janfeb1988

COMMUNICATION ARTS VoLUME 29, NuMBER 8, JANUARY/FEBRUARY 1988

Editor and designer Richard Coyne

30

SMART YELLOW PAGES

Executive editor Jean A. Coyne

42

WILLIAM NEILL

by Mark Fulton

Associate editors/designers Patrick Coyne Stephanie Steyer

50

ART CHANTRY

by Stephanie Steyer

60

DESIGN Joss: FACT AND FICTION

64

KUNIO HAGIO

72

HELLER BREENE

by Dick Coyne

88

GENE HoFFMAN

by Jean A. Coyne

Production manager Kurt Klein Associate production manager Scott Perry Advertising Nancy Hagemann Circulation Vickie Baptista Betty Willis

by Patrick Coyne

by RitaSue Siegel

by Rhodes Patterson

96 AlGA CONFERENCE II by Byron Ferris

Traffic/production William Rayburn Contributors Tad Crawford Byron Ferris Mark Fulton Barbara Gordon Mike Hicks Jim Johnston Larry Klein Marty Neumeier Rhodes Patterson Wendy Richmond Mill Roseman Dugald Stermer

COLUMNS

10

EDITOR's CoLUMN

14

DESIGN TECHNOLOGY

18

LEGAL AFFAIRS

23

CALL FoR ENTRIES, PHOTOGRAPHY

102

FREE-LANCE

Cover:

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

109

CALL FOR ENTRIES, ILLUSTRATION

114

BooK REVIEWS

117

MATERIALS, AVAILABLE LITERATURE

123

CLUBS, CONFERENCES, SEMINARS

125

INDEX To VOLUME 29

Wendy Richmond

Tad Crawford

Barbara Gordon

"Epicycle" assemblage by Gene Hoffman

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, California 94306.

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ill Cadge James . Car ichael, Jr. • Gerard Champlong • John Caridge • Norman Clas n Carroll J • Ro b Gelberg Ararr vi Hiser• Steven Chi Ko • Robert ary Mag uder a Nakamura •M ichael Salas I Stettner •Haral or on Beebe •Ti meo •Jeffrey C orman Clasen • os ph Devenney iff Feulner•Fran II Funk Bob Gel isler• Rober J. ss akuo Kawakami • ohn Pw Kel y• William J. Kennedy•Don King • Douglas Kirkland • Don hn Photography Don landwehrle • Robert lat as aisel• Butch Martin • Migue • a McCarthy hur Mayerso aya Naka osen•Ja as R. R ario• Mi fton S redo 1i

tW arr i.I.AIU~IIt.f abriel M. • Melchior DiGiacomo ay Freis Brett Froomer• Hideki •

u Gelberg•A

lle•Arthur D'Arazien•Michael DeCamp·l·sl e Daniel Forer• Jay Freis • Brett Froomer• H·de i H isler• Robert J. Herko Francisco Hidalg • edy•Do King• Douglas Ki kland • Don Kl •John Madere •Shinzo Maeda • Richar rthur Mayerson • David Muench • illiam ivelli arc Roma elli •Anto · olf• rt Wol e• erry ulsman • David ter Geor ina Bowater• Joseph Brig erald Brimacombe • Sonja Bullaty• Carro I Ge rd Champlong • Joh · n• Michael eCam • Lisl e n Dua e• Steve n eI• Robert • Brett Froomer• Hideki Fujii • • David William Hamil on •Greg hwart•Janea t Ltd. •lou J n ert Kristofik • St ve •Krong aeda • Richard & ary • Eric Meola •Joel eyer ve Niedorf• Rober Phill ·uiam R·velli • arc o hiraka a• Paul Slaug te d• Michel Tchere ko St r•. ara s endler• Henry rdjman • Pete Turner• Christ n h ny A. Bocca an • Da id rew Zingg •Tim erald Brimacomb r ina Bowater• Jos ph Brigno ffrey Cadge Bi neii•Sonja Bullaty•Angelo lorn •Norman Ca el, Jr. Gerard Champlong • John ennis•Jo e alle•Arth r D'Arazien•Michael D o Font na•l Ste e Dunwell• obert Farb r• li r ale Go esar •Afred Gesc eidt • Gary Glads

.

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EDITOR'S

COLUMN

DICK COYNE

ENE HOFFMAN'S ABSTRACT ASSEMblage on our cover was one of the forty of his works shown in his "Remains to be Seen" exhibit at the Denver Museum ofNatural History. There are seven more of these rusted metal abstract assemblages included in the exhibition.

G

The size of his art on the cover is 28" x 24~' and the title is Epicycle, which seems appropriate since the major element is made up of circles within a circle. Many of the materials in this piece, if you have an interest in geographical origin, were picked up (literally, along roads and in ditches) in the vicinity ofMissoula, Montana. One such prize was an old discarded calculator. The small circles within the lid are burner drip plates from a gas range.

Hoffman has been able to maintain parallel careers in design and fine art. Some of his assemblages have been commissioned for illustrations and others have been created for his own poster designs, but these were usually on a much smaller scale than the larger pieces in this exhibition. His work has appeared on an earlier cover of CA and also on a Graphis cover.

0

Recently, Jean and I were sitting in the coffee shop of our New York hotel and we noticed that the couple at the next table had a copy of Richard Saul Wurman's New York Access. Since we were without one and had been unsuccessful in our attempts to find one in several book stores, I leaned toward the woman holding the book and said, "Excuse me. Would you mind telling me where you got your copy of the Access guide?"

"Not at all:' she replied. "In Montgomery, Alabama~' Richard explained that New York Access is currently being revised and updated and the distribution channels seem to have run dry. But only temporarily.

We did an article on Wurman's creation of these guides in our January/February 1983 issue. We have since made use of the guides for Hawaii and a number of cities, and have given dozens of copies of San Francisco Access to visitors and to our annual judges who were planning to spend a few days in the area.

When we found out that Wurman was applying his thinking and considerable organizational skills to the Pacific Bell Yellow Pages, we decided it was time for another article. If ever a subject needed Wurman, this was it.

All that information, and yet so hard to find what you are looking for. Even though the telephone book paper and printing leaves much to be desired, allowing only the simplest kind of art that isn't likely to win any show awards, the thought process certainly warrants study and analysis.

Presenting information in a clear and understandable 10

Communication Arts January/February 1988

way is the base of good design on which an appealing and attractive execution can be built.

0

A note in the mail from Kenneth Carbone and Leslie Smolan: "It has been brought to our attention that the dinnerware for Dansk did not include a credit for Larry Porcelli, the designer who is responsible for the dinnerware form. We would appreciate it if you would print a statement giving him proper credie' The mail also brought a letter from Janet Wu of Austin, Texas, letting us know that although we showed the credits and the letterhead she designed for Dennis Fagan, photographer, on page 92 of the Design Annual, we didn't list their names in the index.

0

In the January/February column last year, I discussed the new tax law going into effect and that there were a number of questions that accountants couldn't answer. Here it is a year later and many answers still aren't available.

One element of the new law was discussed in detail in Tad Crawford's column in the September/October issue: capitalization of expenses for creative projects. In other words, these expenses are not deductible in the year they occur but in the years that the income is received. The lawmakers probably had book publishers and movie makers in mind, but it is not at all clear who else could come under that umbrella. We don't know if any clarification or legislative relief might be forthcoming, but if we hear anything we'll publish that.

One tax increase took effect on the first of January. Social Security. The rate went from 7.15% to 7.51%. The taxable maximum went up to $45,000. If you earn that much, your tax is $3,379.50. Your employer matches that amount bringing the total to $6,759.

If you're self-employed, the tax rate is 13.02% or $5,859 on a $45,000 income. Consideration is being given to raising that to the full $6,759.

Where will it go from here? Twenty-five years ago, the maximum tax was $174. Adjusting that for inflation, it would be about $600 today. The difference is made up by the fact of longer and healthier lives, which nobody can be against, and political vote buying.

My mother worked for ten years when the maximum tax was $30 a year. She has been collecting for many years and her monthly check, let alone Medicare, is far more than the total she paid in. They call this insurance?

Our elected officials in the federal government won't even consider this as a problem. Like the debt being passed on to future generations, this will be passed on to some future Congress to cope with an impending age war.

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Typographers in Action When it comes to speeding bullets, some misguided people still think Superman is the last word. Oh, we admit he's fast.

But he wastes a lot of time looking for empty phone booths.

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DESIGN

TECHNOLOGY

W END Y RICHMOND

THE DESIGN PROCESS

T

HERE'S A RESTAURANT IN BOSTON that's on a boat moored to a dock next to the Computer Museum. One night, after a meeting of a group that uses computers in design, I overheard a discussion at the next table.

"Isn't it incredible what computers can do now? Remember when we had to use codes and type them in green monospaced characters? No mouse, no menus, no typefaces, no page layout. .. " As I listened-it was hard not to eavesdrop-I felt uncomfortable, with the same uneasiness that I'd had in the meeting. It's not that I disagreed with them; I'm as enthusiastic as they are. After a while I realized what was bothering me. Instead of comparing computers to other tools, they were comparing computers to computers.

What good are new computers if they are only better than older computers? We're interested in using computers only if they will serve us better than the tools that we are using now.

We've seen a marked improvement in the production process when we use computer tools. We can get a manuscript from a client over the telephone in a couple of minutes. We can call up a stored format, pour in the text and automatically compose a fifty page document. And so on. The production process has a pre-defined result.

You already have the "description" of the piece that you intend to produce, and you proceed step-by-step to achieve that end result. The process is linear, and it's easy to articulate the steps.

But can computers improve the design process?

The design process is not as easy to articulate. It's not tangible, you can't point to it. The process of developing a design concept is more associative than linear. It's impossible to predict what will trigger a new idea. It is, to use a buzzword, an interactive process. You react to what you see. You create, compare, modify. When you design, you're not trying to achieve a pre-defined goal; you're developing something, and you discover what that something is along the way. When you're developing a concept, you have no idea of the final result. Your process is one of exploration.

14

and trying it at different angles all over the page. But when we rotate a block of type on a computer screen, we're increasingly impatient with the annoying time lag between a thought and the actual result. This year's computer may be an order of magnitude faster than last year's, but it's not as fast as the hand or the eye. If it's not instantaneous, it's not fast enough.

And then there are the external factors that interrupt the design process. Did you every worry whether or not the drawing you had was "compatible" with your page layout? Did you ever have to refrain from using a large picture because you didn't have enough memory? Did you ever lose fourteen hours of work because a piece of hardware crashed? New tools introduce new problems.

On the other hand, one of the most important ways to explore design options is to experiment, and computers are great at encouraging you to ask "what if?" "What if I use Snell Roundhand with Futura? What ifl change the leading from ten point to fourteen point? What ifl try a column width of thirty picas?" You can cycle through typefaces, colors and formats without burnishing a single letter of presstype, without buying a single sheet of colored paper and without making a single phone call to the typesetter.

Let me ask you again: do computers enhance or inhibit the design process? Is "What if?" thwarted by "Why bother?" Or do new tools infuse a creative excitement and energy that we never had with t-squares, triangles and waxers? There are so many examples of both sides. A lot depends on how you personally view the design process.

One thing is clear. Computers are in their infancy and some of us are perhaps overly impressed when, like babies, they utter their first syllable.

Do computers enhance or inhibit that process?

But in all fairness to the dinner group that I mentioned at the beginning of this column, computers are so much better than they were five years ago, better, in some ways, than many of the tools that we use now. And they have indicated their direction clearly. They are easier to use.

They are more visually oriented. They are faster. They are cheaper. The screens are bigger and have higher resolution. Computers have earned our faith, because they are moving in the right direction, and quickly. The intention is to preserve and improve the quality of the design process.

There are ingredients in the design process that are so deep, so intuitive, that they're subconscious, and we're unaware of them. Unaware, that is, until they're gone.

The essential things that you rely upon-immediacy, spontaneity, portability, simultaneity-are all things we take for granted until we don't have them.

Even though we're in a difficult period, stuck with computers that are making their clumsy first steps, we are also in the unique position of being design professionals during a transition. We will have a true understanding and appreciation of tomorrow's tools because we know yesterday's and today's.

We don't think twice about picking up a piece of repro

•

Communication Arts January/February 1988

In defense ofqybabies,

nitpickers and prima donnas.

You're the quality controllers in a world where quality's often a victim of committee opinion.

You bleed for the little things, because a little thing can easily cut the heart out of a big idea.

When everyone else is cheering and uncorking champagne, you're breathing a sigh of relief that this time~ it snuck through without getting screwed up.

You're one of the most analyzed and criticized characters in the agency. Yet

Call or write for a free full-color catalog. And, ifyou'd like, a full-color poster version of this ad. Comstock, 32 East 31st St.,

often you drag yourself home after a day of saving other people's you-know-whats.

We admit it. There are times when you drive us nuts.

But we're awful glad you're out there.

Because you're the reason good work gets through. Creating demand for more good work. Which calls for good stock photography. Which is why we're in business.

In fact, you're our best customers.

You like fast service and smart, well-

researched selections. You like images that make a creative contribution to your layouts. And you seem to like us, because you keep calling us back.

If you haven~t called Comstock, you ought to give us a shot. In return, we'll send you the shots you're always looking for, but don't usually get.

try to ~:J~ ..-::::~~,:....a--~~",~~~,"-"[1~~ about that.

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LEGAL

AFFAIRS

TAD CRAWFORD

REFERENCE FILES: THE RISK OF COPYRIGHT INFRINGEMENTS F SOMEONE USES WORK WITHOUT THE copyright owner's permission (subject to the various exemptions, such as fair use and compulsory licensing), that person is an infringer. To win an infringement suit, the artist must prove that he or she owned the copyright and the work was copied by the infringer. Copying is often inferred from the infringer's access to a work and the substantial similarity of the work alleged to be infringing.

I

Reference.files One of the most frequently asked questions is whether the use of another artist's imagery is an infringement of copyright. In particular, illustrators must maintain files of imagery to fulfill assignments with deadlines too short to permit contacting anyone for permissions. The names for these files-the sedate "reference" file, the offhand "scrap" file or the larcenous "swipe" file-suggest the ambiguity felt when using such imagery. After all, the people who made that imagery are also artists and copyright proprietors-like the illustrator who wants to use it.

The test for infringement The reference file probably contains a lot of photography and some illustration and design. To start with an obvious case, let's assume that an illustrator is asked to do a large painting of people on a beach as a magazine illustration.

Finding a perfect full-page illustration in a competitive magazine, the illustrator copies it. Since the painting is far larger than the magazine page, the illustrator feels this won't be an infringement.

What is the test for copyright infringement? It is whether an ordinary observer, looking at the original work and the work allegedly copied from it, recognizes that a copying has taken place. In the example of the painting, the ordinary observer test will certainly yield a conclusion of infringement. The fact that the painting is larger is of no significance if it was copied. Similarly, a change of media-such as making an illustration from a photograph or, alternatively, photographing an illustration-does not change the fact that the copying is an infringement.

Altering some parts of the original work will not avoid

Editor's note: This column is an excerpt from a chapter in Tad Crawford's 1986 book Legal Guide for the Visual Artist, a reference that everyone in this field should have available . This information may seem familiar because that chapter was based on his column inCA (Sept/Oct 1983). We felt it was worth repeating because we have had a number of reports of such infringements. Two of them concerned pieces that appeared in our annuals. © Tad Crawford 1988

18

Communication Arts January/February 1988

an infringement if application of the ordinary observer test leads to the conclusion that more than a trivial amount of the original work has been copied. For example, the people could be eliminated from the beach and sand dunes added. But any creator or buyer of imagery must have certainty that no infringement will take place. So the new work must be changed to the point where it can be said without doubt that no ordinary observer would believe the new image has been copied from the original.

At that point, of course, the reference file becomes a more difficult resource to use.

What if the original work were used as a part of a collage of many works? This would be an infringement as long as the original work were recognizable.

Damages for infringement An infringer can be sued for the artist's actual damages, plus any profits made by the infringer that aren't included in the computation of actual damages. If an artist is going to have trouble proving actual damages, the court can be asked to award statutory damages. Statutory damages are an amount between $250 and $10,000 awarded in the court's discretion for each work infringed. These damages may be lowered to $100 by the court if the infringer shows the infringement was innocent or increased to $50,000 if the copyright owner shows the infringement was willful.

In addition to damages, the court can also issue injunctions to prevent additional infringements, impound and dispose of infringing items, award discretionary court costs and award attorney's fees.

In relation to infringements, one advantage of having copyright notice in the artist's own name appear with the contribution to a collective work is that such a notice prevents an innocent infringer-a person who reprinted the work because he or she obtained permission from the owner of copyright in the collective work-from being able to use the fact of having permission as a defense.

Registration of the contribution, by the way, also cuts off this defense. Of course, even if the innocent infringer has a defense, the magazine or other collective work would have to pay back to the artist whatever they had received by wrongfully selling reprint rights in the contribution. Also, the copyright notice in the artist's name will alert third parties that they should come directly to the artist for reprint rights and not deal through the owner of the collective work.

The limited liability normally provided by corporations may not prove a shield against individual liability in a copyright infringement lawsuit. Particularly if a corporate officer participates in the infringement or uses the corporation for the purposes of carrying out infringements, he

TAD CRAWFORD

or she can have personal liability. Likewise an employee who, in exercising discretion, commits or causes the employer to commit an infringement can be liable.

Fair use Not absolutely every unpermitted use of someone else's copyrighted work is a copyright infringement. For example, a magazine might use one drawing to illustrate an article about the artist who did the drawing. That would be considered a fair use. The 1978 law includes a fair use provision that is meant to be the same as the fair use cases decided under the prior law. It provides that fair use of a copyrighted work for "purposes such as criticism, comment, news reporting, teaching (including multiple copies for classroom use), scholarship, or research, is not an infringement of copyrighe' To determine whether a use is a fair use, four factors are given: (1) the purpose and character of the use, including whether or not it is for profit; (2) the character of the copyrighted work; (3) how much of the total work is used in the course of the use; and (4) what effect the use will have on the market for or value of the copyrighted work.

The guidelines for fair use can be difficult to apply to specific cases. For example, an artist may see a variation of one of his or her drawings and consider the copying an infringement rather than a fair use. Or an artist may be wondering whether to use someone else's work as a background for some figures. These issues are factual and almost impossible to resolve other than by use of common sense. Satire, for example, may be a comment on another work which legitimately uses part of the original work. Or it may cross the line by using so much of the original work that the value of the satiric piece is simply what has been copied rather than any fair comment (in which case a copyright infringement is likely to have occurred).

righted works may be used for a class if the teacher individually decides to do so, the copyright notice in the owner's name appears on the class materials and this kind of use is not repeated too extensively. It is also permissible for a pictorial, graphic or sculptural work to be displayed or an audiovisual work, including a motion picture, performed by instructors or pupils for educational purposes in the course of face-to-face teaching activities at a nonprofit educational institution.

Permissions Our discussion has assumed that the work the artist wishes to use is protected by copyright. Some work, however, will be in the public domain. This means that copyright was never obtained for the work or has now expired. Unfortunately, it is difficult to learn this simply by examining work in a reference file. Tear sheets without copyright notice may be protected because they came from copyrighted publications. Especially for work published after January 1, 1978, it will be difficult to rely on the absence of notice as a basis for concluding a work is in the public domain. This is because the new law has several provisions that protect copyrights even if notice is omitted from a work. For copyrights in work published in the United States prior to 1978, the maximum term of copyright protection under our law is 75 years. So, it is safe to assume that any work published more than 75 years ago in the United States is now in the public domain as far as protection in the United States is concerned. Obviously this rule is of limited value to a creator who maintains a current reference file.

One interesting example of fair use given by the House Judiciary Committee involves the practice of calligraphers who reproduce excerpts from copyrighted literary works in making their art work. The committee concluded that a calligrapher's making of a single copy for a single client would not be an infringement of the copyright in the literary work.

If the public domain provides little succor, what about simply obtaining permission to use the work from the creator or present copyright owner? This can be done by a simple letter setting forth the artist's project, what material the artist wants to copy, what rights the artist needs in the material, what credit line and copyright notice will be given, and what payment, if any, will be made. To make the letter binding, the words " CONSENTED AND AGREED TO" would be added at the bottom with a line underneath for the signature of the person owning the copyright. If the person is signing as the representative of a magazine or other organization, the name of the organization and the title of the person signing should be indicated. The sample release form appearing here can be used as a model to be adapted to particular situations. The permitted use would be sharply delineated to protect the party selling the rights from giving up too much and to guarantee the party obtaining rights that what is needed has been lawfully acquired. The fact that re-use fees normally increase with greater usage is another reason to give an accurate description of intended usage.

Educators, authors and publishers have agreed to special guidelines covering the fair use copying of books and periodicals for classroom use in nonprofit educational institutions. To give an overview, brief portions of copy-

Tad Crawford, co-publisher of the ASMP Silver Book and Graphic Artists Guild's Directory of Illu stration, is the author of Legal Guide for the Visual Artist.

Remember that the test for infringement is as follows: Will an ordinary observer, looking at the two works, believe one has been copied from the other? But, in an appropriate situation such as a review or scholarly article, a work could be copied exactly and it still wouldn't amount to an infringement, so the guidelines for fair use really have to be referred to in every case to determine whether or not an artist can safely use someone else's copyrighted work.

20

Communication Arts January/February 1988

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CALL FOR ENTRIES THIS IS YOUR INVITATION TO BE A PART OF THE

1988 PHOTOGRAPHY ANNUAL SPONSORED BY COMMUNICATION ARTS MAGAZINE

Photography for advertising, design, editorial and any other area of the communication arts will be chosen on the basis of creative excellence and quality of execution by a nationally representative jury of distinguished designers, art directors and photographers.

If selected, your award-winning work will be handsomely reproduced in the all-color, special200-page August issue of Communication Arts.

60,000 copies of this issue will be in circulation, worldwide, assuring you important exposure to professionals in the field of advertising and design.

As a service to the art directors and designers using this Annual issue for reference, the addresses of photographers represented will be published in the index.

DEADLINE FOR ENTRIES IS MARCH 21, 1988 Communication Arts also sponsors another annual competition, CA-88, where the entries are judged on the overall concept and execution in all areas of advertising and design. The closing date for CA-88 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, 1988.

No RETURN OF ENTRIES

ELIGIBILITY Photography first produced between March 22, 1987 and March 21, 1988 is eligible. Entries may originate from any country. Explanation of the function in English is helpful to the judges.

CATEGORIES All

Advertising (ad, poster, record jacket, packaging, etc.) ($15)

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Advertising series-five or less ($30)

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.

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Book (cover, jacket, interior) ($15)

BI 2

Book series-five or less ($30)

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.

