janfeb1993

COMMUNICATION ARTS F E A T U R E S

38

S OFTWARE P ACKAGING D ESIG

An overview of the latest field of design specialization.

By Patrick Coyne

50

M ARK FREDRICKSO

This Tucson-based airbrush illustrator distorts realism to the extreme.

By Mark Fulton

BO

M ORLA D ESIGN

Jennifer Morla moved from New York to San Francisco and to national prominence.

By Julie Prendiville

70 Volume 34, Number 8

C OLOR P REDICTIO s

Pastels are passe in predictions by two leading color organizations.

By Anne Telford

74 OMON The world's smallest international ad agency tries to be weird but right, outrageous but relevant.

By Jim Johnston

84

C RAIG C UTLER

This New York advertising photographer's eclectic style may be the key to his success.

By Larry Frascella

94

C HILDRE ·s B ooK l LLUSTRATro

Top commercial illustrators are finding success in the booming children's book market.

By Marisa Bulzone

1as

S TOCK P HOTOGRAPHY

Trends and insights into where this $300 million industry is headed.

By Anne Telford

113

E XHIB IT

Reproductions of the latest and best in visual communication from here and abroad.

T E C H N 0 L 0 G Y

128 D ESIG ED I TOR

TR A SITIO

A design panel discusses the impact of computer technology.

140 TECH OLOGY R EVIEWS Lisa Spiegelman reviews programs that help you get organi::.ed.

AND DESIG 1 ER

Patrick Coyne EXEC

14B T ECH OLOGY R ESOURCES Books, magazin es, newsletters, seminars and training.

TIVE ED IT O R

Jean A. Coyne ASSOC I ATE DESIGNER

COLUMNS

Stephanie Steyer MA

AG I NG

18 0 PINIO /COM ME TARY Richard A. Lewis wa rns us that annual report design is in danger.

E DITOR

Anne Telford PRODUCTION

MAN· AGE R

30 D ESIGN I SSUES DK Holland on how market research is affecting the evolution of graphic design.

Scott Perry PRODUCTION

152 H UMOR Designer Rick Tharp 's con voluted conve rsation with a business card quick printer.

Ron Niewald Scott Teaford ADVE R T ISI NG

A

C IR CULATIO

DIRECTOR

D

15B L EGAL A FFA IRS Tad Cra wford explains copyright issues in the digital revolution.

Michael Krigel

1B4 FREE- L A CE Barbara Gordon on pricing the assignment.

R ETA IL SALES

Art Carbone ADM I

IS TRAT IY E ASS I STA

T

1BB ADVERTISI G Brett Robbs asks if pro bono work is merely self- interest masquerading as charity.

Nancy Hagemann ED IT O RI AL ASS IST A

T

Sue Sprinkle SUBSCRIPTION

MA

Vickie Perry BSCRIPTIO

Ja son Ja ckson Kim Jones TRAFF I C MANAGER

AGE R

D E P A R T M E N T S

8 EDITOR ' S COL UM

1BB BooK R EV IEWS

10 CoNTRIB uToRs

170 M ATERIALS, AVAILABLE LITERATURE

15 L ETTERS TO THE EDITOR

172 CL UBS, Co FERE cEs , S EMI ARS

147 ILL USTRAT IO CALL FOR E TRIES

174 IND EX TO VO LUME 34

Vernon Carter FOU

DER

Richard Coyne CO

TRIB UTO RS

Maxwell Arnold Tad Cra wford Byron Ferris Mark Fulton Barbara Gordon Mike Hicks DK Holland Jim John ston Tom Monahan Marty Neumeier Robert A. Parker Rhodes Patterson Wendy Richmond Mill Roseman Lisa Spiegelman Dugald Stermer Cynthia Verdow

159 P HOTOGRAPHY C ALL FOR ENTRIES COV ER:© 1993 Craig Cutler

Communication Arts (ISSN 0010-351 9) is published eight times a year. January/ February, March/April, May/June. July, August, September/October. November.

