for Steven Jobs: Vol. 28, Tool": Vol. 28, #2 (May/June), page 32; " New #5 (Sep/Oct), page 98.

Technology": Vol. 28, #3 (July), page 144; " Myths and Realities of Working in New York": Vol. 28, Richmond, Wendy (computer graphic designer) #4 (Aug), page 168; " Pricing the Free-Lance Columns on computer graphics. "Electronic Job": Vol. 28, #5 (Sep/Oct), page 28; " Merger Rentals": Vol. 28, #1 (Mar/Apr), page 24; Mania": Vol. 28, #6 (Nov), page 188; "Selling " Conference report on Design Management & Tools": Vol. 28, #7 (Dec), page 192; " Photography The Computer": Vol. 28, #2 (May/June), page 36; Scene Today": Vol. 28, #8 (Jan/Feb), page 100. " Disk Crashes": Vol. 28, #3 (July), page 136; "What Do You Expect?": Vol. 28, #4 (Aug), Heinz Centennial Annual Report page 168; "Computer Considerations": Vol. 28, Historical illustrations: Vol. 28, #8 (Jan/Feb), #5 (Sep/Oct), page 16; "Dedicated System": page 26.

Vol. 28, #6 (Nov), page 184; "Workstation": Vol. 28, #7 (Dec), page 196; "Real Type": Vol. 28, Johnston, Jim (advertising) #8 (Jan/Feb), page 16.

Columns on advertising. Vol. 28, #1 (Mar/Apr), page 94; Vol. 28, #2 (May/June), Page 100.

Sebastian, James: Designframe (designer) Article/portfolio: Vol. 28, #5 (Sep/Oct), Kay, Rusty (designer) page 72.

Article/portfolio: Vol. 28, #2 (May/June), page 70.

Smith, Douglas (illustrator) Article/portfolio: Vol. 28, #5 (Sep/Oct), keye/donna/pearlstein (advertising agency) page 46.

Article on " The Californias" campaign, State of California: Vol. 28, #1 (Mar/Apr), Smith, Richard Hamilton (photographer) page 52.

Article/portfolio: Vol. 28, #8 (Jan/Feb), page 34.

Charleen Kinser Designs (Forever Toys) Article/portfolio: Vol. 28, #8 (Jan/Feb), page 64. Soyka, Ed (illustrator) Article/portfolio: Vol. 28, #1 (Mar/Apr), page 74.

Klein, Kurt (production manager) Columns on production. "Production": Vol. 28, Statue of Liberty (exhibit) #1 (Mar/Apr), page 16; " Imposition Sheets": Article/portfolio: Vol. 28, #5 (Sep/Oct), Vol. 28, #2 (May/June), page 109; " Folding page 36.

Machines" : Vol. 28, #3 (July), page 132; " Vehicle Graphics": Vol. 28, #4 (Aug), page 164; " Ship Steinhilber & Deutsch (design firm) Signage": Vol. 28, #5 (Sep/Oct), page 113; " Press Article/portfolio: Vol. 28, #1 (Mar/Apr), Checking a Web Job" : Vol. 28, #7 (Dec), page 184; page 34. " Designed Printing Problems": Vol. 28, #8 (Jan/Feb), page 96.

27 Chicago Designers (designers) Article on history of the group: Vol. 28, #8 Koppel & Scher (design firm) (Jan/Feb), page 70.

Article/portfolio: Vol. 28, #2 (May/June), page 42.

Wieden & Kennedy (advertising agency) Liepke, Malcolm T. (illustrator) Article/portfolio: Vol. 28, #2 (May/June), page 52.

Article/portfolio: Vol. 28, #8 (Jan/Feb), page 54.

WPA Posters Article on poster design from Works Progress Administration: Vol. 28, #2 (May/June), page 60.

115

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.

SEP/OCT 1983

NOV1983

NOV/DEC 1977

$18

CA-77 Advertising & Design Annual

JUL/AUG 1978

JUL/AUG 1982

DEC 1983

JAN/FEB 1984

$12

SEP/OCT 1982

The A rt Annual1 978 Illustration & Photog raphy

NOV/DEC 1978

$18

CA-78 Advertising & Design Annual

NOV/DEC 1979

$1 8

$5

Michael Manwaring; Bruce Stromberg ; Tyler Sm ith ; Richard Nodine; Marshall Arisman; Phillip Snyder's Christmas Cards; The Designer and the Technology Explosion; Aspen '82