Ell

Editorial (consumer or trade magazine, newspaper) ($15)

E/2

Editorial series-five or less ($30)

FI1

Work produced for sale (poster, print, note paper, greeting card, etc.) ($15)

F 12

For sale series-five or less ($30)

Ill

Institutional (company/association publication, annual report, facilities booklet, catalog, etc.) ($15)

II 2

Institutional series-five or less ($30)

S ll

Self-promotion (printed pieces for artists, studios, agencies, printers, paper companies, etc.) ($15)

SI 2

Self-promotion serit(s-five or less ($30)

U ll

Unpublished ($15)

UI 2

Series of unpublished-five or less ($30)

•

Call (415) 326-6040 if you have any additional questions.

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.

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 1988 Photography Annual.

PREPARATION OF PACKAGES Send entries, UNMOUNTED, in flat packages only, no mailing tubes (they frequently arrive damaged).

If more than one package is sent, please indicate on the outside wrapping: "Package No. __ of__ packages~' Non-United States contestants should mark each package "Materials for Contest Entry. No Commercial Value~' No provision will be made by CA for U.S. Customs or airport pickup. Therefore, international entries should be sent by mail, not air freight. All entries must be received by March 21, 1988.

FORMS AND HANDLING FEES Form A and the handling fees must accompany your package of entries. Make checks payable to Photography 88.

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ACKNOWLEDGEMENT OF RECEIPT OF ENTRIES If you want to know if we received your entry, please enclose a stamped, self-addressed card or envelope in your package.

Mail entries to:

For foreign acknowledgements, please send a self-addressed envelope and include in the total cost of your entries either 22 cents for Canada or Mexico or 58 cents for other countries.

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As soon as we open your package we will send the acknowledgement to you.

or

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AWARDS Award of Excellence certificates for the photographer, client and art director of each accepted photograph will be mailed in September, 1988.

The Photography Annual Communication Arts 410 Sherman Avenue Palo Alto, CA 94306

NO RETURN OF ENTRIES

DEADLINE FOR ENTRIES IS MARCH 21

A

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This form and handling fee must accompany entries submitted to Photography-88.

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

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COMMUNICATIONS ARTS

P.O. Box 10300 410 SHERMAN AVENUE PALO ALTO, CA 94303

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BECKETT CAMBRIC

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A companion grade to Beckett Cambric, Cambric Writing has a distinctive watermark and is offered in 10 colors and two shades of white. Matching cover weight and envelopes are available in both whites and all colors.

Ask your Beckett merchant for a copy of our new Beckett Cambric sample book.

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IF YOU COULD CREATE THIS OVER LUNCH-

YOU COULD WORK MIRACLES OVERNIGHT With Ouantel's Graphic Paintbox designers need to rethink their conception of the possible: now they can dare to propose those graphic ideas they could only dream of in the past.

Our artist created this illustration , ready for film separations, over lunchtime. Pre-Paintbox , it would have been called mixed media: a combination of airbrush, pencil , pastel, paint and a supplied photograph . Now, it 's all done using just an electronic pen and drawing board , still with the artist's own inimitable touch, totally original and under his sole creative control.

The Graphic Paintbox is completely transparent to the artist's style: it simply provides all the facilities.

Think about producing this illustration by traditional methods. Could you match the quality of reproduction , the variety of textures? Even if you tried , could you have done it within the deadlines and the client's budget?

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At last, a directory that's more useful & easier to use . .. with

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for discovering the best attractions in

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along with all the information you've

South Bay

* -

NDERSTANDING THE scope and size of the project makes one wonder that it was ever started, much less implemented in little more than a year. Pacific Bell Directory, a subsidiary of Pacific Bell, the largest operating company of the Pacific Telesis Group, is the oldest and largest publisher of Yellow Pages in California and the third largest Yellow Pages publisher in the United States. That translates to 96 directories throughout California and Nevada, totaling 29 million copies or 31 billion pages a year. The income from the display advertising in all those pages has been a wonderful profit generator for Pacific Bell and greatly explains the approximately 400 other local directories throughout the state competing for a steadily declining market share.

Enter John Gaulding. Gaulding became president and CEO of Pacific Bell Directory in January, 1986. He understood very quickly the need to improve a product that hadn't seen

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30

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All this, expt'ct ...

to do it by the book

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any major changes since 1890.

Enter Richard Saul Wurman, outspoken "Architect oflnformation" and co-owner, with Frank Stanton, of Access Press, the creator of critically acclaimed guidebooks on cities and subjects.

In June of1986, after a mutual friend suggested they talk, Gaulding made an impromptu visit to Wurman's office.

Wurman admits, "I was really on and when I'm on I talk a lot. I had just thought of a lot of things about some work I was doing, about a book I was thinking about and for two hours I just tinned his ear." The impression Wurman made must have been a good one because Gaulding was back the next week with some officers from Pacific Bell Directory and an invitation to come to San Francisco to look at their products and operation.

"At the end of the trip to San Francisco, John asked me ifl would look into their books to see if they could perform better. I said no. I really didn't want

Communication Arts January/February 1988

f

to work for hire. He asked me to think about it for a few days. I went back, and in a few days I discovered so many things that were so exciting, I called him back and said 'let's see what I can produce by the end of the year."'

After 26 years in the business of information, Wurman found himself with his first publishing client and a project that wasn't an Access Press project but one where he would be an independent consultant. Working with Michael Everitt, a six year Access Press veteran, they started thinking through some ideas.

What they came up with were two sections that would collectively become known as the Smart Yellow Pages. The first called Community Access Pages, a collection not unlike the Access guides, which contain information about community services, events, recreational activities and attractions specific to the geographical area served by each book. The same section contained easy to read reference maps,

Lett: Photos on the cover of the directory are by Reven T. C. Wurman.

This page : A developmental sketch, a comprehensive and the final printed spread for the Home Interior & Decorating Subject Search spread.

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31

SMART YELLOW PAGES

an integral part of Access Guide's success. Maps, guides and event calendars were not new to phone books.

Several of Pacific Bell Directory's competitors had some of these features but lacked the organized information approach that make the Access guides so easy to use.

Architect, cartographer, graphic designer, publisher and writer, Richard Saul Wurman's name has been synonymous with the artful and orderly arrangement of information since 1976 when he chaired a national conference for the AlA titled "Architecture of Information:· Wurman founded Access Press, with the introduction of LA Access in 1981 and it has since become a best-selling guidebook in Los Angeles. After Frank Stanton, former president of CBS, became half-owner in 1982, Access Press produced numerous guidebooks for cities including New York, Washington, D.C ., San Francisco, London, Paris, Tokyo and Rome, and on subjects including the 1984 Olympics, Football, Baseball and Medical Access. Current Access Press projects incl ude MOMA Access, the official guide to the Museum of Modern Art in New York; Polaroid Access, a 50-year history of the Polaroid Corporation; Wall Street Journal Access, understanding the financial pages and Fortune 1000 Access, the corporate identity programs of the 1000 largest corporations in the United States.

The latter two books are being produced jointly with Siegal & Gale.

In addition to Access Press projects, Wurman is jointly publishing with Rizzoli, What Will Be Has Always Been, The Writings and Speeches of Louis Kahn. Richard is also writing a book titled Information Anxiety: The Disease of the Eighties and Beyond, to be published by Doubleday. "The premise of the book is that there hasn't been an information explosion, but an explosion of non-information :· Wurman said. "You can't understand it all even if you try. To make things understandable isn't that hard and to recognize that it's not understandable is pretty easy. This book is a guide to the understand ing business:·

32

Communication Arts January/February 1988

The second section was a unique contribution known as Subject Search Pages, in which relevant business headings are grouped into categories such as automotive, entertainment, home interior and exterior, health, etc.

Wurman explains: "What I was trying to do was figure out a way to change Pacific Bell Directory from a storage company to a content company and to make the book a pro-active dictionary to everything that's around us.

I went through all the headings and divided them up into a dozen areas of interest. The big discovery, which I kind of knew all along, was when grouping the several hundred items that had to do with my automobile, less than 10 percent started with A-U-T-0. I realized up to then there was no real way of looking at all the headings that had to do with my car.

They didn't start with C-A-R either.

By grouping them all together I was giving someone better access to the same information in the book. I also realized a reader would want to find out where a place was located, so we developed a mapping system that someone didn't have to learn to use.

The map is sectioned into squares and each square has a number and that locator number can be on a display ad~' In addition, they added bleed bars at the top of each display section page containing large page numbers and added bold reverse headings to facili-

tate the search process as well as to contrast from the display ads.

By September they had put together a slide presentation for the board of Pacific Telesis and, with the support of Gaulding and Ted West, newly appointed vice president of marketing and business development, approval was swift. By the end ofNovember, Wurman made refinements to the concept and produced an experimental signature of sample spreads along with a test form of various line weights, screens and shapes created to run on the same press Pacific Bell uses for its directory. Located in Northern California, the independent printing firm uses about six boxcars of paper a day on two 77-inch webs running around the clock.

By January 1987 a prototype book was printed and in February Wurman started a new company in the same building where Pacific Bell Directory houses its executive offices. Known as TUB: The Understanding Business, the 45-person operation consists of four departments: cartography, design, production and research. Their first project: a three-year contract to design, research, write and produce the roughly 70-plus "Smart" pages in the front of 96 directories. The first eight directories for the Los Angeles area had to be completed in three months.

Mark Johnson, an architect who worked on the '84 Olympics project at the Jerde Partnership and was a teaching assistant at the architectural school at Cal Poly, Pomona, while Wurman was dean, is office director at TUB. "The L.A. market is full of competition and the decision to introduce it there was quite risky. Besides producing the big book, for the first

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Four 30-second spots were created to promote the Smart Yellow Pages. Each highlighted a subject search page or spread using a popular song for the soundtrack. "Our House" highlighted House Remodeling & Garden; "You Better Shop Around" highlighted the Shopping Areas map ; "Let the Good Times Roll" highlighted the Entertainment page.

(Open on cover of phone book) Music: "Little Deuce Coupe" Up and under.

(Zoom in on directory title and the word "SMART" appears) Anncr. (VO) : Something smart has happened to the new Pacific Bell Yellow Pages.

(Cover opens revealing a blank yellow page.

A red square begins to draw the index listings and illustrations) Singer (VO): Well I'm not bragging babe so don't put me down. But I've got the fastest little wheels in town. She's got a competition clutch with a four on the floor.

(Cut to close-up of one of the categories. The red square highlights a listing in red. Cut to a page in the display section where the red square draws a red border around an ad) Anncr. (VO): Now everything for your car is parked on our new one page index that helps speed you to the listing you need .

(Cut back to Subject Search page where red square continues drawing illustrations) Singers (VO) : She's my little deuce coupe, you don't know what I got.

(Cover closes as red square zips out of book and lands on cover. The square then transforms into the corporate symbol) Anncr. (VO): The brand new Pacific Bell Smart Yellow Pages. It's smarter to do it by the book.

Music: Fades.

David Hunter, art director; Geoff Thompson, writer ; David Hunter, Geoff Thompson, creative directors; Mike Koelker, executive creative director; John Adams, producer; Trip Gruver, director; Landvoigt-Bayne Productions, production company; Foote, Cone & Belding (San Francisco), agency.

33

SMART YELLOW PAGES

Richard Saul Wurman explains The Understanding Business : "TUB is formulated on the basis that there are only three businesses involved in communication today. The first company is the transmission business, all companies that start with tele: television , telephone, telex, etc. The second is the storage business. There the technology is exploding because of the compression of storage : laser, compact disk, ROM, CD ROM, CDI and all kinds of floppy and hard disks.

The third business is the understanding business and nobody's in it. Your readers might not want to hear this but the best writers serve two gods. They serve the god of style and the god of accuracy but not the god of understanding. Graphic designers, graphic design magazines, AlGA, contests, peer groups and all the universities serve one god and that's the god of looking good. They don 't serve the god of understanding. They don't have courses in meaning. In fact, in the few schools where I've seen courses in graphs and charts and maps, the judgement of those problems is in how good they look and not how they function :'

time we broke it up into six smaller community books. It was a big experiment. We hate to say the word experiment, we try to use words like 'evolving product: but this was really a giant experiment. The first printing was 13 million books and no one knew how the public would respond to it or if it was going to be worth the money.

"In 1988 and 1989 we'll be producing 96 books or about eight books a month.

On a pure logistical level, this is an incredible amount of information to produce on a monthly basis complicated by trying to maintain a consistent sensibility about design over all the books~'

To understand the schedule TUB along with Rick Hamer ofP~cific Bell Directory, has created a ten foot long wall flow chart resembling a large spaghetti dinner, on which is listed the deadlines for each directory.

Michael Everitt, who has moved to San Francisco to work on the project, points out, "They stagger the press dates in a yearly cycle and like a steam roller, the production schedule keeps on churning~'

"So far this year we've produced these main directories, community directories, business to business directories a business buyers guide right now ' and next the Spanish Yellow Pages (Las Paginas Amarillas de Pacific Bell), which will be an experience. All in Spanish. The information is all developed with the Hispanic population in mind, where they shop or go to the movies, which performing arts centers they use, etc~'

To keep up, TUB has incorporated Macintosh computers to speed up the generating of ideas and artwork.

"Right now, it's almost all the illustration you see in the book~' Johnson said. "Ironically the maps, which are the most time consuming, aren't automated. Most computer programs come with their own signature. You buy the software and you buy the personality and style of the software.

What we said was, 'This is the map we have and the software has to serve that design~ We're developing a program that will do just thae'

With most production issues resolved there was still the problem of selling ' the public on the idea. Liz Levy, account executive for Pacific Bell Directory at Foote, Cone & Belding in San Francisco pointed out several obstacles. "Up until1985 there was hardly any consumer advertising.

Pacific Bell Directory's strategy was to go after advertisers. Since 1985, they have taken a more long term view that consumers drive the market. The

All the research for the community 34

Communication Arts January/February 1988

access pages is currently handled inhouse on the phone. A formal criteria for research is used to maintain a consistent body of information, but with enough flexibility to accommodate a rural area or a metropolitan area. "Right now we use senior citizens in our research department to verify information:' Johnson said. "They're very patient, and they like the work.

We're beginning to contact various community groups and give them a job to find out about the most interesting places and facilities that no one else would know. Those people would lend a sense of community no one can get on the phone.

Right page: Subject Search spreads for Food/Travel and House Remodel ing & Garden.

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35

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Pacific Bell

White Pages

Tlti.1· directory comains numerous features 10 help you get the nutrimum use out of your telephone

.. . such u; the

Customer Guide with /om/ calling areas, long distance & intemational

calling information, locmion of telephone

prejixe;·, us well a~ nmional

area codes & a special

Survival Guide 10 help you in handling emergency situations.

This book contains local. . lllte & federa l govemmem listings.

Contra Costa County Central

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This page : Color coding is applied to the covers. A yellow background is used for the yellow pages, white for the white pages, red for the Community Directories and blue for the Business to Business Directories.

Mark Johnson : " In a presentation, Foote , Cone

& Belding pointed out the importance of branding and consistency to improve product identification, then they showed Pacific Bell Directory's covers for the last few years.

They had a picture of the Golden Gate one year, a picture of people the next, a picture of the valley, etc. It was Richard's idea to put the message right on the front cover as the first piece of information people see and then chose the color as a very conscious effort to get people to recognize the book as the yellow pages.

"The map on the back cover is completely d ifferent. The old maps showed you this yellow blob with no reference to the surrounding area. We've added geographical context like ocean or mountains in order to make it more useful:'

more consumers use the book, the more advertisers will want to be in the book~' Also an apathetic market didn't help matters. "Nobody dreams about the phone book, much less about improvement:' Levy said. "In an informal study, we showed several people the improved books and without exception, they just opened them up to the middle like they always did and didn't find anything new."

To create interest and explain the changes, Foote, Cone & Belding used a three-tiered approach. Television commercials animated the Subject Search pages using the corporate asterisk symbol of Pacific Telesis as a free floating cursor creating the illustrations and highlighting the subject headings in an effort to make the pages look like fun. The second

36 Communication Arts January/February 1988

month, print ads started to pre-educate consumers on how the new books worked. Billboards then went up where the book was currently being distributed, to drive the message home.

"Foote, Cone & Belding's job is to convince people there is something new in the phone book:' Johnson said. "We think they have been doing a terrific job. The comments we've heard have nothing to do with how pretty the new books are, they're more like, 'I didn't know the indexes were there and once I found them, I thought they were a really useful device~ For the future we're working with Foote, Cone & Belding on writing instructions for every spread, so if you crack open Right page : Two examples of Commun ity Access spreads.

El Pueblo de Los Angeles State Historic Park El Pueblo de Los Angeles

State Historic Park HowtogetttMiN' By c.r; From Montlt..llo, UU lm.ntMISindfollowrM.;gns

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El Pueblo was founded as a farming community in 1781 by eleven families of Indian, Spanish, Black and mixed parentage from M exico. The settlers built dwellings of adobe, waterproofing them with a coat of brea from d istant tarpits, and five years later were

latergiventitletotheirlands.

As the community grew, its center moved southward

PicoHouae8 The city's first three-story hotel.

Pio Pico, the last governor of M exican California, built this grand hotel in the ltaliante style by mortgaging his vast holdings in the San Fernando Valley. For ten years, it was considered the outstanding hostelry in Los Angeles

and eventually deteriorated into a s lum . In 1926, Mrs. Christine Sterling and other concerned citizens EIPuebloPtrt.AMoclltlon 21311!00-2>25

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throughSitUrdly. RfllrVItlons ~uh.cllorgroupe;

mounted a campaign to rescue this historic area, but it was not until1953 that they were able to persuade state, county and city governments to help preserve El Pueblo buildings. Dating from 1818 to 1926, these structures clearly reflect the contributions of many different ethnic groups and are an important part of the early history of Los Angeles.

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Built as the townhouse of a wealthy ranchero in 1818, this adobe served as headquarters for Commodore Robert Stockton during the M exican-American War, and later as a restaurant and as home base for the woman who saved this historic area, M rs. Christine Sterling . It is now a museum representing life in the Los Angeles area in the 1840s.

OldPiouChon:he The city's oldest Catholic Church.

This church has continued over the years to house an ever-expanding Hispanic congregation, now the largest in the state. The original building has been remodeled several times since its construction in 1818. The cemetery of the Pueblo was located just southofthechurch.

Pelenconi House

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One of the earliest homes built of fired brick.

The formula for brickmaking was brought to the area shortly after 1850, a definite boon since brick was far more stable than sun-dried adobe slabs. This enabled the homes around the Plaza to be enlarged to two stories.

Mo,..dlllootroe The first theatre building in the city.

In 1870, William Abbot built the Theatre between Pico House and the M asonic Lodge naming it for his wife.

After only a few good years, the project failed and the building was used for other purposes.

Firollo01eNo. tGI The city's first official fire station.

In 1884, men of the "Volunteer 38" fire engine company built this firehouse on the Plaza. It became the headquartersforthefirstpaidfirefightingunitinthe city and was later used as a saloon, lodging house and store. Today, it is a museum of late 19th-century firefighting equipment and memorabilia.

SepulvetleHouse8 A bridge between two cultures.

This two-story historic building, running the full length of the lot between Main and Olvera Streets, is an interesting blend of both Victorian and M exican architecture. Designed as a business and residen t ial block in 1887, it housed two commercial establishments, a 14-room boarding house and three private family dwellings.

Some of the interior has been beautifully restored and is open to t he public, including Senora Sepulveda's bedroom and the Park's Visitors Center located onthefirstfloor.

Olvoro Stroet A colorful Mexican marketplace.

With the help of prominent friends, one spirited woman began the fight to preserve the historic heritage of Los Angeles. Largely through her eff orts, Olvera Street came alive w it h shops, food stalls, workshops for craftsmen, a marketplace for the arts and a colorful backdrop for fiestas and celebrations.

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SMART YELLOW PAGES

the book like most people, the page will explain itself. Explaining information to the general public is something they do very well~' Another development may help convince advertisers that Pacific Bell's Directory is their best vehicle for reaching customers. An independent company will start comparative usage reports on various directories with "usage audits;' much like the Nielsen rating's TV log book. "There has been a lot of misuse of data in the phone directory industry," Ted West said. "Because of the validity of an independent audit, we can put credible information in front of the media buyers without the bias of our own research~'

Icons are being used extensively in the more recent Smart pages. The icons above are used on the Clothing and Personal Care Subject Search spread. All icons are produced on a Macintosh computer using Adobe Illustrator software.

Future improvements in the product will also help Pacific Bell Directory's market share. "We're investigating a plan so each of the display ads will be better organized;' Wurman said. "The individuality will be preserved, but consistent location of the name the phone number and map locator ~quare will help you search for things without losing the character and the freedom advertisers now have~' "Our plan is to write a style manual that will allow the ads to start evolving into something a lot more legible~' Johnson said. "We've talked to Pacific Bell about having the sales force carry a portable computerized version of the style guide enabling them to show an advertiser right on the screen what his ad will look like. I think there is enough equipment out there that it may be possible within the next two or three years~' Other possibilities abound. After some input from Wurman Everitt Sony, Apple and Knowled~eset, Pa~ific

38

Communication Arts January/February 1988

Bell Directory's Dave Flores has produced a CD ROM containing every name and phone number in the state of California, although the disk will probably be unavailable to the public for the near future. West explains: "CD ROM is a phenomenally cost effective technology but we have the age old problem that people in the media marketplace have always faced: People don't interact with databases very well and consequently not many people have the devices to access.

Nevertheless the economics of CD ROM are so compelling that in ten years many people will have those devices and we'll be there~' To supervise development and to discuss future possibilities, Wurman flies to San Francisco for one week each month, to meet with the staff and with West. During the rest of the month, TUB works directly with Directory personnel and corresponds with Wurman by facsimile machine and phone.

The Smart Yellow Pages project is an outstanding case history of the impact a good designer/client relationship can have on a product. "Every single thing we're doing is a result of John Gaulding saying 'lets do it;" Wurman said. "Pacific Bell Directory is a threequarters of a billion dollar company that's changed their only product quite rapidly because the president decided to improve it. It's interesting to note to your readers, graphic designers, that anything's possible, with someone at the top deciding they really want to do ie'

-Patrick Coyne

Two billboards and one of the print ads produced to highlight the Smart changes.

Pacific Bell Directory won a first place award from the Information Industry Association in their new product introduction category for the magazine ads, outdoor, direct mail and collateral.

1he Pacific Bell SMART Yellow Pages;

David Hunter, art director; David Hunter, Geoff Thompson, creative directors; Elizabeth Cutler, writer; David Odishoo, group management supervisor; Foote, Cone & Belding, (San Francisco}, agency.

The new Pacific Bell SMART Yellow~

The new Pacific Bell SMART Yellow PageL Th- pages help you plan your time off In almost no time at all.

The new Pacific Bell SMART Yellow Pages feature our exclusive Subject Search" sections, like this one on entertainment.

These pages really are smart: easy to use and - - •....,... .. fun to use.The picture speeds you to the appropriate category.

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We've made the whole book smart. It has Subject Search pages on major topics like health and personal care. Home remodeling . And travel. Plus a complete, easyto-read index of all headings. And great new maps of your area.

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It's SmarterTo Do It ByThe Book: 39

SMART YELLOW PAGES

This page: To create interest and serve notice to Pacific Telesis, Pacific Bell Directory's parent company, that the Yellow Pages were changing, billboards appeared near executive offices in San Francisco and Los Angeles.