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EDITOR'S

COLUMN

P ATRICK COYNE

I

N SEPTEMBER, 1992, AT SEYBOLD'S CONFERence for people who use computers to communicate information, I chaired a panel of graphic designers di cussing how computer technology has had an impact on their careers. Excerpts from that di cus ion begin on page 128 of this i sue.

The one topic that generated the most interaction between the panel and the audience was software piracy, or oftlifting (a legal copy of the software program i purcha ed and then illegal copie are made for other computer in the ame office).

It became obvious that we had a "Catch-22" with members of the panel claiming that prices were too high and software manufacturers and retailers in the audience claiming that prices wouldn't be so high if softlifting was eliminated.

During my research for the article on software packaging de ign, I contacted the Software Publishers A sociation (SPA), a Washington, D.C.-based organization that, among other things, was created to fight piracy. Their information on the law and possible penalties had me g~eatly concerned that our readers may be unaware of how stiff the penalties for oftlifting can be.

I contacted Aldus, Adobe and Quark to find out what discount they offer on multiple copies and the new wasn't terribly encouraging for mall business owner on tight budget . Aldus offer a multi-u er licen e at 20 % off suggested retail for each copy of it mo t popular program including PageMaker, FreeHand and Persuasion. That' s till $635 suggested retail for each copy of PageMaker.

While the street price i usually several hundred dollars le s on the more expensive programs, the co t may till seem prohibitive.

QuarkXPre s has a better deal, but only if you buy a minimum of ten copies. Their deal come to $475 per user including one set of documentation. Additional u er manuals are $35 each. Thi makes Quark's multi-u er program not much better than the street price I've een in superstores and discount catalogs.

Software i automatically protected by federal copyright law from the moment of its creation, but it creates problems for the copyright owner because it is so easy to duplicate.

The unauthorized duplication of software constitutes copyright infringement regardless of whether it is done for sale, for free distribution or for the copier's own use. Penalties include liability for damages suffered by the copyright owner plus any profits gained by the infringer, or tatutory damages of up to $100,000 for each work infringed.

Adobe is planning to make multi-user five pack available early in 1993, but prices weren't available at pre time. I don't mean to sound antagoni tic toward the e companie .

They have a right to make a profit and all three have pent a great deal on research and development to create these powerful programs that have limited appeal out ide our industry. This means that the critical ma reached in prerecorded videotape ale (which brought ignificant price reductions) will probably never reach our field.

It's al o a Federal crime if done "willfully and for purposes of commercial advantage or private financial gain." Criminal penalties include fines of as much as $250,000 and jail terms of up to five years. The law applies equally to a $750 page layout program or a $25 computer game.

I a ked representative from the companie about the relation hip of software pricing and softlifting and none eemed to think that significantly lower prices would have any great impact, since the cost of making a copy i practically nothing. They did state that market conditions may change pricing a more product introductions increase competition.

According to the SPA, unauthorized duplication results in an estimated loss of $1.2 billion each year to United States software publisher and one in five program in use today is an illegal copy. To actively fight piracy, the SPA has conducted 75 raids and filed 300 lawsuit since it was founded in 1984. Most of these actions were against companies in the business of making illegal copies for profit; others were companies that had made a considerable number of copies for their own use. The SPA is not actively going after mall-time softlifters like design firms and agencies.

But several software company representatives I spoke with suggested that companies will more actively pursue illegal copiers to increase profits on existing programs as their market share erodes from more competition.

8

For the de igner or agency creative, the only legitimate olution is to buy a copy of each program for each computer in the creative department-that include every font and every utility. The problem i co t. With QuarkXPre ' sugge ted retail at $895 and PageMaker' s at $795, it doe n' t take much mathematical kill to realize the immediate financial impact of going legitimate.

JA

UARY/FEBRUARY

1993

It also doe n ' t hurt to hear cu tomers' thought about pricing. I'm sure all three companies would appreciate some feedback from legitimate u ers. In the meantime, protect yourself from the legal ramifications of oftlifting.