NOV/DEC 1982

NOV/DEC 1980

CA-82 Advertising & Design Annual

$18

CA-80 Advertising & Design Annual

JAN/FEB 1983

JUL/AUG 1981

Japanese Design ; Richard Saul Wurman: Access Press; Sharl een Pederson ; Graphic Designer's Production Handbook; Clint Clemens; Index to Volume 24

$12

The Art Annual Illustration & Photography

SEP/OCT 1981

$5

Lou Dorfsman ; Kinuko Y C raft; Dick Durrance II; Levi 's Billboard Trucks; Corporate Annual Reports; " Revealing Illustrations" by James McMullan; Atari Design ; Letterheads

NOV/DEC 1981

$18

MAR/APR 1983

$18

$5

The Gap Between Designers and Top Management; Borders, Perrin & Norrander; Bill Nelson; The Coys; Robert Llewellyn ; Posters; Why a Computer

$5

MAY/JUN 1983

Gernsheimers/ Partners; Carol Wald ; Jerry Herring; Sahlan Cherpitel ; Michael Schwab; Bank of Kuwait Identity; Corporate Photography Panel

Ken White; Leo & Diane Dillon; North Charles Street Design Organization ; Lanny Sommese; Phill ips Photographers; Abercrombie & Bastiansen; Alvin Lustig Remembered ; Computer-Aided Graphic Design

MAY/JUN 1982

JUL/AUG 1983

William Rivelli ; Sheila Levrant de Bretteville; Bill James; Vickers & Benson; Photomontages by Scott Mutter; Ford , Byrne & Associates; Portfolio of Trademarks

116

The Art Annual 1983 Illustration & Photography

Communication Arts January/February 1987

JUL 1985

$12

$5

$12

Illustration Annual

AUG 1985

$5

SEP/OCT 1985

$12

NOV1985

$16

CA-85 Design Annual

DEC 1985

25th Anniversary Issue; The CA Annual Judges; Judging Process

$5

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

$16

CA-85 Advertisi ng Annual $5

JAN/FEB 1986

$5

Anspach Grossman Portugal ; Braldt Braids; Dan iel Bittman ; Chuck Kuhn ; Hixo, Inc.; Vincent Daddiego: Roll Over Vivaldi ; Herb Rosenthal 's Fountains; Robert Parker: Copy & Graph ics

Michael Peters; Seymour Chwast/ Left-Handed Designer; Howard Rainer; Leonard Monahan Saabye; Hinsche +Associates; Lloyd Ziff; Poltroon Press Postcards; AlGA Conference

JUL 1984

$12

MAR/ APR 1986

$12

Steinhilber & Deutsch ; Per Arnoldi's Posters; The Cal ifornias; Sue Crol ick; Casa Lupita Menu ; Burson-Marsteller Design Group; Ed Soyka; ASMP

$5

MAY/JUN 1986

AUG 1984 Photography Annual

SEP/OCT 1984

NOV1984

$16

CA-84 Design Annual

DEC 1984

$5

$12

Illustration Annual

AUG 1986 $16

$5

Koppel & Scher; Skip Liepke; WPA Posters; Rusty Kay; Jean Moss; The College Marketing Game

JUL 1986 $5

JAN/FEB 1982

$5

$5

Designing the L.A . Olympics; Gary Kelley; Johnson & Simpson; Annals of Design (2) ; Lance Hidy; Index to Volume 25

Anita Kunz; R/Greenberg Associates; Gregory Heisler; Bill Robles; Larry Bender; Computer Graphics for Design and Production/Bruce Hurn

CA-81 Advertising & Design Annual $5

$16

Illustration Annual

CA-79 Advertisin g & Design Annual

MAY/JUN 1985

Annals of Design (3) ; Chuck O 'Rear; Apple Computer; Robert Heindel 's Ballet

Photography Annual

CA-83 Advertising Annual

MAY/JUN 1984

The Art Annual1982 Illustration & Photography

$16

CA-83 Design Annual

MAR/APR 1984

$12

$5

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

$12

Photography Annual

CA-84 Advertising Annual

SEP/OCT 1986 JAN/FEB 1985

$5

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

MAR/APR 1985

$5

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

$5

Statue of Liberty Exh ibit; Douglas Smith ; Colossal Pictures; Lou ise Fili; James Sebastian ; Frankenberry, Laughlin & Constable; The American Advertising Museum; Next

NOV1986

$16

CA-86 Design Annual

DEC 1986 CA-86 Advertising Annual

$16