Type was added to each billboard every few days until the final message which remained for several weeks.

Below: A section of the production schedule.

The diamond represents the beginning of research. Lines represent research, design and production . Yellow circles represent completed cover mechanicals and solid squares represent white pages covers. Cross hatched lines represent photocomposition with the solid circles representing final art due.

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Right page : Sketch and final for a "decision tree" spread on choosing a doctor. Decision trees will soon be incorporated into the Smart pages.

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41

WILLIAM NEILL

BY MARK FULTON

UST BEFORE HE LEFT FOR SUMMER VACAtion, after graduating from high school, Bill Neill's mother gave him an Instamatic camera- as he recalls, it was one she'd received for opening a bank account. He took it with him on a backpacking trip to Glacier National Park. "I just wanted to show people where I'd been~' he says. Bill continued to backpack and hike-and he continued to take pictures.

J

Sometime later, when Bill was a student at Colorado State, he was showing some of his outdoor photographs to a friend. "God, Bill~' she said, "you should be a photographer!" That comment was the trigger. "There was a major 'click' in my brain~' says Bill. "But I had no idea what it would mean to my life~' Bill went on to earn his BA in Environmental Conservation. "When I graduated, I knew that I didn't want to do anything with my degree- I wanted to be a photographer."

But instead of pursuing a career in photography through formal training, his infatuation with the outdoors led him to take a job with the National Park Service at Yosemite National Park in California. He still took pictures- but just for himself. "Oh, I thought about going to someplace like Art Center or Brooks, or maybe a university fine art department, but I didn't feel like I would fit in. I wasn't much interested in commercial photography- especially studio stuff. I just wanted to take pictures-outdoors~' The outdoors holds a special place in Bill's mind. Beginning with trips to various national parks with his family when he was a child, he has developed a philosophy of what he calls, "spiritual ecology." As he says, "I feel that I receive more from the process of 'being-out-there-shooting' than I do from the photographs themselves. I've learned a All photographs © 1988 William Neill.

This page : Slot Canyon, Arizona. Fine art print for sale, represented by the Ansel Adams Gallery, Yosemite and Johnathan Stein and Associates, New York. "Color and form are the theme, and nature is the source. This slot canyon has been carved out of the desert by thousands of years of flash floods:· Right page: Horsetail Fall, Yosemite National Park. Used in a photo essay on Yosemite in winter. Cheri Rae Wolpert, editor ; Kurt R. Smith, art director; California Scenic magazine , client.

"Late in February and early in March, the sun hits Horsetail Fall on El Capitan late in the afternoon. I wanted to capture the dramatic light and storm clouds to convey the oriental feeling of Yosemite's cliffs in winter."

42

Communication Arts January/February 1988

WILLIAM NEILL

great deal more about myself-and my environmentthrough my photography." And his aim is to make others feel what he feels when he makes a picture.

After a few years with the Park Service, Bill landed a job with the Ansel Adams Gallery-also in Yosemiteas a photographer. "That's really when my education in photography began. They have a great workshop program at the gallery. Well-known photographers would come from all over and I got to meet them and talk with themand I began to discover a lot from Ansel himself-things like his compassion for the natural environment-the deeply-felt spiritual connection with nature he expressed through his photography."

Without question, Yosemite National Park is one of the most photographed places in the world. Visitors seldom, if ever, arrive without a camera. And the classic Yosemite scenes by Ansel Adams are familiar to people throughout the world. As Bill says, "I see famous photographers come for workshops and say, 'Yosemite sure is nice, but there's nothing left to shoot here: and they don't even take their cameras out of their cases~' Based at Yosemite since his Park Service days, Bill feels that his photographic challenge is to do something different, or as he says, " ... to work through the classic images. I had to learn what to avoid- how to look at things differently."

Bill has been free-lancing for some three years- his work is represented by the Ansel Adams Gallery and by Jonathan Stein & Associates in New York. In addition to his continuing landscape photography in Yosemite and other national parks, Bill is co-founder and instructor for the Sierra Photographic Workshops and is becoming increasingly involved with editorial and commercial assignments in the United States and recently in such exotic places as China, India, Nepal and Bhutan. His work is featured in books, magazines, travel brochures and calendars, and he has exhibited nationally. A new book with the working title, Praise the Wild Land, is currently being negotiated.

Talking about the craft involved in his work, Bill says, "Ansel taught me to stick to the artistic side of photography-to give people something not normally accessible to them~' In addition, he tries to create photographs where the content or orientation is not immediately obvious.

He says, "I try to make an image that asks a questionas opposed to something that answers one; that intrigues and arouses curiosity in the viewer. I appreciate a photograph that grows on me more than one that has initial impact, explains itself immediately but then quickly fades from memory."

44

Communication Arts January/February 1988

Left page: Self-portrait.

Black Oak and El Capitan, Yosemite. Used for the Yosemite 1988 Engagement Book. Bonnie Smetts, designer; Pomegranate Calendars and Books/The Sierra Press, clients. "Winter sunsets in Yosemite offer the contrast of warm, glowing light cast over a cold, frozen landscape:· Th is page : Paria River, Utah. Fine art print for sale, represented by the Ansel Adams Gallery, Yosemite and Johnathan Stein and Associates, New York. "As I was returning from a long hike through this canyon, I found this marvelous reflection at my feet.

I isolated the reflection from its source above the canyon wall so that the river glowed out from the dark canyon in shadow."

Lamayuru Monastery, Ladakh, India. Shot for a travel brochure.

Wes York, art director; Overseas Adventure Travel, client.

"Traveling on assignment through the rugged Zanskar Range of the Himalayas, I came upon this ancient monastery as clouds cast their shadows on the mountains beyond . I suspect that the choice of the monastery's location was inspired by the natural surroundings:· Red Maples, Zion National Park, Utah. Used for the book Off-Season. McQuiston and Daughter, art directors/designers/design firm. Harcourt Brace Jovanovich, client. "Struck by the complexity of lines and colors, my tight composition was an attempt to convey that complexity within an organized design:·

45

WILLIAM NEILL

This page : Sandstone Canyon, Arizona. For "William Ellwood, Openings" compact disc, record, cassette and promotional poster.

John Morey and Barbara Richardson , designers; Narada Productions, client.

Basalt columns, Devil's Postpile National Monument, California.

Used for the 1988 California Wilderness Engagement Calendar.

Ken Sanders, art director; Maire Graphics, designers; Dream Garden Press, client. "Wishing for soft light, I shot this image in the morning before the sun rose high enough to cast harsh shadows on the already jumbled scene:· Young monks, Thikse Gompa, Ladakh , India. Shot on assignment for Overseas Travel. "Ladakh has only been open to westerners for about a decade so the local population's curiosity about visitors runs high. These young Tibetan Buddhist monks were happy to be photographed and the red door made the perfect background :' Right page : Aspen Reflections, Lundy Canyon , California.

Used in an article by William Neill titled " Intimate Landscapes:· Steve Werner, editor; J. R. Martinez, art director; Outdoor Photographer, client.

46

Communication Arts January/February 1988

47

48

Communication Arts January/February 1988

WILLIAM NEILL

Left Page : Machapuchare and Annapurna Himal from Phewa Lake, Pokhara, Nepal. Stock photo. "I was leading a photographic workshop in Nepal. Our group stumbled out of our rooms and down to the lake to capture the sunrise on the Annapurna Hi mal which rises nearly four vertical miles above us. Unbelievable even when you're there:' Painted Desert, Arizona. Used for Harmony by HandArt of The Southwest Indians. McQuiston and Daughter, art directors/designers/design firm ; Chronicle Books, client.

This page : Mudcracks, Death Valley, California. Fine art print for sale, represented by the Ansel Adams Gallery, Yosemite and Johnathan Stein and Associates, New York. "The glow of twilight sky is reflected on the mudcracks. The receding lines give a feeling of depth while the sharpness of the 4" x 5" transparency allows the perspective to alternate between two-dimensional and three-dimensional:' Blue Ice, Yosemite. Fine art print for sale, represented by the Ansel Adams Gallery, Yosemite and Johnathan Stein and Associates, New York.

Tuolumne Meadows, Yosemite. Used for Yosemite National Park: Nature's Masterpiece In Stone. McQuiston and Daughter, art directors/designers/design firm ; Woodlands Press, client.

"Reflections seem to be a reoccuring theme for me. In this instance, the reflection allowed me to place a slice of blue from the sky and white from the clouds through the texture of the green grass.

The juxtaposition wouldn't ordinarily occur except through the compulsive photographer's eye:· Madrone bark, Carmel Valley, California. Used for the 1988 California Wilderness Engagement Calendar. Ken Sanders, art director; Maire Graphics, designers; Dream Garden Press, client.

49

ART CHANTRY

A

N EXPERIMENTAL DESIGNER BASED in Seattle, Art Chantry didn't go to school with the idea of majoring in design. He discovered it through a process of elimination.

"I like to think that all I got out of college was a sense of endurance and a liberal arts education. I was one of those lost souls in college going through a lot of different majors~' Chantry originally wanted to become an archeologist. "I also took a lot of anthro classes and had a healthy interest in sub-cultures. Sub-cultures go on to affect the general culture in many profound and subtle ways. So many things that we take for granted as being just the way they are, were originally inspired by the most bizarre little groups of people you'd ever want to see. These groups particularly affect the visual arts which in turn introduce these new ideas to the general culture~' Art shifted from anthropology toward a writing emphasis.

"Writing was my initial focus on the sub-cultures~' These included the expatriots of the twenties, French symbolist poetry and the Dadaist. "I originally discovered the Dada through a literary angle, and immediately investigated the visuals~' Chantry then moved from writing to philosophy. "One lousy teacher cured me of that interest, but philosophy did make me realize that all knowledge is interrelated and I ended up taking as many core classes as I could~' He eventually drifted into the arts department and into his future career. "By this time I was already working semi-professionally for the college producing collateral.

I was already a graphic designer but I hadn't figured it out yet:' He graduated from Western Washington University in 1978 with a degree in painting. With the exception of one design class and one typography class, he is primarily self-taught in design.

His intense interest in history has become a very important part of his design process. "What's exciting is learning the background and history of a project that can add to the depth of the piece. Sometimes this results in more than the client cares to perceive.

"I think of my work as conceptual. The appeal may be to a different aesthetic, where preconceived notions of 50

Communication Arts January/February 1988

'pretty' or 'ugly' have no real function. All that matters to me is concept combined with ink on paper.

"I consider my work to be two-dimensional. I'm not trying to create an illusion, I'm creating a direct statement.

I think that is what gives my work a very modern touch~' Chantry does not have any specific stylistic approach to problem solving. He draws from a wide variety of sources for his ideas. "My influences are from all aspects of the culture. Obviously the whole collage look of the Dadaist and later, the Constructivist treatment of imagery. I really love the late fifties designers. The way they used type was just beautiful~' Some of his other influences include Lester Beall, the psychedelic poster artists, the different genres of rock and roll and Andy Warhol. "Warhol did things that we're still trying to figure oue' Chantry and a number of other young emerging designers were kids who grew up in the maelstrom of the sixties.

"This was an announcement for a gallery show of anti-Reagan, antiwar artwork created by the Seattle arts community under the name of a fictitious anarchist. Around fifty artists were represented. The poster later took on a life of its own, becoming a mainstay of the Seattle underground 'street galleries:" Alonzo Cretini Salon Politique, client.

Concert poster for a then underground San Francisco rock band .

Associated Students of the University of Washington Arts & Entertainment Department, client; John Kohl, director.

"This production of Shakespeare's Macbeth was set in the old west in the age of cattle barons and range wars. The updating of Shakespeare classics is a typical Bathhouse ploy." The Bathhouse Theatre, client.

"This poster is a good example of stretching a limited budget. The third color (Jerry Falwell's face) was added with a rubber stamp after printing. The production is a 20th century version of Moliere's classic of religious and political hypocrisy. Tartuffe is a TV evangelist:' The Empty Space Theatre, client.

presmted by asuw arts & e rtlerltllrtmenl

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51

ART CHANTRY

"It was a real high point of cheesy, pop culture in this

country. Every group of designers has their roots in some particular era. I suppose it's a generational thing. The surfers, the psychedelic people, the beatniks, the hot rod culture, the mods and the go-go girls all kind of melted together in that big mess called the sixties. My first real feelings of identity were tied in with that kind of cultural mish-mash:' With this background, Chantry sees the eighties as a pivotal decade. "We're currently living in a post-modern era where there is an extremely eclectic style developing.

What we're doing right now is rediscovering our own history in bits and pieces that haven't been put together in any structure yet. We're moving toward synthesis. Once the structure is established, we're going to see some very strong work emerge. I think the nineties are really going to be kicking:' As for the future of his studio, Chantry doesn't see himself moving away from Seattle, even though Seattle has a much smaller, more conservative business community than San Francisco or Los Angeles. He does speak of possibly opening a branch studio in Los Angeles and breaking into the movie or recording industry; but he sees his style of working remaining much the same, working alone most of the time and hiring free-lance help on a project basis.

Chantry's self-taught historical background is currently being tapped by students at the School of Visual Concepts in Seattle where he teaches advance design with an emphasis on concept.

"Our educational process lacks the history that students need to be better designers. Most design students think April Greiman invented 'New Wave' graphics. When you point out her influences to them, their usual response is 'That's old!"'

Perhaps a synthesis of Art Chantry's philosophy would be: You have to look back in order to move forward.

-Stephanie Steyer This page : "As a study in silkscreen texturing, a number of techniques were used to create a total physical effect. All in three colors. The client manufactures custom retail displays:· Display Product Ltd., client.

Give Peace A Dance is an annual 24-hour dance marathon to raise funds for various peace related efforts. This fifth annual poster is one of two. The companion poster has the two leaders reversed in costumes. Liz Smith, Give Peace A Dance, client.

Right page : "Every year Safeco sponsors an in-house promotional campaign where top salespeople compete for all-expense paid trips to an exotic locale. The brochure is a combination rule book/ travel brochure/announcement:' Susan Knox, Safeco Insurance Companies, client.

52

Communication Arts January/February 1988

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54

Communication Arts January/February 1988

ART CHANTRY

Left page: Mark for a townhouse condominium complex for young adults.

AI Doyle Creative Services, client.

Logo for Questar, a manufacturer of exotic control units for home video games. Questar, Inc., client.

Mark for an outdoor experience program for "juvenile delinquents:' Passages Northwest, client.

olnighlisstro~porticLIIOfiYo«ro'Dtitf'~~

l'

~/onuJiar u>l\'t\-

Ad for fashionable eyewear. "An Asian beauty, WWII Stukas and a caption in Russian that reads, 'In a world of chaos, one must see with clarity.'"

Ruvane, Market Optical, client; Kevin Westenberg, photographer.

Album cover for country star Mickey Gilley doing cover versions of his cousin, Jerry Lee Lewis's, biggest rock & roll hits. First American Records, Inc., client.

"Johnny Shines was an obscure deltablues singer who moved to Chicago in the '30s, cut this album and disappeared:' First American Records, Inc., client.

This page: New City Floating Repertory 3-0 poster. "This was posted around Seattle with 3-0 glasses attached with string:' The New City Theatre , client.

"Mark for a theatre that prided itself on the fact that they still used tickets that looked like this:' The Bathhouse Theatre, client.

55

ART CHANTRY

Th is page : One of a series of hang tags for a line of stretch denim jeans. " My idea was to use '50s automobiles as metaphors for different body types:' Michele Kellett, art director; Mogelgaard and Associates, client.

Book jacket for Grass Fires. Russell Chatham, illustrator; Winn Publishers, client.

Cover for a story of a Danish classic about a boy who wanders into a cave in 1945 (occupied Denmark) and comes out the other side in 1988 just before the bomb drops on Copenhagen. Fjord Press, client.

Right page : Chantry has been art director on three separate occasions for The Rocket, an alternative Seattle entertainment tabloid. Van Halen cover: "Our cover story was an interview with David Lee Roth and Eddie Van Halen, but they cancelled right before deadline. We slammed them. The interior story was a parody titled "The Van Halen Enquirer" where we had phony stories trying to embarrass the band with their own inanities. We set The Rocket record for using the 'f-word' 32 times on one page. The band loved it:' The Rocket, client.

Editorial page for an article about the ongoing Green River serial killings. The Seattle Police Department, photographer ; The Rocket, client.

Spread from a humorous article depicting the contrasts of Japan's peculiar popular culture to our own. The Rocket, client.

Stu/ u•::, hy

f)AN (;ERBER

Grass Fires

56

Communication Arts January/February 1988

THE RI V CIIIICnle fact ailolf the en.~tmr ..n.n: In tilt last two yean at least 2 4 - haft liMn k-... and 13

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58

Communication Arts January/February 1988

ART CHANTRY

Left page : Poster for a play about the self-destructive and contradictory life of Karl Marx's daughter.

The Bathhouse Theatre, client.

This page: "The Gang of Four were a popular and eccentric rock band from England. Their political message was, at the time, unique. Idealists with a leftist bent, they simultaneously preached and trashed their own views. In their world all systems fail, but some fail more fairly."

Modern Productions, client.

Album cover originally part of a twelve record series of early northwest rock. "The Spanish Castle was a dance hall where a number of famous rockers started includ ing Jimi Hendrix, The Raiders, The Wailers and The Kingsmen:· The Greater Zenith/Des Moines Historical Society, photographer ; Gary Jacobsen, colorization ; First American Records, Inc., client.

Masthead for a magazine of film criticism . A shadowgraph is an antique projection device. The Seattle Filmhouse , client.

The

History

of

Northwest.Rock

59

DESIGN JOBS: FACT AND FICTION

BY RITASUE

SIEGEL

'M GOING TO TELL YOU ABOUT CURRENT trends in the design job market. I'm also going to tell you about some things that never change, especially the disparities between what employers want and what employees want.

I RitaSue Siegel is president of The RitaSue Siegel Agency, an international placement and executive search organization based in New York. Thefirm is retained by leading design consultants, corporations and institutions to evaluate people to fill employment needs in industrial, graphic, interior and architectural design and management. Ms. Siegel advises companies on how design strategies can be developed and integrated with business strategies, especially those involving corporate communications, product planning and development. She is also called upon to assist companies in selecting design consultants best suited to help solve specific problems. The following is from a presentation made to the second annual AlGA Conference in San Francisco.

The information is gathered partially from the 1, 779 people I personally interview each year. To date that's about 44,500 people. At least 70 percent of them have been graphic designers. Some of the senior designers I've interviewed are employees one week and shortly after become employers.

I believe my experience puts me in a unique position to collect facts about designers. I've spent many hours telling people the facts, in talks and articles. Nevertheless, myths about the business, rather than facts, continue to prevail.

One example is the many designers who tell us they want to move to San Francisco. Most don't realize that there are only about 750,000 people there and that the businesses that create work for designers are leaving and moving elsewhere. They also don't understand that newer firms, like Michael Manwaring, or older ones like Landor, can't possibly hire all of them. We figure there are more unemployed designers per square foot in San Francisco than anywhere.

On the other hand, designers from the West Coast and elsewhere, who want to work inN ew York City, think that Gene Grossman, Massimo Vignelli, Milton Glaser and Tibor Kalman have lots of openings as well as the time to give them a critique of their portfolios. They don't.

The facts are, they are busy doing their own work, running their businesses and being on airplanes.

Many designers also don't understand what employers are looking for and can't assess the quality of their own work or articulate what they do best. We receive too many sets of slides of mediocre design work from people all over the country who say they want to change jobs in order to do better work. The fact is, we don't get requests from clients for mediocre designers they can train to do better work.

We are always looking for stars and potential stars, and so are clients who want to grow their companies. Potential

60

Communication Arts January/February 1988

stars are people who can grow up to become principals in design offices or senior design managers in corporate situations. They often start off with tremendous amounts of design talent but they soon develop the truly essential skills of stardom. Stars are people who can do the work, manage projects, train, inspire and motivate others, develop company strategy, sell, and never get tired.

Our clients are also always looking for excellent production people and project managers with good people skills.

These people can also become principals in design offices and managers in corporate situations.

There are several ways to get "to the top:' which is the ultimate objective of most people who contact us. Some of you may disagree with some of my points of view, but they are based on my experience and I hope they're helpful to some of you.

The trends I'm summarizing concern the number of jobs being created, where they're located, and the types of design specialties most in demand. I will briefly cover trends in salaries and compensation packages, attitudes, the effects of age and sex on job getting, and about minorities in the business.

The most important trend is the increase in the number of requests we receive for good designers and of course for stars. The requests come equally from employers on the design and consulting office side of the business, and from the corporate side. But, there's no corresponding increase in the number of quality people to match the increase in the number of quality jobs. The schools seem to be producing more graphic designers than ever before, but their quality control of graduates is not improving.

to do design and production work, for corporate-type organizations. Increasingly, design companies are also selling time to do research and development of strategies for marketing, design and communications.

The second trend is about where design jobs are located versus where designers want to work. There's a steady increase in the number of jobs in the suburbs ofNew York City, which includes Connecticut and New Jersey, as well as in the suburbs of Boston down through the outskirts ofWashington, D.C. But, many designers want to work in cities like New York, San Francisco, San Diego and Boston. More recently there's interest in cities like Portland, Seattle and Phoenix. Designers don't research where good jobs are located; and then get angry because we can't produce jobs in their preferred locations.

There are good design jobs located in design offices and corporate situations in smaller cities such as Minneapolis, Columbus, Cincinnati, Grand Rapids, Dayton, Dallas, Kansas City, Louisville and Neenah. These cities are rarely high on the list of places where designers want to work. But these cities are the homes of large corporations, some of which have had their identities upgraded by consultants, who've created a demand for high quality day-to-day design work from local resources. This fostered the development of design offices near them as well as good jobs in-house.

A related fact is that more jobs are being generated in the United States, in every field, by smaller corporatetype companies and start-ups rather than by the older giants. The smaller companies are often started by people who left the larger ones and are located near them. Others are started near universities that are doing research related to their businesses or producing the types of technical specialties they need.

We define the corporate side of the business as those organizations who make money selling goods and services such as: food and beverages, toys, sports, recreation and entertainment, health, beauty and personal care, raw materials and energy, information, transportation and communications, finance and real estate, media and hospitality. We also include non-profits in this category.

The income of these types of companies is not directly dependent on the efficiency of their designers.

Essentially, my message about location is that designers who want to move should do some serious research about where the good jobs are and pay attention to the results.

If they live far away from their desired destination, they must also arrange to make themselves available in that location, usually paying their own way for interviews.

In contrast, design or consulting offices are companies 5663 depend on selling their employees' time,

I have three other observations about location that might interest you. One is that designers in smaller cities, where 61

RrrASUE SIEGEL

there are fewer designers, have the opportunity to do a wider variety of work than in larger ones, where more specialists are available to be hired full time or free-lance.