The initial expense to go legit is nothing compared to potential penalties if you' re caught and nobody wants to become that first example.

•

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For samples of lhe Stratbmore Writing System, call your local Strathmore Paper merchant or the Strathmore Designer Hotline: 1-800-423-7313.

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© 1992 International Paper Company. All Rights Reserved.

CONTRIBUTORS FEATURES

COLUMNS

MARISA BuLZO E i director of special project for Art Counsel , Inc. , a New York City-ba ed firm specializing in publication and exhibition development.

She i co-author of the book The Color of Fashion , published by Stewart, Tabori & Chang. M . B ulzone is the former editorial director of Graphis Press. For thi i sue he interviewed four illustrators working on children ' books and their publi hers.

DK HOLLAND i a graphic designer and principal , along with Cheryl Lewin , of Lewin/Holland , Inc ., a New York City graphic de ign firm. DK is an associate profe or in the Communication I Packaging Design Graduate Department of Pratt Institute. DK is a de cendant of one of the Dutch founders of Brooklyn and she writes and edits our Design Issues column.

LARRY FRASCELLA has worked as an editor at several publication including Photo/Design, Camera Arts and Aperture.

Currently, he is a free-lance journalist in New York, the film critic for Us magazine and has written many profiles for CA; for this is ue he profiled New York advertising photographer Craig Cutler.

MARK FULTON lives in Palo Alto, California and write widely for the local design community. A CA contributor for ten years, he is co-author with Houston designer Jerry Herring, of The Art and Business of Self-Promotion. For this issue he flew to Arizona to interview illu trator Mark Fredrickson.

JIM JOHNSTO think and writes, primarily , but not exclusively, for the clients of Jim John ton Inc ., an advertising and communications consultancy with offices in New York City and Chapel Hill , North Carolina. He ha written about adverti ing for CA since 1985. For thi issue he ventured Down Under to interview the principals of Australia's OMON and caught up with OMON' s stateside compatriots in their New York offices.

JULIE PRE DIYILLE is a Los Angelesbased free-lance writer. She has worked as an adverti ing copywriter for Ketchum Communications, Chiat/Day and Foote, Cone and Belding and a a staff writer at Dick Orkin ' Radio Ranch. A former San Franciscan, for this i ue Julie headed north 500 miles to profile San Franci co designer Jennifer Morla of Morla Design, Inc. 10

J A

U A RY I F EB RU A RY

I 9 9 3

TAD CRAWFORD is an attorney, author and publi her of New York-based Allworth Pre s. A specialist in legal issues pertaining to the arts, he is the author of Legal Guide for the Visual Artist a well as Business and Legal Forms books for graphic de igners , illustrator and photographers and ha been a CA columni t since 1983.

RICHARD A. LEWIS is one of the nation's leading annual report consultants. A former Wall Street Journal reporter, he ha produced over 600 annual reports since founding Addi on Corporate Annual Reports Inc. in 1962.

He is now president of New York-ba ed Conceptual Communications Group Inc .

RICK THARP's five-person design firm sits in Los Gatos, California, with an appendage in Portland, Oregon. His firm's work i in the permanent archives of the Smith onian In titution.

Tharp is the current president of the Western Art Directors Club and he know nothing about poodle grooming.

RICHARD KOMA i a San Franciscobased writer and editor pecializing in prep re s technology. He is a partner in IMPREssT EcH, a trade show and seminar management company, and has served as editor of OnLine Design and Print & Graphics new papers. He writes the Technology Re ources column.

BARBARA GORDON, an arti t and photographer rep re entati ve since 1969, is a past president of the Society of Photographers and Arti t Representative and is the author of two books. She has written on freelancing for CA since 1982.

BRETT ROBBS i an a ociate professor of advertising at the Univer ity of Colorado at Boulder. He ha al o erved a the co-creative director for DDB Needham ' Wa hington, D.C. office and a the admini trative director of the Center for Southern Folklore, a non-profit organization that makes documentary film .