The second observation is the difference between the two coasts. In our office, we say that Easterners are workoriented and Westerners are li(e-style oriented. We've had West Coast clients who tell us they want to hire Easterners because they believe they work 50% harder than Westerners.

Another difference is dress requirements. Employers in New York expect designers to appear at interviews and client meetings dressed like bankers. This is not necessarily true on the West Coast.

The third trend I've noticed is an increase in the demand for specialists. There is also an increase in the incidents of specialists who don't want to do what they specialize in any longer. Many designers who've spent ten years designing annual reports will often tell us they're bored and refuse to do another one. They want to change specialties and do corporate identity, for example.

But, our corporate identity clients only want to hire people with corporate identity experience. There's more burn-out in corporate identity than there is in annual reports. Designers who quit corporate identity only take 3-5 years to make that decision.

If you find yourself in ajob where you are quickly becoming a specialist, and you don't want to specialize in the area you are getting experienced in, you must change jobs before you are earning too much as a reward for being a specialist. If you want to change specialties, you also have to produce portfolio samples of other types of specializations.

Most employers want to hire people who specialize in what they do, especially if there are many designers in the labor pool to choose from. It is more cost-effective.

This is as true for fashion magazines as it is in direct mail for books.

Package designers with experience in consumer packaged goods continue to be the specialists in greatest demand .

The reason for this is simple: most new products and line extensions created in the U.S. each year are in this product category. Despite the growing supply of design school graduates, few receive good training in package design and the supply has never kept up with the demand.

There's more demand for designers of promotional material in the financial services and information industries. These two areas require designers who are interested enough to read, and smart enough to digest, understand and interpret the complex material involved.

Only by doing so can they participate in developing appropriate design and marketing strategies.

62

Communication Arts January/February 1988

There's an increase in demand for experience in direct mail, which is increasingly being used to sell goods and services. The quality of this work is improving and it's becoming easier to recruit people.

Retail and environmental design is a specialty that's really taking off. Those who can quickly adapt their skills to it, are being well-rewarded both financially and by the opportunities this specialty provides for doing complete programs: corporate and brand identity, packaging, display, environmental graphics and signage as well as print.

The clients for this design specialty are in businesses such as: auto sales and service, specialty apparel and other product-type chain stores, fast food, convenience store and restaurant chains, hospitality, financial services, and developments of residential, recreational, office, institutional and industrial real estate.

Consulting offices in the identity business continue to cry out for senior designers with experience developing and managing large programs. These people must also be excellent presenters, who think strategically and are able to talk marketing and communications strategy to clients. They should also be skilled at extending business with existing clients as well as participating in new business presentations. No one's trained a generation of these specialists, who are really generalists, to draw from and we can't find enough of them.

The bottom line on specialists is that employers want them and most designers with less than ten years of experience don't want to be specialists.

I've tried to cover the most important trends having to do with the number, location and types of jobs and will try to cover the remaining ones briefly.

Salaries for good designers with up to five years of experience haven't changed much. The range is $18-40,000.

But there are more opportunities than ever for stars to make big money. Design offices are increasingly compensating their best performers with a base salary plus a percentage of the profits of the jobs they're responsible for, and/or a percentage of the profits of the entire office.

These bonuses range from $10,000 to $150,000 a year and are a higher proportion of senior people's compensation packages than ever before.

The salaries for corporate and consulting office designers are about equal, except at the very senior levels. A principal or partner in a consulting firm of more than 25 people can earn $150,000 to $250,000, or more, depending upon profit margin and the number of partners involved.

A manager of package design in a corporate situation usually earns a base salary of$60-85,000. Depending on the size and structure of the company, corporate directors and vice presidents of design earn base salaries of$75 to $150,000. They often participate in bonus schemes

available only to other senior-level corporate directors.

The bonuses are based on meeting specific corporate targets, including return on investment, and are usually in the $10 to $50,000 range.

The results of a 1987 salary survey by the Association of Executive Search Consultants for " hot shots~' as they call them, shows that by age 30, a hot shot in general management should be earning $60,000; by age 40, $132,000; by age 45, $179,000. These amounts may startle some of you, but I assure you they are paid to the few hot shots in the design business.

Although I don't have a survey to prove it, I believe that 50% of the people in the design business will never earn more than $35,000 a year. On the other hand, the average salary for most Americans is less than half of that.

There are also new trends in attitudes. Young designers, who don't feel they're being treated right, or don't like the kind of work they're asked to do, will simply quit their jobs and move on. Young people in general want to be in cooperative, egalitarian and participatory-types of environments. Employers will have to deal with this attitude or they'll run out of employees.

On the other hand, designers over 40 will often put up with autocratic, ego-maniac bosses, boring work, inappropriate salaries and company hierarchies that impede change and inhibit growth, because many of them feel trapped. Mortgage payments and college tuitions will do that.

Another attitude we have to contend with is that many of our clients are snobs, because they think their clients are snobs. We recently had a client turn down a candidate telling us "I don't thinks she fits our 'class' requirement; it will be tough to sell her to our presidene' There was nothing wrong with the woman's appearance or diction.

She simply wasn't a quintessential WASP, which this office wanted.

I must also tell you about people we call "the selfdestructs~' The number of them is not increasing but they certainly have an attitude problem. These are the people who come late for appointments and keep their dirty laundry in their portfolios with broken zippers. When asked to describe previous experiences, they do nothing but complain. They have no clear ideas about career paths.

They wear inappropriate clothing to interviews, like sweat pants, running shoes or very short or long skirts.

Some of them refuse to leave their portfolios for anyone to look at because they're sure their ideas and designs will be stolen. We have to explain to some of them that earrings on designer-men have not yet become acceptable in New York or Boston. One of the worst ways to selfdestruct is to not have an answering machine for your messages as you're running around.

For me, the saddest part concerning the trends in attitude, is that too many designers are still only interested in producing nice-looking things. They aren't interested in content or the fact that many people can't read small type, even with glasses. A focus on self-expression limits a designer's ability to get experience in developing appropriate concepts and solutions to fulfill client and user needs. I thought designers were invented to do that. If designers want to advance and be valuable to the business world, they must learn to focus on how their work can support client's business needs and objectives.

As far as age discrimination goes, there's none in the design business for stars, good performers and people with special talents like illustration or lettering, as long as they have good people skills and keep up stylistically.

There are designers who don't find responsible or satisfying positions by the time they are 45. We know that some of them drift into production, sell supplies and services for vendors, go into family businesses or sell real estate.

Frankly, we haven't got the resources to keep up with people who are not doing things our clients are interested in.

About the issue of sex, our clients want to know where the men are. They're complaining that they have too many women on staff and that we're sending too many women for interviews. Well, we're not in the sex change operation business, and I'd like to go on record here as announcing that more women than men are coming into graphic design and we can do nothing about that.

It is becoming rare for clients to hire obviously gay men because of their fear of AIDS. The fear has to do with rising insurance costs, people getting sick in the middle of projects, and the inability of smaller companies to hire additional people while keeping sick ones on the payroll. There are clients who do overtly discriminate and are hateful. One of our least favorites told me last week, " If you send me any students, lightweights, wimps or faggots , I'll pull my assignment out of your shop ~' There's been an increase in the number of designers of Asian ancestry and some increase in Spanish-surnamed designers, but no rise in the number of black designers.

Corporate-type employers often ask us to locate qualified minority candidates, which we are not allowed to identify as such, in our records, by law. As far as I know we've had no incidents of clients discriminating in hiring because of race.

I hope it's clear, from what I've told you, that there are more jobs for graphic designers than ever before and that you don't have to be a genius designer to be successful.

You do have to be realistic, deal with facts, not myths, and be clear to yourself and prospective employers about what it is you're good at.

• 63

KUNIO HAGIO BY

XPERIENCE SHOULD teach one not to make instant judgments from first impressions, however persuasive. But on the way toward my introduction to Kunio Hagio for this interview, I saw his huge, squeaky clean motorcycle parked along an inside wall of the living room of the Hagio's home, in a pleasant family neighborhood on Chicago's northwest side. And then, responding to the call from his wife, Paulette, Kunio emerged from his basement studio.

One brief look and my reflexive question (to myself) was: "Samurai on a Harley?"

E

That reaction was prompted by the fact that Kunio has the long black hair-and clearly the requisite strength and virility-to convincingly play the role of some ancient warrior who managed to break through time barriers into a distant future that includes such transport options as motorcycles.

Stepping firmly away from my impromptu fantasy, I followed Kunio down into his elaborately furnished studio/sanctuary to which neither sights nor sounds from the outside world could easily gain entry. And I soon learned that this environment was superbly tailored to Kunio Hagio's work ethic.

"In busy times, I eat, sleep and drink the job at hand. And as soon as I get an O.K. on the direction, I work straight through 'til I get tired. Then I'll nap a bit, get right back up, eat something, and keep working. If the deadline is long enough-and I look out and see that it's a nice day-I might take the bike out for an hour or so. And when there's a whole day off, I like to ride up to the 64

Communication Arts January/February 1988

RHODES

PATTERSON

Wisconsin border and back; mostly on country roads~' Kunio laments the fact that opportunities for his longer "Easy Rider" escapes from studio constraints are so seldom possible. "Most of my commitments are so tight that there's hardly time to go to the bathroom.

And ifl do have time for a nap, I prefer taking it in the daytime so I won't sleep too long. Sometimes, I just sit in a chair and concentrate on my breathing; which puts me into a kind of trance for about fifteen minutes, and that brings my energy level back up. With those little cat-naps, I can go on for hours~' Kunio attributes this dedication to his art to the early influence of his father. "When I was little, they had those Japanese brush-painting demonstrations on TV and my dad would set things up on the dining room table.

We would take the class together.

He used to be an artist himself but, after I was born, he couldn't make enough money as an artist and he had to do something else. Later, when I found out about that, I was determined to be a successful artist to repay him. That was in Chicago; I was born here, have always lived here.

It's my home, my city."

Looking back to his more formal art education, Kunio recalls it as a time of considerable conflict regarding his youthful attitudes and aspirations.

"My dad didn't mind my staying home and painting in the basement, which was my first choice. But that drove my mom crazy. So I went to a succession of art schools. My first try was at the Art Institute of Chicago, which I found to be too cliquish. My only friends there were two nuns. Then I transferred to the American

Self-portrait is a take off on Marion Branda in The Wild One. The technique is a dry brushing of oil paint, a fairly new medium for Hagio; he feels it's faster and more spontaneous. 15 x 15, oil on linen, unpublished .

Right page: Kabuki billboard for United Airlines. Headline: Tokyo. Marty Gustavson, art director; Leo Burnett Company, ad agency; United Airlines, client. 33 x 23, oil and pencil.

First used as an ad illustration to encourage tourism in Michigan, "Get a Healthy Michigan Tan:' Joe Minnella, art director; W. B. Doner, ad agency ; Michigan Chamber of Commerce, client.

Second use for an article titled, "Secret Life of Wall Street:' Richard Bleiweiss, art director; Penthouse, client. 14 x 18, mixed media.

Portrait of John Lennon for an article, "John and Yoko: The Final Years:' Richard Bleiweiss, art director; Penthouse, client. 21 x 23, mixed media.

65

KUNIO HAGIO

Academy, where I didn't stay long because they had a dress code that my long hair and sloppy jeans didn't meet.

"I ended up, finally, at the Chicago Academy. And since I wasn't interested in credits, I was able to argue my way into bits and pieces of a number of courses that interested me; some from the commercial side, and others from the fine art side. And even though I mostly goofed off for my first year there, I started to like art school, and got really serious in my second year. I guess that's when I realized that in the arts, you can be what you want to be if you believe in it strongly enough-even if it comes down to never growing up in the conventional sense of the term~ ' Hagio left school in the late '60s, and was somewhat ambivalent about the professional course he would be taking. Among other youthful concerns, he had some negative feelings about even being identified as a "commercial artist;' a reference then in its final years of general application.

But whatever it would be called, he did want to earn money.

"My first paying job was making furniture drawings for Sears newspaper ads. And I did this for about four years, at a studio that worked exclusively for Sears.

"Although so much of the same kind of work got to be boring, it did give me the discipline to sit at the board for long periods of time, plus a lot of other good things, including the ability to take criticism. At Sears, of course, they had a strict dress code; but not at the studio-where my long hair, jeans and T-shirts were tolerated.

I even got away with it on my trips to Sears, because I was an artist 66

Communication Arts January/February 1988

delivering work that they needed~' After what he calls his extended " Sears period;' Kunio moved over into the realm of editorial art, where both his creative drives and his returns on artistic investment, began to improve impressively. "I had never fully realized how many restrictions advertising places on the artist, compared to the freedom of interpretation that the editorial side permits-and often encourages. It was a whole new world for me, and continues to inspire my best efforts~' High on the list ofKunio Hagio's clients in this exciting new direction was Playboy magazine. And Kunio credits Art Paul, that publication's longtime art director, for his big break in rising to national prominence as an illustrator.

With no hesitation, Art Paul suggested that Playboy got the break: " Kunio Hagio's unique talent was easy to recognize; not only in its illustration sense, but in his parallel ability to contribute ideas and work out problems-across more than a decade of assignments~ '

Some time after Paull eft Playboy, one of its competing publications, Penthouse magazine, made Kunio a regular contributor. "This kind of editorial art continues to be my favorite kind of work. It gives me a lot of freedom , and shows respect for my judgment regarding directions to take on a variety of assignments. To me, it is that factor of mutual confidence between artist and client that is crucial.

And it is this special relationship that has produced most of the awards I have won. I still like to do work for advertising, but it doesn't permit the same kind of freedom and excessive

Above: The Japanese screen was used for an article titled , " Sound of Rain :· Playboy, cl ient. 16 x 20, watercolor.

Right page : Portrait of Howard Hughes for an article about the man and what is known or unknown about him. Richard Ble iweiss, art director; Penthouse, cl ient ; 21 x 29, mixed media.

Illustration for a college football poster.

David Bartels, art director; Bartels & Carstens, ad agency; Anheuser-Busch , Inc., client. 22 x 33, mixed med ia. " Sandman " for an article about a mil itary hit man. The visual illustrates an incident where he has slit a man 's throat and looks up to see the victim 's small ch ild watch ing . Richard Ble iwe iss, art d irector ; Penthouse, c lient.

18 x 22 , mixed med ia.

Unpubl ished illustration for the movie, Temple of Doom. Roger Carpenter, art d irector ; Seiniger Advertising , ad agency.

22 x 36, oil.

67

68

Communication Arts January/February 1988

KUNIO HAGIO

changes sometimes result in what I consider less than my bese' Regarding other primary sources of his business (local and national), Hagio said that he gets very few assignments from the Chicago area.

"However, I like doing work for my home town, and I often charge less than my national rate just to do work for Chicago publications and other projects. I want to continue being a real part of this city."

Left page: Promotional poster for Raging Bull. Larry Lurin , art director; Rosebud Studios, design firm; United Artists, client. 16 x 20, oil.

This page: Illustration for an article titled, "Night Troll" from the Enchanted World series. Dale Pollekoff, art d irector ; Time-Life Books, client. 19 x 27, oil on textured masonite.

On his media mix and the techniques for their application, he says he uses anything that completes the job at hand. "Basically, I work with water colors, pencils and oil paints; whatever works best for a given project.

Pencils work well for skin texture for example. I used to work strictly with the combination of water colors and pencils. Recently, though, I have added oil paints, which have worked well on certain assignments, adding something new that I find interesting.

"Mostly, I'm known for real tight, very smooth finishes. But working with oils on the rough linen side of the canvas, forces me to loosen up a bitand also to work faster. Now that I'm in the "forties" age bracket, I'm looking for ways to work faster as I run out oftime; and doing portraits on this rougher surface is producing a whole new feel to my work, which I'm trying to perfect in my down time.

So, instead of taking three weeks to do a job in my old tight technique, I can do it in a week-or even in a day, if necessary. That's a direction change that I find exciting, as well as practical~' Asked to amplify a bit on what he likes to do for fun, on his rare "down times:' Kunio listed them in order: "Playing with my family and riding my motorcycle. That might not sound

too exciting to most people, but I find this freer side of my life like being in high gear on a motorcycle. Although I'm in low gear most of the time I'm comfortable there because you ~an see what the pavement's made of.

I like seeing the details of everything around me. But when you're in high gear, details are a blur. .. it's exciting to go all-out once in a while, but not all the time~' Back in his appreciation mode, Kunio expressed a very high regard for his reps. "What they do requires an art that I have never developed; the ability to sell art. Don Moravick was my rep until he got out of the business.

Then Bill Rabin took over and became a father figure to me; not only a nice guy, but a master at communicating with people. And, most of all, there's Paulette-partner as well as wife. She manages the business; knows what I like and don't like, what I can handle and can't handle. When something interesting comes up, she lets me know about it. So it's no wonder I'm contene' Thinking back to an earlier statement about his dad having taught him to draw, Kunio said that his mother is also due a lot of the credit. "My mom was very much an artist in her ability to sew. She could sit for hours on end, concentrating on precision sewing, whatever the distraction, making every stitch perfect. I'm sure that it is her example that still inspires me to sit for hours and hours at a drawing board. And, for that matter, my whole family (five children, age four to twenty) roots for me. They all think that what I do is real neat. So how could I not want to do great stuff?"

How not, indeed, Kunio Hagio?

• 69

KUNIO HAGIO

Illustration for an article about carnival life.

Arthur Paul , art director; Playboy, client.

18 x 24, watercolor and pencil.

Designed and illustrated by Kunia for a rock group's album cover. 22 x 22, mixed media.

Right page: Geisha billboard for United Airlines.

Headline: Tokyo. Marty Gustavson, art director; Leo Burnett Company, ad agency, United Airlines, client. 28 x 10, oil.

Portrait of John Belushi was used in two separate magazines. Both articles dealt with the selfdestruction of a brilliant artist. John Twohey, art director; Chicago Tribune, client. Richard Bleiweiss, art director; Penthouse, client.

18 x 19, watercolor and pencil.

70

Communication Arts January/February 1988

71

HELLER BREENE HE EXAMPLES OF OUTSTANDING WORK on the following pages raise a question. Are they an agency? The structure and creative team working methods are similar. Are they a design firm? They have clients that need only design.

T

"Why is it necessary to make that distinction?" asked Cheryl Heller, CEO and creative director. "A client has a product to sell. What difference should it make to them what you call yourself? And what difference should it make to them if they need a catalog or need an ad? Why should they have to go to two different firms for these?

"We don't care if it's design or advertising, as long as it's work we're proud of. But I also think, the way things are going in the industry, that clients are going to have to think more about things other than pure advertising. We're prepared to also do those other things:' Heller traveled an unusual path to her present position as CEO of an agency billing over $35 million, capitalized.

She studied painting, graduating with a B.A. in Fine Arts from Ohio Wesleyan University. Arriving in Boston in 1972, she convinced Giardini!Russell to give her a starting job doing paste up and mechanicals. Within nine months, she was managing the department. After two years, she quit to paint for a year. Missing the business, she went to work for Gunn Associates and learned about design. Her big break came, she said, when she worked on the Converse account.

"That's really when I got to fly on my own. It was great training:' She learned so well that one of her Converse direct mail pieces won Best of Show in the 1980 Hatch Awards, the New England advertising competition.

About two months prior to getting that award, she was offered a position with Humphrey Browning MacDougall (later merged to become HBM/Creamer) handling their collateral. Heller accepted, and promptly renamed it the Design Group.

"I didn't know much about agencies~' she confessed, also noting that agencies knew very little about design. "I wasn't an oddity, but I was bringing different skills and perspectives. I had to learn to make what I was doing understandable to people outside my discipline.

"That was good for me. The experience allowed me to have a fairly high comfort level with clients. Design, or any kind of art direction, is not a mystique. It's a vocabulary. Using that vocabulary, yo~ can say anything you want or need to say. And you can let people in on that process to the point where they can input into it. They can see that it's adaptable to anything they want to communic~te, a blending of visual and verbal to make the statement more powerful:' Starting at HBM as a one-person department, she began adding staff and increasing the volume by 50% a year. By 72

Communication Arts January/February 1988

1986, the staff was 25 and the billings were equivalent to an agency billing $15 million. For some clients, such as S.D. Warren, she was also creating advertising. About half of her clients were not on the HBM roster.

Then HBM/Creamer was acquired, along with Della Femina Travisano & Partners, by the WCRS Group, a London based company that had begun as an agency and since made worldwide acquisitions of other agencies, PR and consulting firms as well as design firms in England and Australia.

This proved fortuitous for Heller. Tim Breene ofWCRS recommended that the Design Group be spun off as a separate company.

Cheryl recalled having some serious reservations about the decision she faced. "It was going to be at least a fiveyear commitment. What I feared most was the possibility of their having some kind of plan that I would have to fit in to. What I personally wanted to do was keep doing things I'd never done before:' As senior vice president/design director for HBM/Creamer, Heller had been responsible for new business, billing and profitability of the Design Group, but this was a major jump in management responsibility. She described working with Breene on the development of a business plan for the new company as a crash course in business management.

Asked ifWCRS expected Heller Breene to be heavily involved in advertising, now 45% of their total billing, she replied, "No. They thought we would be primarily design.

But they've turned out to be the kind of people who would not limit what you wanted to do. Obviously, they're not going to support me in unprofitable endeavors, but they have been tremendously supportive of whatever we wanted to try. They have an entrepreneurial spirit and they're philosophically oriented to creativity. In fact, Robin White, the chairman, and the most extraordinary person I know, still functions as creative director on BMW in the U.K:' Also believing their best interests are served by having Heller involved in creative as much as possible, they've been willing to invest in people that can make that happen.

Rob Scalea, executive vice president and director of planning, handles the financial affairs. Michael Wilder, president, will supervise account management and new business development.

"We hadn't done much about new business~' Cheryl said.

9 x 12 brochure for S.D. Warren demonstrates the printability of Warren Lustre Gloss and Lustre Dull. The subject was classic customized cars, photographed in Los Angeles by Clint Clemens.

The four-page center foldout, also reproduced as a poster, showed a 1948 Plymouth Special Deluxe Woody. Cheryl Heller, art director/designer; Peter Caroline, writer.

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"Mostly our creative product has done that for us. Bank of Boston, for example, began with one brochure for the treasury investment department and are now our second biggest client. There's been many others. It's a wonderful way to get business. A potential client can stick a toe in and we get to prove what we can do without asking them to commit to ten million dollars~' The staff and all of the accounts of the Design Group were brought into the new company for continuity. During the past year, including the three months prior to the establishment of Heller Breene last April, the billing has doubled.

The staff has grown to 54. Sixteen are in creative, the rest are in management, account services, production and support personnel. Media and research are purchased on an hourly basis from HBM/Creamer.

Midway in our discussion, we were joined by writer Mark Myers, senior vice president and associate creative director.

His background in advertising includes working on two separate occasions with HBM, and stints with BBDO, Hill Holliday and others, plus free-lancing.

Mark was the writer on Cheryl's award-winning direct mail piece for Converse, brilliant in concept, visual and writing. A promotion for a new (at that time) lightweight football shoe, it was printed on a heavy cast-coated sheet, Blf2 x 2ll!2, die-cut and embossed for details of the shoe and the sole. The headline read: "Punch out the shoe, put it together, fill it with Wheaties. And it'll weigh about what the new Converse football shoe weighs~' Small photographs show the actual shoe, patented sole system and someone pouring Wheaties into the put-together paper shoe. The copy explains that the high-performance shoe weighs 10 ounces as compared with 15 ounces for the conventional grass shoe and gives details of the design and construction.

A line at the bottom reads: "Converse got the lead oue' This excellent piece could, perhaps did, serve as a prototype for what they term "visual persuasion" to describe the kind of work they want to do, and what they believe will dominate advertising of the '90s.

"I've asked myself," Mark said, "what does visual persuasion mean to a writer? I find that I don't work exactly the same way as I did in conventional advertising agencies.

To work in a situation where the visual is at least equal, sometimes dominant, really stretches me. I find myself writing in a different way, often more effectively. " Remember back in the '60s, when we all discovered that the really powerful ad was one where the visual did half of it and the headline did the other half? I think we carry that tradition of a partnership forward. Even further sometimes. If you look at the stuff we're doing here, you see the dynamics you get when you have a true partnership, 74

Communication Arts January/February 1988

often with the highest consideration being how it will communicate visually. I know I can support it. I'll find the words that will play with ie' "Reebok is an example;' Cheryl added. "You know strategically what you want to do, but you really don't know what those photographs are going to look like. You're shooting fifteen-month-old babies. You get six and three of them aren't screaming or throwing up. You just can't write the ads or brochures until you have those visuals in front of you~' "Unlike the rational approach of the '70s;' Mark said, "I don't write headlines that come out of a copy strategy. I write headlines that are about my personal response to the visuals~' Asked how they instill this feeling in other writers, Mark responded that mostly it's a matter of finding people that are close to being there, or at least part way to being there.

"People sometimes look at our work;' Heller said, "and say: 'Your work is so visual that you don't really need writers~ Nothing could be farther from the truth. Not only because writers are thinkers and really help get at the essence of the solution, but words are tremendously important in our work. What confuses them is the balance of a more true partnership of visual and verbal.

"Another thing I've found is that it's a lot more fun than working alone. Having come from an agency where you have teams, we've also applied that to design. A relationship where it's okay to go through a certain amount of crazy stuff that you have to get out in coming up with an idea. It makes the whole process so much more enjoyable, and I think it changes the work for the better. It comes through when people are having fun doing ie' In hiring designers, Heller looks for craft and sophistication of execution in designers' books because that is an important factor in successful visual persuasion.

"They come here and get very excited about being involved in marketing and being concerned with what you're saying and who you're saying it to. This requires people who are genuinely interested in both design and advertising, who enjoy working on the hang tags as well as the ads~' "In the past;' Myers said, "traditional agencies probably avoided collateral because they didn't know what the creative possibilities were. A lot of things that I'm proudest of from ten years ago were collateral pieces. I think when agencies realize that collateral can be as brilliant and challenging and as creative as a television commercial, they will find out how to make money on it.

"This agency is not basing itself on traditional form. That's what's exciting about it, the reason I'm here. In a sense, it is inventing itself."

-Dick Coyne

HELLER BREENE

FRANKXINIIR SALONS 35 NEWBUR'I 5I: BOSION 267-7107 N:wlON CfNTER 751WCONST. 964-6640

FRANK XAVIER KAJR IS AJ..WAYS ON HISMIND

Left : Posters and ads for Frank Xavier, operator of hair salons in the Boston area. Cheryl Heller, art director; Nick Kaldenbaugh and Cheryl Heller, designers; Cheryl Heller and Frank Xavier, illustrators; Myron, photographer.

Above : The creative staff of Heller Breene. First strip : Rose DiSanto, Anne Raquette , Mark Drury, Christopher McCusker.

Second strip: Noel Manalil i, Nick Kaldenbaugh , Julie Edwards, El i Constantine . Third strip : Rene Watkins-Payne , Linda Satterfield, John Harold , Emily Gallardo. Last strip: Carole Bouchard , Joanne Biron , David Lopes, Michael Orzech.

FRANKXINID

SALONS

Not shown : Account services: Carol Phelan, Bobbie Thompson, Jim Danahy, Susan Geib, Marianne Dornfeld, J. L Nevill Smythe, Betsie Sauereisen, Pat Hayes, Ann Toomey, Anne Honan , Beth Rosenberg , Julie Cordiero, Donna de Almeida, Marie de Ia Brosse , Nancy Slade, Chris Moody. Production: Judith Barton, Kathy Evans, Cathy Kemmerer, Abby Cohen, Paige Smylie, Suzanne Wrede, Chris Beatty, Sheree Sevigny. Management: Tim Breene, Michael Wilder, Robert Scalea, Mark Meyers.

351\'EWBURY ST. BOSlON 267-7107

NI:WTON CfNTER 75\Bf..'CONST. 964-6640

FRANK XAVIER KAJR IS AJ..WAYS ON HIS MIND 75

Shoes ... choosing them is a very personal decision.

Weeochhove our own needs, wonts, likes and dislikes.

Our shoes become o port of our lives.

Everyone con tell you stories about their shoes, post end present.

Every year, more end more of those shoes ore Morse shoes.

Millions of shoes .

Millions of stories.

Morse Shoe stories.

T

M~ do9 ll Sclc-h o.. terror, ~ fA'< 0\'\ \y k.\a on t\\~ black who ha'S i:o ke~p MY shea,ke\"s ,·h tke c)othe~ heY'\ pet..

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76

Communication Arts January/February 1988

HELLER BREENE

Tonc'-•.t.k:«qualiry~cokr. Bucmon: , IOIW:istkpntt,qualify,aftd

Courtesy of Winners magazine.

Cheryl Heller and Bull Run . lnnualrtpOrt , «productbrochurt. Thtktyis•paprriiOCk~ lhthipc.

lOne, Warrm Cameo Ou.ll, tht vtry p.ptr Uled-in both 100 pound Tm

Left: Spreads from the Morse Shoe, Inc. 1986 annual report. With sales of just under $600 million, Morse Shoe is one of this country's ten largest shoe retailers with its own Fayva, Morse and Upstage stores and footwear departments in both discount and department store chains. The company also manufactures Nurse-Mates and Restabouts specialty shoes and the Soft Spots line of women's and men's casual footwear. The report, with a clean, attractive design, also presented its products and services in a warm and amusing manner. David Lopes, art director and designer; Peter Caroline, writer; Laura Rossignol, photographer.

For a brochure to promote Warren's Cameo Dull, Heller decided to use black-and-white photography to create an air of elegance and quality. She picked Monte Carlo as the location, Helmut Newton as the photographer.

The printing techniql!les demonstrated included halftone, duotone with warm gray, duotone with matte black and matte gray, duotone with black and magenta, duotone with black and cyan, tritone with gray and two blacks, tritone with warm gray and two blacks, quadratone with the four process colors, enough useful information to make this a keeper as well as a reminder to consider Cameo Dull for the next quality job. Cheryl Heller, art director and designer; Peter Caroline, writer.

77

HELLER BREENE

Two of the many trade ads created for S. D. Warren. Cheryl Heller was the art director and designer, Peter Caroline the writer.

Bruce Pendleton was the photographer for the "Whiteness" ad, Jeffrey Myers the photographer on the "Gloss" ad.

Below: Announcement to distributors of a promotion called "Fish Stories" (coming in three weeks) about the wonders of fishing and Warren Lustra Dull. The worm in a plastic bag feels like the real thing, and the 18-inch die-cut fish carries a message to prepare for the promotion.

Top right: The envelope and a photograph spread from the 40-page, 5 x 7 brochure. Fish Stories is not about fish, it is about fishermen, specifically three men who are serious fishermen, living near the Deschutes River in Oregon . Cheryl Heller was the art director/designer; Jerry Cronin, writer; Herb Ritts shot the photographs on location. Myron photographed the still life shots of trout on the cover and title page, and old black-andwhite photographs were used for background pages demonstrating special printing effects.

WH ITENE S

811.? x 12 brochure for Warren Patina focused on the American Southwest as a theme and showed unvarnished four-color and black-and-white photographs. Cheryl Heller, art director and designer; Peter Caroline, writer; Myron and Kurt Marcus, photographers.

is an enigma . What appea rs to be the absence o f all color is in fact the presence of all colors. And the presence o f any co lo r i e nhanced o n th e n e ~· ~

improved Warren Lustro Web GIOII8.

GLO is a slicke r coating surface. And wllen you have a high gloss surface going fo r you, there' nothing that ca n rain o n yo ur parade.

Excellent gloss helps give yo u depth, detail, and briWant color reproduction .

And proof positive is Warren Lustro Gloss, the paper upon whjch this is printed.

78

Communication Arts January/February 1988

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HELLER BREENE

Prime .

Brochure, 8 ~ x 11, for Prime Computer, Inc., directed to the petroleum industry where Prime has a strong performance record and offers over 200 application software packages for every area of the business. Joanne Biron, art director/designer; copy by Prime Computer ; various photographers.

Right: 8Y2 x 10Y2 brochure for the Investment Bank, Bank of Boston . The wrap around cover is a reproduction of Thomas Eakins' painting of " Bigl in Brothers Turning the Stake:· 1873, courtesy of the Cleveland Museum of Art. The bleed photographs of rowing crews and equipment are by Robert Llewellyn , William Huber, Brian Hill and Phil Porcella. Carole Bouchard , art director/designer; Don Fang meyer, writer.

A Natural Resource for the Oil and Gas lndustry

•

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Prime in Exploration: supplying the missing link . Prime has a unique relationship with one of

entire exploration team unlimited acces~ to the data nccc~sa ry to

the market. It's called FINDER. from Exploration Sy>tems. Inc. Fl DER uses Prime IN FORMAT ION '" software as a database in tegrator 10 tie together such

do their jobs without becoming ' 'databound:·

imerpretation and reserve estimation . Ju~t a~ imJX>rtant . it tie~ your team togcther- geoM:ientists. geo-

physicim. landmen. engineers and geotechs all share and exchange the same data . so all areas are updated when the data change>.

Fl DER produces presentation-

and integrate new software. as

well as additional quantities or types of data.

Prime INFORMATION does much more than just support Fl DER . II gives you a complete

data in a familiar, easy-to-read

environment with data management. application generation

geologic data. FINDER will automatically update the database and ens ure that all the subseque nt

solutions from l'rim t hrlp

maps and sections will accurately

"duu tht' n\ks in drillinJ: .

reOectthc changes.

Having accurate. up-to-date information and sharing it in a timely

fashion with other members of the exploration team i~essential . With

Fl DER. u.er. can interactively add . modify ord i>play any kind of exploration data using ea~ily

Communication Arts January/February 1988

exp lora ti on requirements and

goals change. your exploration system can change right along with it. because Prime INFORMATIO allows you to easily add

that go far beyond mere dmfting >y>tcms. Automatically generated from underlying data and interpretations. the FINDER maps present

team adds or reinterpreb a seismic section. en ters a new seismic line. or acquires addi tional subsurface

80

Because

Fl DER is built on Prime I FORMATION software. it i> an open -ended system . As your

quality map~ and cross-secrions

form . Whether an exploration

By locatinJ: ~sen't'1 on a ~~~m ­

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the most advanced . tightlyintegrated exploration !.ystem!:t on

functions~ petrophy~ics. seismic

puterscrrelljirst,r.rplorotion

•

and user tool> . In addition to FINDER. there are hundreds of third-party applications built on Prime I FORMATIO

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HELLER B REENE

• • • • •• • ••• • • • • • • • • • • • •

GfNERAL ELECTRIC PLASTICS 1987

• • • • • • • • • • • • • • • • •• • •

•• • • • • • • •• • •

lnnov.n.onJsrOoreol.vl .lSSOCJlboc J<:lJVtty lMn mlny

10110Ylton would care to adrrut lntheproccuofcre;attr'lnew

c!esl&noppcrtuntue••ndc'<llv.r'tl advilncedprodu<u.w~;at

Gener.>l ElectrK Phstl« Group

have ohcndrawn W"'tp(nuon from pani~l expenences 1n.suth m:u~nnure.tht¥u.

sports.andarth•tectureFor

thenexttwelvtiTIO{'Ithswc would hki!: to shue some of the$c

p>rollck woth yoo. We hope lheywrllcnterurnyou.grvcyou somerdtto!ourcurrerlt efloru,>ndperh.ps"'8&•"""''"

waysmwhtchwemlghtput ourkic.uteworJc.ln.)'O\lr~taif

WearenowcornmgtoJpprcciJtttNtwhchthebtrdsN... eknovvrtlrutrnco'ttty

for coos structures bued on compoute m.ucm.ls offer llWly COO"'pCihng

c omposn s NYelhowntherworth nawldanng of

82

Communication Arts January/February 1988

Left: In this 10 x 11, brochure/calendar for General Electric Plastics Group, the concept explores the analagous or parallel relationship between advanced product development and situations occurring in nature, the arts, sports and architecture.

Wire-0 bound, each of the twelve spreads has a short calendar page for a month (not shown here). Carole Bouchard, art director and designer; Peter Caroline, writer; Jim Huibregtse and others, photographers.

One of a series of 22 x 28 posters for Stride Rite. Cheryl Heller, art director and designer; Fred Bertino, writer; Alex Chatelain, photographer.

Cover and spread from a 9 x 11 Y2 , 36-page trade catalog for Stride Rite. Cheryl Heller, art director; Cheryl Heller and Rene Payne, designers; Fred Bertino, writer; Alex Chatelain, photographer.

THE SHOES THAT PUT PRACTICALnY Ill STYLE. Tmclillnnally>P<'•'kln~. Sfll'rr)' 'lbp-Sitkr I~ wht'l'\' II'• 111 II'• Mllnrkllhk• how our d:L,,Ic ~1)'1<· h:L; muw Ml l;lr, and how It l'HHintl ·~hi 1~'1.,»11' lOIII'\' (ltlpUJ,Ir ILS lime p,l\\('S,

Thb f:alllj lllll'\tc(Xh1n. 1\~\t•tk'>IKili'll St'll•rry '>lik•• ruu'I~IM<·r:ot'!'ll

83

HELLER BREENE

"Pop Tops": 30. Reebok TV commercial.

Open on interior of a shoe store with sounds of the city, traffic and kids laughing and talking . One girl is standing on a pedestal as salesman is tying her green and white shoes.

An ncr. (VO): Please, remain calm ... (pedestal begins to vibrate, shaking the girl) An ncr: Reebok has taken every reasonable precaution ... (smoke appears around shoes) An ncr: to assure that the colors of our shoes will not overheat.

We categorically deny... (shoes turn fiery red and everyone jumps away pointing) Anncr: exceeding acceptable limits ... (girl's hat begins to glow and her earrings flash on and off) An ncr: causing your top to pop. (girl's skirt goes up, sprinkler system turns on, salesmen cover their heads with their jackets, sirens are heard outside) An ncr: There have been no incidents. (other kids jump under the upraised skirt) An ncr : We are in complete control of the situation .

Girl: Pop Tops by Reebok.

Cheryl Heller, art director; Mark Meyers, writer; Jean Paul Goude, director; Fairbanks Films, production company.

The commercial was shot in high definition video, giving it a heightened sense of reality. The store set was built on a stage with the exterior windows painted blue, with the exception of the reverse Reebok black type. The natural looking street scene with busses, cars and pedestrians was shot separately and the two scenes were matted together.

Below : Opening spread of an 11 x 14, 20-page Reebok Apparel brochure for the trade . Cheryl Heller, art director/designer; Jerry Cronin, writer ; Herb Ritts, photographer.

Right : Two ads for Metaphors by Reebok. Cheryl Heller and Rose DiSanto, art directors; Mark Myers and Judy Myers, writers; Percy Ogden, photographer.

84

Communication Arts January/February 1988

Perhaps she was so wicked because she had to wear those shoes.

Lighten up, Dearie.

1\llmcnhavealways kn<l<'nthatbeing dressedlOkill\l.as

murderontheirfOOL.

BuLnCJ\\1. "-ondCI'Of wonders. Metaphors ...

by RecOOk give you

sleek contemporary &yling-yetfrelas comfortable as Ree!Jol<alhletK:shoes.

Whichislu&whal v.umenha\'ebcen

asking for.

They"remadeor son.cushionygar· memleat11ers.like

Reebokatlllelicshoes Withinnovali~.e

lnsldcslikeahrel woogeoiDFlex 101• EVA malerial and our ~lemory·Locl: Insole.·

All•uwontheoul· side. AIIahhonthe inside.

Youaskedforthem.

Rrebok li&cnoo.

Metaphors by Rrebok. They·rea happy ending for

women's feet..

Women have always had to wear uncomfortable shoes to make it with the right people.

End of tale.

E1"'hearof l'rina:s.sOJanning?

Ofooursenot.

H<>l'canyoube charming when your

feet hun..

1\llmenhavcalways longooforahappy marriagcbct..vecn

fashionandoomfort mLheirshoes

Rrebok liSLenooand Metaphors·arelhe happy ending.

Metaphors are our

new on-lho-tov:n shoesthatfeelso muchlikeourin-the-

gymshoes. They"re rashionoofromson. sumptuousgat•mcn~

leathers like our

ramousathleticshoes. \\11th ingenious

Rreboklnnovallons likeahrel•"'lge madeofDi·'le.x 101· EVA material and our Mcmory·Locklnsole.· \ttwithallthis engineering.they"re &ill light. smart. super. All•uwon theouts1de. Allahh on the inside.

Metaphors have brokentllespell.\llur wishforcomfort.p/us

&ylehasiJeen granted. t

85

HELLER BREENE

Ad for Weebok baby shoes. Cheryl Heller, art director; Joanne Biron and Cheryl Heller, designers; Annie Leibovitz, photographer.

Across the spread , below: seven panel accord ian folded consumer piece for Weebok baby shoes by Reebok. Each panel is 3Y2 x 4Y2. On the back of the folder was a diagram (far right) of how the shoes are constructed and a panel of copy describing the techn ical research beh ind the design of the shoes. Cheryl Heller, art director; Cheryl Heller and Nick Kaldenbaugh , designers; Jerry Cronin , writer ; Annie Le ibovitz, photographer.

Arter extensive studies of developing feet , Recbo~ developed Weebol( baby shoes. They're

not athletic shoes. (Babies aren't athletes.)

Theyre everyday shoes, designed to be the most

oomfortable environment for growing feet.

1b start, we use only fine gannentleather.

Its soft and supple so theres no pain breaking It ln. lt also has superior breathablllty to keep young feet oool and dry.

We make the heel of the shoe snug to make the heel of the baby stay put. The toe box Is

86

Communication Arts January/February 1988

extra large with plenty of room for too; and move fn.oely.

E very Wcebok i~ double-stitched reinforct.<d. That protects the shoe and Inside II. Insoles are removable. Other think that's UnltCCL'l!Sary. We think lis

Art'ITiovable Insole allow · the silO<• to be

and aet-uratdy flttt<d to the Individual.

Outside. \\i.'Cbok ·olcs are extra wl' malw a IYJby ~tcadier. Treads are rounded

R.r 90 )...n;, Ra-bok' has made shoes with rnulhlnl'.'inmlnd.Comlonandp.'rbnnanre But\\~ re:tl17al the prople who needed that klndof~mostdJclnlhaYeonc.

llobies.

Afteraii.~CI'l'f)'Oilrouiduscaromlortlble

fl"''(onnance shoe, us when )1lttil' just beginning to,.·.dk.lilrthe Hrsttt!ll(!, )Ourferlarebeanng v.tight. 'lbu'reie:lrnlngtob:tbnre. \00\rusln& new muscles. lOO need a shoe that C'JJt suppon )1ltt through e~~rytcntatil~stl'p

Afl<.""''"'"';'~studicsofdclt'lopingf<ct,ll<!

del\!loped\IWJok"lxthpltOOi. They're not atltMic>itocs(&tbles:uuitatltletcs)TilC)'re C\l!r)<layshoel,tislgncdtobethebestenviron metttforgrowlngferl.

1b stan,"" usc on~ fine gamtcnt lc-.tth<.~.lts soft and "l)llllc so tltcres oo ty.tln hn."Jklng it In

Thctoclxtx ~cxtrabJWlwilh pk:ntrofroom be toes to grip and ma.u freelr. ~"'l' l'lllthok is douiJic.stttchoo and n)'ion rclnlotred. That protoct.sthcshocandlhcfootlnsldclt. lnsoi<sarerernO\o-.bl~OUterntlttut'V.1u""" UttnkthatsuttnereiSal')'lll'lhtnkltsa~ldal

Arent<1<iblclnsolealioi<'Stheshoctobef'JSII)' andaocuMclyflttedtotltclndlvidual.

Outsldc,\'ltclloksol<sare..clrJWidctom:tke abal7fstl'lldJtot.'lle:ldsarerountkldbrb11tcrlnte linn. And Uteboltnm Lsllexlbleatlhcb:ill·lhc un~· pbre II ""'''d lte. l<>rptt'Ciscfit, 11\'Cilok::ltOr!;romelnnarrow, nl<.'dlum and wide, as ~U 3S half s11.es. And ~nee

llalsohas "lper1ot'hre:uhot)l;ht)'

tolrecpyoungferlroolanddry

The Leibovitz photographs were used in two-page and single page ads, 22 x 28 in-store posters and for post cards.

Cheryl Heller, art director; Cheryl Heller and Nick Kaldenbaugh, designers; Jerry Cronin, writer.

The Weebok diaper gift box, 10 x 13 x 4112 deep, was art directed and designed by Joanne Biron .

beucr traction . And the hottom is flexible at

-ln--11111

Lellberpull·llbtnWsttasy

IDI'Islxtaoollldolf.

holf-bpNCis<ftt.

the ball-the only place it should he.

For prL'Cise fit, Wcehok shoes come in nar row, medium and wide widths , <l~ well as half sizes. Ami since growing up isn't all serious. they come in a wide array of styles and colors.

We think you'll find Weebok infant shoes the finest availahlt•. Wt,.ve put a lot into a shoe that:~ only three inches long. But we believe

the way you treat littl<' lret detennincs what kind of hlg ft'Ct they'll bemmc.

......................... _ . , bladllltilky.

. . - -.

IJI.TIX'"101lllldoole ...-.....

87

R EMAINS TO BE S EEN N EXHIBIT OF designer Eugene Hoffman's assemblage art went on display in the Denver Museum ofNatural History October 2 and will run through March 20, 1988. At the same museum, Ramses II opened on October 18.

Both are "remains to be seen:' but Hoffman's forty assemblages are constructed from trash, cast-off materials and junk.

A

"It is a sort of fusion that comes together, hopefully, in some sort of serendipity that's amusing, bemusing and charming:' he says.

Discussing people's reactions while looking at his sea plane assemblage, Hoffman runs through their imagined thoughts. "Why do I get a kick out of that? I know, does it fly? No, it can't fly. Can it fly? And they will ask me, 'Does it fly?' And I say, 'Well, no, but there's almost a Zen-ness about it flying, like any toy. Well, sure it flies.

In your mind it flies~"

Photograph by Priscilla Waite

Right : The skier on the sarcophagus cover was the illustration for a poster, " Ski Colorado With Ramses 11:· commissioned by the Denver Museum of Natural History. The Ramses exhibit, October 18 to March 31 , co incides with the ski season and the drawing power of each attraction should help the economics of the other. The assemblage , approximately 4 W high, is also included in the Hoffman exhibit and offers some offbeat and humorous surprises : the mix of the New Kingdom and Aspen costume of the skier ; wrapped skis in the sarcophagus ; an aspen leaf instead of the asp on the sacred headdress of the pharoah .

Gene had offered the option using rusty metal, but recommended the use of discarded plastic which they accepted . Some of the material is identifiable, like the caps from syringe bottles with the words "Fl ip Open " (his daughter is a hospital pharmacist) and the tiara comb on the end of the scarf and in the construction of the headdress. The herringbone sleeve pattern is made from Xerox toner cannisters. Those pieces were cut and shaved individually and held with tweezers wh ile they were nailed into place. Other parts are from various containers, bottles and junked plastic. Hoffman can rattle off the source of all of the colors. The "flip top " can openers go back a few years and are from his storage of usable "treasures:·

88

Friends save bits and pieces for him.

"Some look like musical instruments, parts off a clarinet or something out of a parlor organ or sewing machine parts:' he says. "I look at these and say 'I know where these will go.

They're going in the innards~ It looks mechanical and that's why people think it should work. They muse 'It looks like ... ' and then, 'Oh, my God, it's off a sewing machine!' And they'll giggle. And then I say, 'Aha, gotcha~ "I'm interested in picking out, or maybe picking up would be a better phrase, things that can be used to create an image that reminds us, immediately, of something else~'

Communication Arts January/February 1988

Describing the teeth in his fish assemblage, Gene says, "Those are nails that I found lying in the streets of Fort Collins. People finish at a construction site and they'll leave bent nails. Or there will be nails left from a building that they're tearing down. I have a little magnet fastened to a rope and in a ten to fifteen minute

walk through vacant lots or around some building sites I pick up several pounds of nails. About the only thing I buy are the brass brads~' Born in 1933 in Gettysburg, Pennsylvania, Hoffman began his art career in Phoenix in 1956. He worked as a studio artist, art director and designer there and also in Tucson and San Francisco before moving to Denver. He currently lives in Fort Collins with his wife, Sue, and teaches graphic design at the University of Northern Colorado in Greeley.

"I had people at Parsons ask if I was interested in teaching there. I was very flattered and went there and they liked my approach:' Gene says. "But New York was just a little crowded.

We were house sitting for friends in Westport and coming in on the train I felt I was into the old Budd Schul berg routine: check the watch, read the paper, check the watch, lean forward, position yourself on the platform and rush up. I started thinking about Gustave Dore's illustration for The Inferno. Every time I got off about the fourth level at Grand Central, I started looking for a three-headed dog. We said no to that and came back.

"Here we have the mountains that we enjoy very much. We like to backpack and there's still some old ghost towns we can rummage through, up near Leadville and Tennessee Pass, some of the old stage stops at about 12,000 feet. You can still be alone, not that I'm so recalcitrant or some sort of misanthrope. That was another thing about back east, you couldn't walk very far into the woods before you were out of them~' He hopes to build a home incorporating his assemblage philosophy. " ... where telephone poles become timbers and I try and craft it the same way as I'm attempting to craft the art work that goes on the walls. It could literally be the walls~' -Jean A. Coyne

89

GENE HOFFMAN

Hoffman's titles are often based on what he imagines when he looks at a finished piece. This wood intarsia piece, "The Shamun Conjuring;· is 52" wide, 91" high, totally made from scrap material: plywood , dowels, broom handles, packing crates. "The dumpster behind a custom cabinet shop is often filled with pieces of beautiful wood:' Below: an exhibit photo and a freestanding crab. The base under the crab was an afterthought. The wood was the counterspace cut out of a big letter for the Museum.

Gene asked if he could have it and they said, "Sure:· When the crab seemed too small for the showcase they had available, Gene had an idea. He borrowed some cordovan colored paint they were using and painted the round piece of wood . Then, elevating it with some boards, he bolted the crab to the base, slightly off center, and it looked fine in the case. The three-part piece behind the crab is an assemblage titled "Icarus:· Right, top: "The Trophy" is 104" long and made of metal and wood. This, like the crab and many other works, is behind glass to keep the art from being touched. "I don 't blame them:· said Hoffman. "If I were a visitor, I'd like to touch it too, but you'd have a lot of little pieces pulled off. In the case of this one , which can be viewed from both sides, it takes on the feeling that both the fish and the oarsman are in an aquarium , which I thought was fine :· Hoffman's unlikely title for this seaplane is "Fossil:' He felt this had a historical feeling, recalling things like Leonardo's rotating wing aircraft, or the plane that Bleriot flew across the Channel. Included were his own memories of carving propellers for rubberband -powered helicopters, or building models with the delightful frameworks and then feeling sad when you covered them and couldn't see the inner structure. The plane is 10' long, 10' wide and 4W high. The engine is made of pieces of wood, a discarded lawn chair, Tupperware, parts from a clock and a calculator. "It's a combination radial and in-line engine, which is impossible, but it seems to work visually."

The pilot's wetsuit and flippers are made from a truck tire inner tube over a wood framework. The yellow stripe is from a Prestone Antifreeze container.

Gary D. Hall, Denver Museum of Natural History

90

Communication Arts January/February 1988

Gary D. Hall

Gary D. Hall

Gary D. Hall

Gary D. Hall

91

GENE HoFFMAN

92

Communication Arts January/February 1988

Left: The center panel of this triptych is 40" wide and 97" tall. This started out to be a joke, a "garbage gothic" or "trash triptych" parody on Matthias Grunewald's folding altarpiece at the lsenheim Monastery in Alsace.

Hoffman had thought of calling it "Wisenheimer Altered Piece:· but as he worked on it, and it grew and grew, he found himself more and more involved and it became very gothic and rather somber. "In putting it together," Gene said, "Some almost magical things happened . I needed a nimbus for the central figure and , I swear, I found this slightly smashed wheel cover leaning against my building.

I said, 'That's what I need, that'll be my halo:" As he cleaned it up and realigned it, it started looking too neat so he used some baling wire to take the formality out of it. Along with the rusty cans, nails and wire, he used coat hangers, bedsprings, parts from an old adding machine he found in a ditch near Missoula, Montana. The background behind the figure is offset printing plates. The back of these still has the magenta images. One find, from a junkyard outside Fort Collins, was something he believes might have been part of a telephone switchboard, which he used on the inside edges of the panels for the very gothic repeating motive. The small panels at the bottom are reminiscent of panels devoted to praise for the patron, a fifteenth century version of advertising. Hoffman used pieces of license plates and printing on cans to suggest that element. "Some people look at my trash triptych and think it's very mystical, which is all right too:· The "Plastic Wasp" is 27" wide by 35" high. Hoffman was creating a sort of "ecto-skeletal" view of the subject, using colors to differentiate the parts as in medical illustrations. "The belts and pulleys simulate the joints and muscles wh ich would move the wings or legs:' The plastics are all from discarded bottles and containers which Hoffman scalds and cleans with detergent and then cuts and shapes to fit his design and color needs.

"If you walk through a supermarket and turn the bottles sideways, the colors are absolutely exquisite, and come in such a wide variety." The eye of the wasp is made from a bristle toy and a spoon from Dairy Queen. Combs, syringe caps and other plastic items were utilized.

The crab, designed to fit within a circle, is made from Wisk and Era bottles. The eye is made from a pink deodorant ball held within pouring spouts from the detergent bottles. The wooden armatures under the plastic are painted first so, if there is a crack, the raw wood won't show. The size is 3' x 4:

93

GENE HOFFMAN

"Hoop Dancer," 56" x 70:' is made from rusty metal cans mounted on aluminum offset printing plates. The unresearched costume is a product of his fancy of what this could look like, a composite of tribal styles where the dancer is creating an impression of a bird .

The " Rubber Shark:' 74" x 32:' is made from innertubes. "The message printed on the tube says overinflating could cause a blowout resulting in personal injury or death. The double lateral line created a nice rhythm:' In stretching the tube over the forms , Hoffman had two blowouts, where the tube tore loose from the staples, and he had to patch the tail and the nose. The eye is a coat button, and the background is painted wood .

Right: " Plastic Indian:· 25" x 37': Hoffman was trying to get as much color and texture into this as he cou ld.

"The idea started with a big collection of combs. You find them everywhere, and in all sorts of colors. I asked myself, 'What could I do with these?' I thought of a few, rather limited uses and then came up with feathers for an Indian.

So I just started putting this together.

As tight as it may look, my thinking was more free than on many of the others:· Some of the other materials include syringe caps, forks from Long John Silver's, plastic from the binders at the copy centers (used on the braids) .

The face and ears are cut from wood and painted with tempera poster paint.

"It's not outside so you don't have to be concerned with weathering: '

94

Communication Arts January/February 1988

95

AlGA CONFERENCE II A

REPORT

BY

BYRON

FERRIS to the top of the fabled Nob Hill.

In what is now a two year tradition, the opening program in the Masonic Auditorium was Awards Night.

N THE FIRST DAYS OF September, we gathered for the second national AlGA conference in San Francisco. Over a thousand designers crowded into the ballroom of the St. Francis Hotel for the first night mixer, meeting with old and new friends and joining in that newly popular replacement of dinner: "grazing" off buffet tables.

I

I'd expected to hear a good deal of talk about the AlGA Conference two years earlier in Boston, made famous not so much by its being the first national conference, but rather by the excitement of being interrupted by Hurricane Gloria. But there were few at this second national conference who'd been to the premiere Boston gathering on the other edge of the nation.

San Francisco calls itself "Baghdad by the Bay." One doubts that Baghdad shares the quick shifts in atmosphere of this city on the Pacific. Though the day had been sunny and pleasant, a cold fog rolled in from the ocean as evening came and our conference buses wound from Union Square 96

Communication Arts January/February 1988

But before awards, Richard Saul Wurman, who had analyzed a survey questionnaire mailed out with the conference enrollment forms , told us who we in the audience were. We were 50% men, 50% women, quite a change from ten years earlier when graphic design was mostly male.

Now 65% of the audience was under 40 and only 9% over 50 (including the Board). 36% had spouses in the graphic arts and 36 states were represented. 44% were from California and New York.l.2% were underweight and 22% overweight. .8% would like to be shorter and 30% taller. 44% read two or three newspapers plus six magazines. (Communication Arts, 76%; Print, 67%; Graphis, 65%.) Japan was thought of as producing the best graphics. The southwest got the vote for the site of the next national conference.

The 1987 American Institute of Graphic Arts Medalist was announced: Walter Herdeg, founder and publisher of Graphis, honored for his forty years of perception and inspiration and his contribution to international design history. Graphis, published in Zurich, Switzerland, was recently sold upon Walter Herdeg's retirement, but the magazine is alive and well and continuing from New York under the leadership of B. Martin Pedersen.

Walter Herdeg, however, was not on hand to receive his Medal and our congratulations.

The AlGA 1987 Design Leadership Award recognized Esprit, the California clothing corporation, as " a vital and potent design force at the height of its creative energy." Esprit's sprightly

Sanfr1ncisto Everywhere,1nytime

A lirtle over rhree years ago I moved wirh my family from Tokyo to San Francisco.

In a very shon time we had amassed an enormous coUecdon of bus transfers, and with some further graphic inscruction my rwo young children helped me to realize my goal- A complete alphabet of Mun i bus transfers. As I watched the m dig in to their pockets each eve ning, these slips of paper ca.meto symboli:tethe culruraJdiversit)C'&vailable for exploration throughout San Francisco neighborhoods.

My fa mily continues co add to their collection of cicy images and bus transfers.

II

Tomatsu Yagi

North B11chtw•shington Squ1re Vallejo, Green, Union, Filbert between Columbus and Gr1nt Avenues S1n Fr1ncisco

When I mentioned co the fellow behind the counte r that I was crying ro captu re someofrheessenceof North Beach, he reacted , "you 'd better hurry, it"s al most gone."

And indeed, it seems tha Chi nese laundromau, chic new restau rants and plastic pina pia have replaced the real thin&iJtn not quite. alkt My memor ies through Nonh Be-:t~ in r e ea rly mornings of 1962 fromtheAnlnscitute Chestnu t and Jones to my first job at the ad agency of Guild Bascom & Bonfigli came back to me in a nash .

• in Moli nari 's easi ly transported me .

There 's sti ll plenry thee for a qutck Italian ftx .

GeraldRets

• • • • • • • • • • • •• •• •• •• •• •• • • • •• •• •• •• •• ••

•• •• •• • • • •

Left : Attendees participating in the art of grazing .

The San Francisco chapter of the AlGA put together a special gift guide book for the conferees. Thirtyfour San Francisco designers illustrated their favorite haunts .

Chapter president, Michael Mabry, wrote in his introduction, "The Designers Guidebook is very selective, and decidedly biased, in its recommendations, so we suggest you use it in conjunction with other guidebooks, like San Francisco Access-otherwise you're unlikely to read anything about Fisherman's Wharf or the cable cars:' The book suggested dress codes for certain restaurants and night clubs : Club DV8, "Wear your best black:' Where to shop: Comme des Garcons, "Perfect your tormented artist look with these dark Japanese clothing creations: ' Information on different neighborhoods: The Financial District, "This is where the clients are headquartered.

During the day it is frantic; at night a virtual ghost town:· What to do if you drive : "allow at least 15 minutes to find on-street parking; don't get discouraged unless it's been more than an hour:' Michael Vanderbyl, designer;,Linda Anderson, production and coordination; Delphine Hirasuna, writer. The James River Corporation donated the paper and printing. The typesetting was donated

by Mercury Typography.

• • • • • • • • • •• •• •• •• •• •• •

• 97

AlGA CONFERENCE II

STEVEN

Q

HELLER

ly recently has the

nitty-gritty ofgraphic design been presented as a significant aspect of the broader popular culture. For the designer there are many ramifications. Some say that a recorded history helps legitimize our profession.

Others use historical references to build contemporary styles. Every art builds upon and rejects past endeavor, but history is not simply a big closet in which to rummage.

History provides standards, not rigid dogma, but rather a means to judge the aesthetics and ethics ofwork today.

"If I had to describe the most significant by-product of historical pursuit, it would be the development of a critical sensibility that goes beyond the in-and-out, good-or-bad criteria of the year's jury shows. Graphic design is not just about making things look good. It's about communication and this distinction requires intelligent inquiry."

98

promotion designs and its joyful product styling have bridged the young and the middle market as a note of success in these years of attention to aggressive marketing.

It was some four years ago that the AlGA Board of Directors decided to increase the organization's national thrust by organizing a full U.S. conference. The outcome was the first conference in Boston in 1985.

Founded in 1914, the AlGA for most of its years had been perceived as a New York group. Ten years ago, it had 1,200 members and no chapters. Now it has almost 6,000 members and 19 active chapters across the nation.

It has been a major American force for excellence in design and the graphic arts with a promise of pulling graphic designers together in a new national community.

A developing interest in design history and documentation is very much a part of the professional life of the 1980s with the growing realization that, if graphic design is to be recognized as a significant cultural art, it must prove its performance with a history of permanence and accreditation.

The AlGA San Francisco conference recognized this expanding interest and began its first full-day program with a morning devoted to the roots of graphic design. Steven Heller art director of The New York Times Book Review, and editor of the AlGA Journal of Graphic Design, analyzed the conference's attention to design history.

Stewart Johnson, former Curator of Design at the Museum ofModern Art reviewed the "graphics revolution" ' of1915-1935, a time of change in American design from the formal treatment of format to a more ebullient openness in layout. Philip Meggs, who has taken his place as our authoritative design historian with his authorship of A History of Graphic

Communication Arts January/February 1988

Design, and is now working on an AlGA sponsored book, What's American about American Graphic Design?revealed some attitudes about the design of former years that are yet to be further developed.

An interesting point in Meggs' pictorial presentation was his showing of examples of "Chap Books" revived

by Chicago's Will Bradley in the first quarter of the century. Earlier colonial printers had produced these crude books, a chapter at a time, to spread printing knowledge across the nation as itinerant craftsmen traveled from east to western states. Since most small print shops did not have larger display type faces, the craftsmen of the time letterspaced words across the page to suit formalist margins, a design posture that has now been revived and considered fresh and innovative in the 1980s.

Henry Wolf, who, as former art director of Esquire, Harper's Bazaar and Show, was one of the inventors and innovators of American magazine design during what was termed the "Golden Years of Magazine Design, 1955 to 1970~' was asked to talk about the attitudes of the period.

Wolrs projected showings of magazine designs of the period revealed elegance, content, sensitivity and a high design enthusiasm. Good mintcondition examples of '50s and '60s issues are now hard to find he admitted and current publishing st~ffs are reluc-' tant to help, perhaps not wanting to admit that there was a "Golden Age" of design.

A thousand designers walked the crest ofNob Hill to the historic Fairmont Hotel for that newly popular replacement oflunch: "grazing" from buffet tables. It was a picnic time of contacts introductions, and chat. ' The afternoon sessions in the Masonic Auditorium were devoted to profes-

sional practice with up-to-the-minute information about copyrights, insurance, and the business side of design.

Panel chairman, Alan Siegel, explained that the AlGA needs to help with a business focus for the growing group of young design professionals. Lee Englehardt outlined some thoughts on strategic planning to face a changing field of marketing and RitaSue Siegel outlined facts about the national job market. The panel outli ned public relations practices for design offices and William Zinsser talked to the need for clear communications in writing as part of the designer's tools.

"There is a tendency of the American sentence to not come out right ... such as the memo from an office supervisor which asked for 'a list of all employees broken down by sex.' " A clear sentence is no accident.

No one rewrites more often than the professional writer. It's identical to the designer reworking the project over and over on the layout pad. You're in the meaning business and cutting away the extra things until you r design says what it's meant to say is professionalism.

You're up against two very real adversaries. One is the tendency of meaning to come out just a little bit wrong.

The other is the miniscule attention span of the average person. " In communications, your job is to make every element and every word easy to read. That means getting rid of every graphic element that's not doing useful work ~' An intense day of sessions ended with an explanation of the evening's planned visit to San Francisco's Exploratorium and its creative exhibits of revealing the mysterious and invisible.

As the conference buses drove down Nob Hill, the designers had a chance to see San Francisco life through the

windows. Overheard, "The conference so far seems like going to class again, but there's one thing they didn't explain about office practices. What about paper clips? We use a lot of them and they come in on type proofs and such so we never seem to buy any.

They're like cockroaches. You never see where they come from , or where they go, but they're always there~ ' Jule Hickox said about the conference, " So far it's more of an educational thing and there's networking, but I have to draw the line at stimulation.

I think it's a shame that they're not showing anything vital going on with the designers ~' The evening at the Exploratorium proved to be a fascinating wander through hundreds of science experiment exhibits, a visual collection of presentations of how light, gravity, magnetism, perception and the biology of life work.

The Exploratorium is housed in a cavernous room in the Palace of Fine Arts in San Francisco's Presidio district. The Palace of Fine Arts is a monumental fantasy of colonnades and reflecting pools designed for the 1915 Panama Pacific Exposition by Bernard Maybeck. Restored in 1959, the building now stands as what Michael Mabry describes as a " beloved landmark, an all-time eccentricity of Beaux-Arts architecture~ ' The Exploratorium, conceived and developed by William Oppenheimer, Robert's brother, has been called the best science museum in the world with over 500 hands-on exhibits.

Rick Wurman's San Francisco Access says, " Pulling, pushing, manipulating various objects demonstrate principles of prisms, sound, electricity, mathematics, animal and plant behavior, and more~' (We watched a staff member disect the eye of a cow, rather a more informational experience than an

HEN R Y

WOL F

!

don't know about

this premise of'Golden Yea rs,' but, as a living part of history I am allowed to have this mixture of nostalgia and A lzheimer's. I do know that we'd design to content in this period, always in service to ideas. We could be both a designer and an editor.

"Some things are great at certain tim es. Th ere must have been a sort of denser atmosphere in the Florence of the 15th Century, in th e Vienna of the 1900s, in the Germany of the 1920s, and in Paris around 1900. Th e muse was alive in Paris then. Th ere is a mystery in why these periods happen, but A merican magazines were in a creative period in the 1950s and 1960s. Why was it that, after World War II, there was such a period ?

Certainly, so many had been gone fo r a tim e and came back with a new kind of optimism that made things happen. People believed that what they were do ing was wonderful. " What stopped it? Television certainly had a great dea l to do with the demise of design in general m agazines. Th e ending of th e time also came with VietNam and its dampening effect ofenthusiasm, and I think, the influence of advertising departments on editorial content. It is very hard to do great layouts, if, in the middle of th e spread, the advertising departm ent sells a quarter page ad for salad dressing."

99

AlGA CONFERENCE II

TIBOR

KALMAN

N

work is the hardest

to like. By definition it is distasteful. But that's how history is made. Early in this conference, Stewart Johnson spoke fondly of the work ofTschichold, Swart and El Lisitsky which received no recognition in its day.

Most designers hated it. Most publications ignored it. Yet, that is now considered to be the most important work of its time. So, if you see something new that you don't like, be very careful. It just might be good. And when you see something you really hate, be especially on guard. It might just be the work the world is imitating two years from now."

aesthetic one.) The AlGA designers moved from exhibit to exhibit chatting, networking, and "grazing" from buffet stands set up by the conference in the few open spaces.

One of the most useful arrangements of the conference was free-for-all breakfast in one of the St. Francis Hotel meeting rooms. It was a time to meet other designers from other cities and breakfast was a buzzing hive of excited talk. But then it was back on the buses to the Nob Hill auditorium and a Saturday morning session about equipment, "Technology: The Future is Within the Designer's Reach~' Most of the information about computer use and desk-top publishing has already been published, of course, but panelist Wendy Richmond woke up the audience with an exciting video exhibit, showing on the big screen examples of what's new and excellent.

Her theme of not expecting every design studio to invest in the expensive new equipment, but "if design is about change and you want to be part of the avant garde, you must know the new, pervasive technology and how to be part of the future" is published in CA, September/October, 1987.

Then, at last, the Saturday sessions turned to "What's Going on Now," a wildly mixed potpourri of visual and verbal comments, mounted by April Greiman and Tibor Kalman. April Greiman had been turned loose with an 8mm video camera and in the editing liked the effect of her fifthgeneration video tape. It glittered and shifted with strange colors and contrasts and one could see the pros in the audience, who believed in true color and sharp focus, visibly flinching. The effect was something other than the standard TV program, however, and, as such had its own impact.

Kit Hinrichs, who is now part of the Pentagram group, then spoke about

100

Communication Arts January/February 1988

corporate design. "I sent out 100 postcards to ask about what is the cutting edge of corporate design in the 1980s.

Mostly the answers came back: 'Fresh work for corporate clients? The form is now generic. Corporate design is so neutral now that you can replace a name on any brochure with that of any large corporation~" Then, interspersed with film and video, a fast-paced exposition of what's happening went on. Roger Black, claiming that he can be a design critic in the need for design criticism because he doesn't like anybody's work, pointed out that the need to reinvent forms all the time resulted mostly in surface change, that in our fast speed times design does not attend to the culture to put it into context. "The good news is that there are so many trendy designers in San Francisco this weekend that there is no goat cheese left in town so you don't have to worry when you go out to lunch~' Ralph Caplan, that perceptive writer for the design scene, said that he'd lost his glasses on the plane going to the conference, so he asked Henry Wolf if he could borrow his. "Henry said that was okay because after 1973 there wasn't anything worth looking at anyway."

The fast-paced "What's Going On" presentations finished through almost twenty segments and an inspired bunch of designers bused down the hill, some of them hungry and grumpy. ("The AlGA is trying to promote professionalism. If that show was professional, I'll eat my Magic Markers.

Come to think of it, they might taste good by now, especially the red and green ones~'), and we spread out for lunch on our own.

We found a marvelous Italian restaurant just down Powell from the St. Francis. At last, in this colorful

city noted for superb restaurants, we had escaped "grazing~' In defense of the AlGA Conference planners, restaurant prices are as fabulous as the City. A martini at the St. Francis "Compass Rose" lounge costs $5.75. The AlGA conferees were spared from such excesses by the constant picnic. We had dinner that night at "Greens:' a famous vegetarian restaurant. Thank goodness wine is considered to be a vegetarian drink because, though the introductory courses were superb examples of what can be done with vegetables, the main course was gruel. The taxi driver on the way back to the St. Francis asked if vegetarian fare was expensive. When we admitted that dinner was $28 apiece plus wine, he said, "For that price you'd think that you'd get meaf' (Also, there was no goat cheese.)

As a final conference note, there were two sessions on the last day devoted to the future of the AlGA as an organization and about education.

The AlGA meeting was ill-attended, perhaps because the conferees were out seeing San Francisco, but the meeting was quite significant. Bruce Blackburn, President of the AlGA, and Caroline Hightower, our competent and central Director, answered questions from AlGA Chapter members and proved that the organization is moving into the national leadership position. Of high interest was the promise of the AlGA publication of contracts for professional practice, much in the manner of the American Institute of Architects. Caroline Hightower reported that the publication was somewhat stalled in the attorney's office since the design field must deal with so many creative variables, a bit different from the established processes of the AlA in building buildings. Such contracts, however, are a focal point of establish-

ing design professionalism around the nation and the AlGA, as an Institute for Graphic Design, finds them worthy of attention. Caroline Hightower, aware of some nervousness among designers about getting design creativity too bound up with paperwork, noted that Kit Hinrichs, during a recent meeting of the Board, reaffirmed the AlGA charter's intention as concentrating on excellence in design. That's good commentary, but the presentations of the conference had shown how conditioned the creative side of design now is with machine mechanics and contractual business constraints.

RALPH

CAPLAN

Q.

picture is worth a

thousand words. Seven words long. You'd still have 993 words left over. How come none ofyou say it with a picture?

"Words are instruments of thinking. Look how much you can say with a few of them.

I suppose, that as an observer of this second national AlGA Conference, I could suggest one thing. The subject of design is now a grand one and has many important facets, perhaps too many for a three day conference.

What we missed in San Francisco was not attention to history, practice and stimulation, but attention to place. When you travel across the continent to such a special place as San Francisco and have no time to sense its vibrant and individual culture, you miss an enlightening experience that can add to your own growth of knowing that the design life in America is one of many ways. Though the program included an invitation to visit San Francisco design studios, this hardly seemed enough. The schedule, though crowded and well designed for today's subjects, did not include time for a tasting of the California magic and its sense of enthusiasm. Perhaps, if, according to Rick Wurman's reading of the survey, we all assemble next in Texas, we'll take a full week to sense the special quality of being in another design center. But be warned. Mike Hicks of Austin writes that "when you Yankees come to Texas you are confused by the wide horizons, and exposed to the Texas sun, you begin to hiss~'

Three. 'Formfol/owsfunction.' 'Ontogeny follows phylogeny.' 'I love you.' We're talking message density here, not high truth.

"Designers complain that their clients don't think visually. As a matter offact, they don't always think any other way either. My clients sometimes tell me, 'I know what I want to say, but I don't know how to put it into words: I always ask, 'What have you got it in now?' They never know.

"Ifyou have an idea and tell them your idea, they will identify it as what they would have been thinking, ifthey'd been thinking. People who don't think verbally, as a rule, don't think visually either. Designers, however, have to do both. Good designers have always loved not only design, but also both words and type."

101

FREE-LANCE

B ARBARA GORDON

PuBLICITY FoR You R WoRK

E

VERYONE WANTS AND VALUES POSITIVE recognition where it concerns their career. But how does one go about getting it if you cannot afford the cost of a public relations firm?

Competitions, contests, awards and exhibits, with all of their attendant publicity, are excellent ways of getting beneficial press. In addition, it's also a good idea to send out press releases on one's accomplishments.

In its simplest form, the press release consists of a reproduction of a piece of work executed by the free-lancer with the name, address and phone number of the free-lancer along with any other credits like the client, ad agency, a;t director, etc. responsible for the assignment. These simple press releases can be sent to the trade press, easily and with frequency, at very little cost. And while there are a lot of people vying for space in every publication, you improve your statistical odds of getting some of that space by bringing your work to the publication's attention.

Every free-lancer should also be aware of other events or accomplishments on which a more involved press release can be generated. Some examples: If a photographer is doing an intricate, or humorous, or precarious shot, it is a good idea to have an assistant photograph the photographer accomplishing this task and then writing up a press release about the project to accompany the photographs.

I remember one photographer doing this very successfully some years ago, when he had to take a photograph of a room full of babies. The photographs and press release had not only the human interest angle of one man trying to deal with a host of unpredictable children, but it also stressed his organizational skills as a photographer in pulling off a very successful shot. The publicity made both the photographer and his client look good.

Sometimes a free-lancer will do something that generates business, that is unusual and a press release can be written about this accomplishment.

An interior designer whom I know developed a checklist on how to pick the right interior designer for your next assignment. The checklist was offered free to anyone who wrote in on their letterhead to the designer. The checklist was sent, along with a press release to the trade press, who not only mentioned the designer and where to get the checklist, but later followed up on how successful this selling approach had been.

Sometimes it is a technique that has publicity value. There is an agency in New York that has specialized in producing computer graphics in unique ways. These new approaches have generated a great deal of publicity for them in not only the trade press, but in the daily newspapers as well.

For something to have publicity value, it must have other 102

Communication Arts January/February 1988

value, usually informational value. Aside from controversial issues and clients (which is a whole other area of publicity), most people like to read about campaigns, techniques and strategies that worked and why, or failed and why. They like stories that give them ideas, information and sometimes inspiration. A lot of the assignments that we all do in the free-lance field are predictable and don't have any newsworthy angles to them, but free-lancers should always be conscious of any assignment that may have a newsworthy feature.

When you find one of these newsworthy assignments, get photos, where applicable or possible, and write a press release. Writing a press release is actually very simple, once the facts are organized. The press release is always on a letterhead (yours, your rep 's or publicist's) with an address or phone number. The press release is either for Immediate Release or Future Release (in this case include the future date).

The first paragraph should have "Who, Why, What, When and Where ~' e.g. " Harry Smith, internationally known illustrator, will conduct a seminar on how he turned a local art studio in Lincoln, Maine, into an international franchise operation. Mr. Smith's seminar will be held Thursday evening at the Green Hotel, etc~' The following paragraphs go into detail about Mr. Smith's operations, how he thought of franchising, etc. The press release should always list the name of someone the publication can contact for further information.

Once you have your press release, photos and other attachments together you're ready to send it out. Your mailing list should include all of the publications in the graphics and communications field . It should also include the non-profit organizations, like art director, designer groups, etc. for inclusion in their organizational newsletters. It should include your local newspaper, alumni journals and any other publications that may have an interest in the subject matter. For example: Publications in the travel field might be interested in a press release that deals with a particular hotel. Business magazines might be interested in a press release dealing with financial matters or people in the financial industry.

Whether your press release is used in full or in part or not used at all, keep all of your press releases in a' dossier file. This is a file that all of us need at one time or another for shows, biographies, speaking engagements, etc. There are also free-lancers who use these press releases as part of their packet, along with sample pieces, that are dropped off to prospective clients. A proper press release never goes to waste.

•

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American Showcase.* What's more, when i I! We guess that's one good reason no book asked if they could only have one source! is used more than The Black Book for Illustrabook, four times as many would prefer The ··:~::.. --tion. And that's probably why Illustrators Black Book versus the next closest I I who are looking to draw on the buying power competitor. of close to 40,000 Creatives worldwide know ·All statistics based on research conducted in December 1986 The Black Book is the best place to advertise. by an independent market research company.

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CALL FOR ENTRIES THIS IS YOUR INVITATION TO BE A PART OF THE

1988 ILLUSTRATION ANNUAL SPONSORED BY COMMUNICATION ARTS MAGAZINE

Illustration for advertising, design, editorial and any other area of the communication arts will be chosen on the basis of creative excellence and quality of execution by a nationally representative jury of distinguished designers, art directors and illustrators.

If selected, your award-winning work will be handsomely reproduced in the all-color, special200-page July issue of Communication Arts.

60,000 copies of this issue will be in circulation, worldwide, assuring you important exposure to professionals in the field of advertising and design.

As a service to the art directors and designers using this Annual issue for reference, the addresses of illustrators represented will be published in the index.

DEADLINE FOR ENTRIES IS MARCH 21, 1988 Communication Arts also sponsors another annual competition, CA-88, where the entries are judged on the overall concept and execution in all areas of advertising and design. The closing date for CA-88 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, 1988.

No RETURN oF ENTRIES

ELIGIBILITY Illustration first produced between March 22, 1987 and March 21, 1988 is eligible. Entries may originate from any country. Explanation of the function in English is helpful to the judges.

CATEGORIES All

Advertising (ad, poster, record jacket, packaging, etc.) ($15)

A/2

Advertising series-five or less ($30)

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.

B/1

Book (cover, jacket, interior) ($15)

BI 2

Book series-five or less ($30)

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.

EI 1

Editorial (consumer or trade magazine, newspaper) ($15)

E/2

Editorial series-five or less ($30)

F 11

Work produced for sale (poster, print, note paper, greeting card, etc.) ($15)

F 12

For sale series-five or less ($30)

Ill

Institutional (company/association publication, annual report, facilities booklet, catalog, etc.) ($15)

I/2

Institutional series-five or less ($30)

S 11

Self-promotion (printed pieces for artists, studios, agencies, printers, paper companies, etc.) ($15)

SI 2

Self-promotion series-five or less ($30)

U 11

Unpublished ($15)

U /2

Series of unpublished-five or less ($30)

•

Call (415) 326-6040 if you have any additional questions.

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.

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 1988 Illustration Annual.

PREPARATION OF PACKAGES Send entries, UNMOUNTED, in flat packages only, no mailing tubes (they frequently arrive damaged).

If more than one package is sent, please indicate on the outside wrapping: "Package No. __ of__ packages~' Non-United States contestants should mark each package "Materials for Contest Entry. No Commercial Value~' No provision will be made by CA for U.S. Customs or airport pickup. Therefore, international entries should be sent by mail, not air freight. All entries must be received by March 21, 1988.

FORMS AND HANDLING FEES Form A and the handling fees must accompany your package of entries. Make checks payable to Illustration 88.

Form B (or a facsimile) 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 ENTRIES If you want to know if we received your entry, please enclose a stamped, self-addressed card or envelope in your package.

Mail entries to:

For foreign acknowledgements, please send a self-addressed envelope and include in the total cost of your entries either 22 cents for Canada or Mexico or 58 cents for other countries.

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

As soon as we open your package we will send the acknowledgement to you.

or

NOTIFICATION OF ACCEPTANCE Only accepted entries will be notified on or before May 10. Complete credits and any additional material necessary for reproduction will be requested at that time. No additional fees are required.

Air Express entries to: .

AWARDS Award of Excellence certificates for the illustrator, client and art director of each accepted illustration will be mailed in September, 1988.

The Illustration Annual Communication Arts 410 Sherman Avenue Palo Alto, CA 94306

NO RETURN OF ENTRIES

DEADLINE FOR ENTRIES IS MARCH 21

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

A

This form and handling fee must accompany entries submitted to Illustration-88.

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

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Tape this form or facsimile to the back of each piece submitted to Illustration-88 (no paper clips).

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B

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[Category]

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Tape this form or facsimile to the back of each piece submitted to Illustration-88 (no paper clips).

[Category]

.

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

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B

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Tape this form or facsimile to the back of each piece submitted to Illustration-88 (no paper clips).

CForCAuse=:J

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of memory and a CGA, EGA or Hercules graphics card. Print out hardcopy proofs on either an IBM or Epson compatible dot-matrix printer. Or use any laser printer that supports Epson compatible graphics. Transmit files using a Hayes compatible modem, or submit them on 5inch diskettes.

Simple Registration All registered Typography Express customers get the TX1000 Type Processor free of charge. To register you just choose a billing program that fits your requirements, and prepay your small minimum purchase requirement Then start using your PC as a powerful publishing workstation.

Credit Card Accounts Charge the $100 initial minimum purchase of typesetting services on your VISA or Mastercard. After you have used up your initial balance, additional charges will automatically be billed to your credit card.

Commercial Accounts Send your registration with a $200 company check for the required minimum purchase. Typography Express will open an account with a credit balance of $200. After this balance has been utilized, your company will be billed on an open account basis.

Standard credit policies apply. loRisk No matter which program you choose, there's no risk.

If, at any time, you are dissatisfied, you may cancel your registration and receive a full refund of the unused balance in your account

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FEATURES TYPE • Fonts: select from 1000 faces • Size: 5 point to 72 point • Width: 5()11/o to 2000/o of nonnal • Tilt: 0 to 31 degrees MODES OF OPERATION • Galley mode • Page mode • Multiple columns, pages • Cutouts, ragged columns INTERACTIVE EDITOR • Input from Keyboard or ASCII Illes • Search, Search & Replace • Macros, Callouts UNE ENDINGS • Justify with/without letterspaclng • Center, Ragged Right, Left • Wordspace: Max, Min, Standard HYPHENATION • Automatic • Operator Assisted • Discretionary PARAGRAPHS • Indent first line • Extra Llnespace ADDITIONAL FEATURES • Adjustable margins • Rules: Horizontal or Vertical • Kerning: Automatic or manual • Automatic compensation • Letterspace: adjust plus, minus • Hanging Punctuation • Drop Initials

TYPOGRAPHY EXPRESS 415INC. 1230 Grant Ave.#229, San Francisco, Ca. 94133, 362· 8223 MONEY-BACK GUARANTEE NOT COPY PROTECTED Credit card Orders CB/1 (800J 835·2246 Ext 220 Anytime 0 Credit Card Account: o VISA o MC Expires:_ _ _ _'""'i Card No:_~--:--:--~~~--~-~---:-----t Charge my credit card tor the $100 minimum purchase of typesetting.

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BOOK REVIEWS PosTERS oF THE WPA

By Christopher DeNoon The Wheatley Press, Publishers The University of Washington Press, Distributors P.O. Box 50096, Seattle, Washington 98145

$40.00

An excerpt from DeNoon's book in progress appeared in the M_ay/ June 1986 issue of Communication Arts with a suggested publication date for the fall of1986. One year later, I'm glad to see the book has finally become available.

As part of Franklin Roosevelt's effort to create jobs during the depression, the Works Progress Administration was responsible for an incredible volume of progressive graphic design that only recently has received interest by the nouveau history-hungry design community.

Between 1935 and 1943, the WPA's Federal Arts Project was the main employer of the nation's artists. Best remembered, and certainly the best preserved, are the murals adorning the lobbies of public buildings. Not so well preserved were the 2,000,000 posters created for public information and events. Today only slightly over 2,000 posters remain in known collections.

Soflwam loP lhe Business ofDesign.

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114

Communication Arts January/February 1988

With the end of the WPA in 1943, an emerging style also ended. The synthetic cubism of the School of Paris and the geometric abstraction ofKandinsky and de Stijl were being combined with the work of American abstract artists into a clear forceful form of communication. This integration of fine and commercial art was years ahead of the more common illustrative realism found in consumer advertising.

Perhaps the status ofWPA art as "make work" projects have kept them in such relative obscurity. Opposition by Congress from the earliest days of the New Deal along with beliefs that the program was riddled with subversive, radical elements didn't help things either.

320 posters, 280 in color, are shown in 176 pages. Some are in less than archive condition and reproduction quality is understandably inconsistent. In the text, DeNoon looks at the artistic, social and political movements of the era and correlates these to the posters contained in this book.

Also included are personal reminiscences of two participants, Anthony Velonis, whose widely distributed pamphlet "Technical Problems of the Artist: Techniques of the Silkscreen Process" had a profound effect on poster design and production at the time, and Richard Floethe, the Bauhaus-trained artist who headed the New York poster unit. The book closes with portfolios and brief histories of eight selected artists.

An interesting and informative glimpse of what must surely be seen as one of the most forgotten periods in American graphic design.

-Patrick Coyne

BRIEFLY NOTED: THE ART & BUSINESS OF CREATIVE SELF-PROMOTION by Jerry Herring and Mark Fulton (Published by WatsonGuptill Publications, 1515 Broadway, New York, New York 10036,$27.50 plus $2.00 postage and handling). Selfpromotion is a difficult issue for many creative people.

I suppose being one's own client is probably the toughest job to do since there aren't any particular deadlines or specific requirements. The best reason to read this book is to see the multitude of examples given, each with some background as to the size and audience it was meant to reach. Also the range from expensive to inexpensive examples shows that you don't need to ·have a lot of money to create a successful self-promotion campaign. The text on creative partnerships, putting together a good portfolio and using special occasions to promote oneself, are informative as are sections outlining the costs and requirements of various creative directories, competitions and annuals.

" Thinking is more interesting than knowing, but not so interesting as looking" -GOETHE

We are looking for artists who understand that drawing from real life has real power and substance.

This unique two year Master of Fine Arts program in illustration is offered to commercial and fine artists who want to broaden their abilities to create personal statements in pictures and words. It is designed to encourage the development of a personal, artistic vision focused on real people in real places, participating in real events. It is an opportunity to learn how visual stories are developed and combined with text specifically for publication.

If you feel a program such as ours could benefit your creative life, or focus your talents in a different direction, call or write The Graduate Admissions Office, The School of Visual Arts, 209 East 23rd Street, New York, New York 10010. Telephone number: (212) 679-7350.

FACULTY Marshall Arisman, Chair man. I llustratorlPainter Tony Cacioppo, Director Video Tape Productions • Fran Castan, Poet/Writer Steven Heller, Senior Art Director, New York Times. Editor/Critic • Carl Titolo, Painter Robert Weaver, Illustrator • Thomas Woodruff, Illustrator/Painter

T

H

E

S I S

FACULTY

Julian Allen, Illustrator • Bascove, Illustrator • Philip Burke, Illustrator Henrietta Condak, Designer • Mike Cockrill, Painter • Max Ginsburg, Illustrator/Painter • Rudy Hoglund, Art Director Skip Liepke, Illustrator • Peter Maier, Painter • Derek Ungless, Art Director

MASTER OF FINE ARTS IN ILLUSTRATION

SCHOOL OF VISUAL ARTS

BooK REVIEws

PHOTOGRAPHING YouR ARTWORK by Russell Hart (Published by North Light Books, 1507 Dana Avenue, Cincinnati, Ohio 45207, $15.95 plus $2.00 postage and handling). I wish more artists would pay attention to the importance of properly documenting their work and this book is a good how-to resource as well as an education for those who choose to have someone else do the work.

The author explains what equipment is best and why; the relationship between film, light and color, and how to choose the best combination; how to photograph twodimensional and three-dimensional work, especially how to avoid shadows and reflections; and how to choose and work with a processing lab and judge the color of the finished slide for accuracy. The writing is as non-technical as possible and many examples are shown, some in color.

A good value for the price.

ThiRTY CENTURIES OF GRAPHIC DESIGN: An Illustrated Survey by James Craig and Bruce Barton (Watson-Guptill, 1515 Broadway, New York, New York 10036, $24.95 plus $2.00 postage and handling). Trying to cram 30 centuries in 224 pages was a challenge. Consequently important periods and movements are touched quickly and some aren't mentioned at all. Some advantages to this are evident in the writing. There is a lack of historian gobbledygook, biographies are handled briefly and to the point, and the presentation is clear and easy to follow. The authors have broken up the presentation into specific time periods, each with a summary of fine art movements, graphic arts on a nation-by-nation basis, selected designers and illustrators and a list of influential artists, writers, composers and other notables. Also, wisely included is a chronology of important events so as to keep this information from appearing in an historical vacuum. A good basic introduction for student and practitioner.

DESIGN CAREER: Practical Knowledge for Beginning Illustrators and Graphic Designers by Steven Heller and Lita Talarico (Published by Van Nostrand Reinhold, 115 Fifth Avenue, New York, New York 10003, $17.95). There are quite a few good books on this subject already but in the interests of education, there's always room for more.

This book is divided into three sections. The first deals with " designing" your career; choosing among the alternatives, selling yourself, setting up shop and making contacts. The second contains candid interviews with designers and illustrators. I've always found this approach to be the most helpful, by receiving a body of opinions and approaches instead of just the author's. The third contains reference information on important books, periodicals, organizations and graduate programs. Good information that shouldn't be limited to beginners.

-P.C. 116

Communication Arts January/February 1988

MATERIALS CALENDAR

HoLOGRAPHIC ENVELOPE

The John Morning Design Calendar is once again available for your office wall. The 1988 calendar, a functional, no-nonsense design, can be folded to a single month (lllf4'' x 1P/4") or a quarter (lllf4'' x 35") or opened for the entire year (45" x 35"). This calendar has been a working tool in CA's production and editorial areas for the past sixteen years. Its large legible numbers and year-at-aglance enable us to discuss scheduling anywhere in the room. Send your name, address and $6.00 (to cover the cost of the calendar and postage) to: John Morning, 866 United Nations Plaza, New York, New York 10017.

If your direct mail isn't getting noticed, Total Concept Graphics has introduced Holoenvo, an envelope manufacturing process which utilizes the hologram technique.

Costs are lowered by affixing the hologram directly onto the envelope as it is being manufactured. For more information, contact Bob Rose, Total Concept Graphics, 100 Avenue of the Americas, New York, New York 10013, or call (212) 219-0009.

PARALLEL RULE BRAKES

If sliding parallel rules are giving you a problem, May line's above-board parallel rules are now available with a standard, built-in straightedge brake on both ends of the rule.

One twist of the knob locks the straightedge into position.

The parallel rules are available in nine styles and up to nine lengths (30" to 96"). Further information is available by contacting Dave Peterman, Mayline Company, Inc., P.O. Box 728, Sheboygan, Wisconsin 53082, or call (414) 457-5537.

PROCESS COLOR SELECTOR

This guide consists of 4 clear plastic wheels each printed in the basic process colors, yellow, magenta, cyan and black, in 10% screen increments. The wheels are turned in sequence by rotating the color coded tab until the desired color is seen in the color window. The percentages of each color is read in the smaller window. Over 40,000 combinations can be seen, but only one at a time, which makes comparing colors difficult. Please note the screen combinations may not match your printer's screen percentages for the same color. For more information contact Artist's Color Wheel, 1337 Donna Beth Avenue, West Covina, California 91791, or call (818) 919-4767.

Kent Summer in Switzerland Graphic Design Workshop

Application Deadline: Aprill, 1987

117

MATERIALS

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D RAFTING FURNITURE

If you bill by the hour, tracking your time is essential. But doing it manually can be slow, tedious , and inefficient.

Now , there's DesignSoft, a powerful, but easy to use program written for designers , agencies and studios.

• Data entry is fast and easy • Markups are automatic, using your codes and rates • Summaries and reports are produced in seconds • Invoices are printed to your specs • Receivables are aged and statements printed • Responsive support and frequent updates Automate your time and billing, now.

Call for a detailed brochure, or our interactive demo.

For those career minded artists, May line introduces Career Furniture, a drafting furniture system that offers flexibility in cost and space management. The Career system consists of drafting tables, 6-drawer units and optional reference tops. Drafting tables have a fixed height of 32~' feature a counterbalanced tilt mechanism and basswood top. Drawers are available with a choice of hasps for padlocks or master keyed locks. Reference tops are self-edged laminate, Barrel Oak is standard. For more information, contact Dave Peterman, Mayline Company, Inc., P.O. Box 728, Sheboygan, Wisconsin 53082, or call (414) 457-5537.

Highgate Cross & Cathey 130 W. Liberty Drive Wheaton, IL 60187 800-426-0265 or 312/653-2700 in IL

GRAMMAR SOFTWARE

Sensible Software has introduced its Macintosh version of Sensible Grammar, a proofreading program designed to check word processing and desktop publishing files for common writing errors. It does more than check spelling.

It uses a library of " over 2200 commonly misused English phrases to identify overly formal, cliche, vague, wordy, repetitive, sexist, and other faulty phrases~' You probably notice that I don't use a product like this. It also checks for punctuation mistakes including pronoun usage, verb/ subject agreement, comma usage, etc. and analyzes your writing for readability and interest level. Sensible Grammar is available for Macintosh and Apple II computers. For further information, contact Sensible Software, Inc., 335 East Big Beaver, Suite 207, Troy, Michigan 48083, or call (313) 528-1950.

Demo: 112.95, 13 shipping.

Program: 1495, PC compatible.

Desigg§gf(

MULTI-COLORED OVERHEAD PROJECTIONS

Arkwright, Inc., has announced Colortherm, a new film system for creating multi-colored overhead projections.

For use in infrared thermal copiers and transparency makers, the Colortherm system contains a special reverse opaque negative film and four colored presentation films in blue, green, violet and red. The films can be used in combinations or alone as reversed image film to produce yellow images on the colored backgrounds. If this is an effect you're looking for, information on starter kits is available by contacting Arkwright, Inc., Marketing Department, Main Street, Fiskeville, Rhode Island 02823, or call1-800-942-5900.

FILM TRANSMITTER

Behind every great ad there's a great idea.

Why not go to a school that recognizes that?

(9] PORJFOLIO CEHTER

125 Bennett St. N W, Atlanta, GA 30309

Toll Free 1-800-255-3169 CA6

118

Communication Arts January/February 1988

For people on the go, Leaf Systems, Inc. has introduced Leafax, a continuous tone portable transmitter for highresolution color or black and white 35mm film. Leafax allows users to format, caption and transmit film, either positives or negatives, across telephone networks to a computer or a continuous-tone output printer. Photo(Continued on page 122)

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 ~ovember 1983, 1984

and 1985

$36

ADVERTISING ANNUALS December 1983, 1984 and1985

$36

DESIGN AND ADVERTISING ~ovember /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:

Communication Arts P.O. Box 10300, Palo Alto, CA 94303

Name

Address

City

$20

State

No Annuals will be sent until payment is received.

Zip

$26

The Science of Strathmore.

Throughout more than ninety years of papermaking at Strathmore, there has been much innovation, yet very little change. We now use sophisticated equipment to monitor and govern much of the papermaking process, but we have never forgotten the most important ingredient in fine paper. People.

It is our machine tenders, not our machines, that can detect flaws in a watermark traveling at more than a thousand feet a minute.

And the most precise electronic color analyzer cannot match the sensitivity of the experienced human eye coupled with the instincts of the mind.

We understand that automation would allow us to make our papers more quickly, but it would not Strathmore. allow us to make them as well.

Because paper is part At Strathmore, of the picture. people make our papers.

And that we will never change.

~ Strathmore PaperCompany ~ Westfield, Massachusetts 01085

MATE RIALS

graphs are displayed on a 3lf2'' color monitor and can be cropped, edited, color balanced, etc. A caption can also be added before transmission. In addition to the portable attache model, Leafax is available in a desktop model which can attach directly to a desktop publishing system.

For further information, contact Robert A. Caspe, president, Leaf Systems, Inc., P.O. Box 82401, Applehill, Suite 200, Natick, Massachusetts 01760, or call (617) 651-9715.

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

Color Systems ... from James River Paper is a handsomely designed, 30-page booklet showing off the range of colors available in Curtis Tweedweave Cover and Text papers.

The booklet also demonstrates how color systems can be used to establish tone and moods along with the obligatory varnishes, stamping, die-cutting and embossing. Your copy is available by contacting your local James River paper merchant, or by writing James River Corporation, 145 James Way, Southhampton, Pennsylvania 18966 or call (215) 364-3900.

THE NEW DESIGNER more professional, more productive, more profitable with THE NEW TOOLS for design and production; for text and image capture; for camping and presentation.

If you are responsible for design and visual communications in industry, advertising, government, publishing, education ... plan now to attend Pratt Center's 1988 Conferences and Equipment Exhibits for creative directors, art directors, graphic designers, artists, educators, and managers planning for equipment for design, publication, production.

THE NEW DESIGNER COMPUTER GRAPHICS FOR DESIGN/SPRING 88 June 6 • 8, Grand Hyatt New York THE NEW TOOLS COMPUTER GRAPHICS FOR DESIGN/FALL 88 December 4 • 7, Grand Hyatt New York For free brochure: Pratt Center for Computer Graphics in Design 45 Stephenson Terrace, Dept. CA Briarcliff Manor, NY 10510 914/741-2850.

Instant . .. After a brief existence (we just mentioned them in our last issue), Polaroid's new magazine has ceased publication until further notice. I suppose the name was appropriate. Our apologies to any of our readers who may have contacted them.

Dimensions '87... an annual publication from Simpson Paper is titled An American Reader. It is a compendium of passages from fifteen significant books of American fiction since the golden years of the 1920's and is a joy to look at as well as to read. Written by Maxwell Arnold, designed by Jerry Herring and illustrated by some of this country's best illustrators, this 70 page volume is available from your nearest Simpson Paper merchant, or write to Marketing Services Department, Simpson Paper Company, One Post Street, San Francisco, California 94104, or call (415) 391-8140.

American Design ... Hopper Papers asked seven designers to give their views on the state of American design. Each was given a three-panel folder made up often-inch square pages and there are some interesting results. As Rex Peteet put it: "If there is an American style out there, I can't see it ... " Thomas Ryan found the notion of American design too "confining~' And Steve Frykholm questions the value of thinking in terms of the "state of anything~' Maybe the theme wasn't the best but there are some fun things to look at. Write for your free copy to Georgia-Pacific Corporation, 133 Peachtree Street, NE, Atlanta, Georgia 30303.

Spectrum Audio Visual Listing Version 1.2 ... is a handy 4" x 9" booklet format with 32 pages of references to audio-visual materials such as slides, videotapes and films produced for the graphic arts industry by educational institutions, manufacturers and suppliers. Sections include graphic arts/general, quality control, design, layout and typesetting, prepress, pressroom, bindery/finishing, supplies and materials, management and employee relations/ human resources. Each entry includes title, ordering reference, available formats and rental or purchase fees. Single copies are available with discounts offered for quantity and educational orders. For additional information contact Vivian Sanchez at Graphic Communications Associations, 1730 North Lynn Street, Suite 604, Arlington, Virginia 22209, or call (703) 841-8160.

Simpson 1988 Desk Calendar ... is available for a limited time from Simpson Paper Company. This year's theme, the paper making process, is illustrated beautifully by photographer John Blaustein. The functional design is by Cross Associates, Los Angeles. To receive one of your own, write to Marketing Services Department, Simpson Paper Company, One Post Street, San Francisco, California 94104.

-P.C. 122

Communication Arts January/February 1988

CLUBS, CONFERENCES, SEMINARS ASPEN

B/PAA

Bill Lacy, president of the International Design Conference in Aspen Board, announced that its annual conference on the theme " The Cutting Edge, an examination of the state of things ~' will be chaired by advertising executive Jay Chiat and photographer and graphic designer Henry Wolf. "We plan to examine the state of things in design and explore issues of general interest~' they stated. "The most recent developments in the fields of product design, photography, graphic design, architecture, art, fashion and film as well as money, politics, ethics, music, food, medicine and science, literature, glamour, careers and corporate life will be addressed by a variety of speakers~' Registration fees: $425, U.S. Funds, primary registration; $200 one additional member of household; $125, full-time students (photo copy of current ID 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.

The Business/Professional Advertising Association is relocating its headquarters office from New York to Edison, New Jersey effective January 4, 1988. The new address of the 66-year-old international advertising association's headquarters office will be: B/PAA, Metroplex Corporate Center, 100 Metroplex Drive, Edison, New Jersey 08817.

Their new telephone number is (201) 985-4441.

SACRAMENTO

The Art Directors and Artists Club of Sacramento announces their fourteenth annual Envision Conference has been expanded to three days, May 13,14 and 15. The theme will be "Drawing from Experience~' Larry Klein, former design director for the Los Angeles Olympic Organizing Committee, will be master of ceremonies.

Confirmed speakers include Michael Vanderbyl, San Francisco designer; Chris Pullman, Boston WG BH designer; and Doug Johnson, New York illustrator. Early

Continue to work full time while you earn your MFA degree in

Illustration or Advertising Design from Syracuse University.

The most outstanding professionals in the business teach during

the two-week summer residencies. Recent faculty members include

Lou Dorfsman, Amil Gargano and Marty Pedersen in advertising design

and Ed Soyka, Don Ivan Punchatz and Barron Storey in illustration. Meetings for

briefer periods of time are scheduled throughout the year in major cities . You

must have at least three years of professional experience to qualify

Syracuse University Independent Study Degree Programs.

610 E. Fayette St., Syracuse, N.Y. 13244-6020. Phone (315)423-3284.

123

CLuBs, CoNFERENCES, SEMINARS

registration March 31, fees: $65 students; $125 members; $165 non-members. After April29, fees: $75 students; $150 members; $190 non-members. For further information, contact Marie Carvidi, Executive Director, ADAC, 279124th Street, Sacramento, California 95818.

AUSTRALIA

International graphic and product designers are expected to attend the first Asia/Pacific Design Conference scheduled to be held in Australia between July 31 and August 2, 1988. The venue is Mildura in the state of Victoria, 280 miles northwest of Melbourne. Charles Anzarut, chairman of the steering committee for the conference, said the aim was to encourage an exchange of ideas and information amongst designers in the countries of the Asia-Pacific region. Advanced requests for applications can be made by writing to: Alison Fraser, Ministry for the Arts, 168 Exhibition Street, Melbourne 3000, Australia.

ToRONTO

VI COM, an annual forum and trade show for the professional visual communicator, will be held March 27-30 at the Westin Harbour Castle Hotel in Toronto, Canada.

Among those slated to speak at this year's seminar are: Judy Garlan, art director/illustrator, The Atlantic Monthly; Marshall Arisman, illustrator; Fran9ois Brunelle, photog-

rapher; Ed Benguiat, typographer and type designer; Burton Kramer, designer; J. Barry O'Rourke, photographer; Anita Kunz, illustrator; Jim Donoahue, graphic designer; and Helen Marcus, photographer. Complete catalogs listing all fees, speakers and topics are available by writing or calling VI COM offices in Toronto, 259 Dufferin Street, Suite 210, Toronto, Ontario, Canada M6K 1Z5; (416) 535-4484.

KANSAS CITY

The 1987-88 officers for the Kansas City Art Directors club are as follows: president Barb Gerver, art director Valentine Radford; membership committee: Joe Egnatic, free-lance photogapher and Mike McCrave, art director Swicegood Studio; treasurers: Craig Hetler, art director Research Health Services and Chris North, art director River City Studio; public relations coordinator Garrett Boge, creative director Image & Idea, Inc.; program chairperson Chris Willey, free-lance illustrator; show committee: Mike Smith, copywriter Valentine Radford and Mark Wolf, art director Valentine Radford; special projects coordinator Stan Hattaway, creative director Hattaway Design; corresponding secretaries: Diana Phillips, art director Bernstein-Rein and Lisa Bolton, copywriter Bernstein-Rein. KCAD, Westport Station, P.O. Box 10022, Kansas City, Missouri 64111.

If you've been waiting for a safe way to mount artwork, you can stop holding your breath.

No toxic chemicals. No aerosol sprays. No flammable materials. And no more mess with Letraset's new tapes and adhesives.

They provide a long, strong hold. Without puckering. And without the use of a hot press.

Our double-sided tapes are available in three strengths (Repositionable, High TacK, Dual Tack) and four widths.

Letraset transfer adhesive sheets come in 8 112" x 11" and 20" x 26"sizes, ., and can make any ordinary paper self-adhesive.

You'll find the entire line ofLetraset tapes and ~-· ·~ . adhesives in our new Graphic Materials Handbook, and at your local LetrasetArtMaterials . ,.

Dealer. For the name of the dealer nearest you, call1-800-526-9073.

124

Communication Arts January/February 1988

COMMUNICATION ARTS INDEX VOLUME29 MARCH/ APRIL 1987-JANUARY/FEBRUARY 1988

AlGA (American Institute of Graphic Arts) Report on second national conference: Vol. 29, 41'8 (Jan/Feb), page 96.

Esprit Bed & Bath (bedding and towels) Michael Vanderbyl designs: Vol. 29, 41'2 (May/June), page 66.

Mohassess, Ardeshir (political artist) Iran drawings: Vol. 29, 41'2 (May/June), page 100.

Aspen Design Conference 1987 conference: Vol. 29, 41'5 (Sep/Oct) page 88.

GSD&M (advertising agency) Article/portfolio: Vol. 29, 41'2 (May/June), page 42.

Moy, Willie (photographer) Article/portfolio: Vol. 29, 41'5 (Sep/Oct), page 68.

Black, Roger (magazine designer) Interview on "Staying Alive" by Mike Hicks.

Vol. 29, 41'5 (Sep/Oct), page 101.

Gordon, Barbara (artist's representative) Columns on free-lance scene. "Portfolio Management": Vol. 29, 41'1 (Mar/ Apr), page 16; "Some Selling Strategies": Vol. 29, 41'2 (May/June), page 102; "Dealing With Art Directors": Vol. 29, 41'3 (July), page 156; "How Do I Make It Big?": Vol. 29, 41'4 (Aug), page 170; ')\.dditional Steady Income": Vol. 29, 41'5 (Sep/Oct), page 32; "Mailers As A Selling Tool": Vol. 29, 41'6 (Nov), page 212; "Selling Successfully": Vol. 29, 41'7 (Dec), page 202; "Publicity For Your Work": Vol. 29, 41'8 (Jan/Feb), page 102.

Museum Design Competition Article/exhibit: Vol. 29, 41'1 (Mar/ Apr), page 28.

Bordnick, Barbara (photographer) Article/portfolio: Vol. 29, 41'1 (Mar/ Apr), page 66.

Car Emblems: Raison d'Etre 11 emblems: Vol. 29, 41'1 (Mar/ Apr), page 88.

Carbone Smolan Associates (design firm) Article/portfolio: Vol. 29, 41'5 (Sep/Oct), page 46.

Chantry, Art (designer) Article/portfolio: Vol. 29, 41'8 (Jan/Feb), page 50.

Hagio, Kunio (illustrator) Article/portfolio: Vol. 29, 41'8 (Jan/Feb), page 64.

Cober, Alan (illustrator) Post cards: Vol. 29, 41'2 (May/June), page 62.

Heller Breene (design and advertising firm) Article/portfolio: Vol. 29, 41'8 (Jan/Feb), page 72.

Color Predictions (sample colors) 1987 colors: Vol. 29, 41'2 (May/June), page 72.

Colorado International Poster Exhibition Article/exhibit: Vol. 29, 41'5 (Sept/Oct), page 34.

Communication Arts Annuals Illustration Annual: Vol. 29, 41'3 (July); Photography Annual: Vol. 29, 41'4 (Aug); Design Annual: Vol. 29, 41'6 (Nov); Advertising Annual: Vol. 29, 41'7 (Dec).

Cone, William (illustrator) Article/portfolio: Vol. 29, 41'5 (Sep/Oct), page 62.

Crawford, Tad (attorney-at-law) Columns on law concerning artists. "Recent Copyright Cases": Vol. 29, 41'2 (May/June), page 20; "Taxes: Reform Or Miasma?": Vol. 29, 41'5 (Sep/Oct), page 113. "Reference Files: The Risk Of Copyright Infringements": Vol. 29, 41'8 (Jan/Feb), page 18.

Creative Greeting Cards (Holiday cards) Vol. 29, 41'5 (Sep/Oct), page 92.

Creative Quarterly (Northwest Ad Review) This issue has a critique of ads by Ed McCabe: Vol. 29, 41'5 (Sep/Oct), page 107.

Hoffman, Gene (assemblage artist) "Remains To Be Seen" exhibit: Vol. 29, 41'8 (Jan/Feb), page 88.

Johnston, Jim (advertising) Columns on advertising. "Flash Without Substance": Vol. 29, 41'2 (May/June), page 16; "Code Of The Samurai": Vol. 29, 41'7 (Dec), page 198.

Neill, William (photographer) Article/portfolio: Vol. 29, 41'8 (Jan/Feb), page 42.

Richmond, Wendy (computer graphic designer) Columns on computer graphics. "Keeping Up With Your Clients": Vol. 29, 41'1 (Mar/ Apr), page 14; "Budgets": Vol. 29, 41'2 (May/June), page 28; "System Incompatibility": Vol. 29, 41'3 (July), page 148; "Consider Video": Vol. 29, 41'4 (Aug), page 152; "Designing The Context": Vol. 29, 41'5 (Sep/Oct), page 26; "Spatial Data Management System": Vol. 29, 41'6 (Nov), page 206; "Media Hot And Cold": Vol. 29, 41'7 (Dec), page 190; "The Design Process": Vol. 29, 41'8 (Jan/Feb), page 14.

San Francisco Design Discussion (roundtable) Primo Angeli, Kit Hinrichs, Michael Mabry and Michael Vanderbyl discuss design: Vol. 29, 41'2 (May/June), page 84.

Sibley/Peteet (design firm) Article/portfolio: Vol. 29, 41'1 (Mar/ Apr), page 78.

Siegel, RitaSue (design personnel placement) Opinion/commentary "Design Jobs: Fact And Fiction": Vol. 29, 41'8 (Jan/Feb), page 60.

Klein, Kurt (production manager) Columns on production. "Paste-Up. Anybody Smith, Jeffrey J. (illustrator) Can Do That": Vol. 29, 41'1 (Mar/ Apr), page 22; Article/portfolio: Vol. 29, 41'1 (Mar/ Apr), "Preparing For Camera": Vol. 29, 41'2 (May/June) , page 56. page 111; ')\.Question To Photographers": Vol. 29, 41'4 (Aug), page 173; "Photography Reproduction": Testa, Armando (painter/designer) Vol. 29, 41'5 (Sep/Oct), page 124; "Paper: Our Article/portfolio: Vol. 29, 41'5 (Sep/Oct), Catch 22": Vol. 29, 41'7 (Dec), page 216. page 76.

Kleinman, Kathryn (photographer) Article/portfolio: Vol. 29, 41'2 (May/June) page 54.

Levine, Huntley, Schmidt and Beaver (agency) Article/portfolio: Vol. 29, 41'1 (Mar/ Apr), page 44.

Mabry, Michael (design firm) Article/portfolio: Vol. 29, 41'2 (May/June), page 74.

United Way OfTri-State (campaign) Brouillard Communications: Vol. 29, 41'5 (Sep/Oct), page 42.

Van Dyke, John (design firm) Article/portfolio: Vol. 29, 41'2 (May/June), page 32.

Yellow Pages (telephone book) Article on "Smart" yellow pages: Vol. 29, 41'8 (Jan/Feb), page 30.

125

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Ken White; Leo & Diane Dillon; North Charles Street Design Organization; Lanny Sommese; Phillips Photographers; Abercrombie & Bastiansen; Alvin Lustig Remembered; Computer-Aided Graphic Design

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Deborah Sussman; Arthur Meyerson; Wilson McLean; Weymouth Design; Art Posters; Index to Volume 26

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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

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Illustration Annual $12

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Design Annual

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CSU Poster Competition; United Way Campaign; Carbone Smolan Associates; William Cone; Willie Moy; Armando Testa; Aspen; Creative Greeting Cards; Roger Black on Staying Alive; Ed McCabe and Backwater Advertising

Advertising Annual

Steinhilber & Deutsch; Per Arnoldi 's Posters; The Californias; Sue Crolick; Casa Lupita Menu; Burson-Marsteller Design Group, Ed Soyka; ASMP

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Photography Annual

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

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Illustration Annual

DEC1986

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Koppel & Scher; Skip Liepke; WPA Posters; Rusty Kay; Jean Moss; The College Marketing Game

CA-84 Design Annual

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Designing the L.A. Olympics; Gary Kelley; Johnson & Simpson; Annals of Design (2); Lance Hidy; Index to Volume 25

25th Anniversary Issue; The CA Annual Judges; Judging Process

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Photography Annual

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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

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Photography Annual

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The Gap Between Designers and Top Management; Borders, Perrin & Norrander; Bill Nelson; The Coys; Robert Llewellyn; Posters; Why a Computer

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Illustration Annual

CA-84 Advertising Annual

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The Art Annuall982 Illustration & Photography

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NOV/DEC 1982

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Anspach Grossman Portugal; Braldt Braids; Daniel Bittman; Chuck Kuhn; Hixo, Inc. ; Vincent Daddiego: Roll Over Vivaldi; Herb Rosenthal's Fountains; Robert Parker: Copy & Graphics

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