LISA SPIEGELMA i enior editor for Computer Reseller News, a weekly computer busine s magazine, and our Technology Review columni t.

BOOK

REVIEWS

CY THIA V ERDOW ha a B.S. in software engineering. She recently opened her own electronic prepres firm and is in the proce of re earching and writing two computer-related books. Cynthia began reviewing book on computer related topics for CA in 1991.

BYRO F ERRlS worked a a creative director at McCann-Erickson, a a partner in hi own advertising agency and as head of De ign Council studio.

He helped found the American Adverti ing Museum in Portland, Oregon , where he served as director of archival collection . Mr. Ferri review book in every i ue of CA. AMY H ER DO is a San Franci coba ed free-lance writer, publici t and marketing strategist for designers , photographer , film maker and creative ervice companies. She began reviewing book on de ign-related topics for CA in 1991.

A GEL Y GRANT majored in mathematic at Harvard, worked on a Ph.D. in topology at Brown and received an MF A in graphic design from Yale. The Boston-based designer i al o a profe sor of design at Simmon College and an adjunct faculty member at Rhode Island School of Design. She wear another hat as a book reviewer in thi issue.

A

FLASH

OF

BRILLIANCE

Henri de Toulouse-Lautrec (a detail of) At the Moulin Rouge; 1894-95, oil on canvas, 48 7/i&" x 55 1/i'', Helen Birch Bartlett Memorial Collection, "© 1992, The Art Institute of Chicago. All Rights Reserved."

A

FLASH

OF

BRILLIANCE

Henri de Toulouse-Lautrec Artist of the Moulin Rouge Ever an outcast from the French aristocracy into which he was born, Henri de ToulouseLautrec found the inspiration for his Flash of Brilliance in the raucous cafe society of Paris.

Toulouse-Lautrec brought his uncompromising outcast's eye into the world of the roue and the cancan.

He journeyed through the glittering fantasies of light, drink and song and chronicled them on canvas with bold flowing lines and startling colors.

Toulouse-Lautrec's paintings captured the glossy veneer of the Moulin Rouge and the strident yearnings that lurked beneath. His studies of faces were sometimes bland, sometimes brutal - and always brilliant. He elevated the poster to an art form and revolutionized graphic design.

At the age of 37, a stroke extinguished his light, but not before Henri de Toulouse-Lautrec's Flash of Brilliance had translated itself into an extraordinary body of work that still speaks to the submerged longings of people today.

Flashes of Brilliance are not unique to the great artists. We have them, too. And, like the greats, we look ~,....,....,,,.. ,. for the ideal canvas that will help

transform our Flash of Brilliance into a work of enduring excellence.

foryour next Flash of Brilliance

A

FLASH

OF

BRILLIANCE

Stocking Information: Repap's Excellence is stocked in 70#, 80# and 1 00# text and 80# and 100# cover weights in both gloss and dull finishes.

Excellence exhibits a smooth printing surface, outstanding ink hold out, opacity, brightness and press runnability characteristics.

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~® the next time you have a Flash of Brilliance

~A

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Front

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c E

Inside spread

fffE ' '' "

B F

Back

Production Notes:

•

REPAP SALES CORPORATION

99 Park Avenue I 18th Floor New York, New York 10016 Telephone: (212) 687-7111 Fax: (212) 697-0496

This printed sample was printed on

PAINTING: Henri de Toulouse-Lautrec

Excellence 100# gloss text and created

(a detail of) At the Moulin Rouge;

with 17S line screen in (A) four color

1894-9S, oil on canvas, 48/1'& " X SS W',

process with (B) two impressions of

Helen Birch Bartlett Memorial

match color matte-olive green,

Collection,"© 1992, The Art Institute

(C) additional impression of fluorescent

of Chicago. All Rights Reserved. "

cyan, (0) additional impression of

PHOTOGRAPHY: Mike Sias.

fluorescent red, (E) off-line spot gloss varnish and (F) off-line dull varnish.

LETTERS TO THE EDITOR Condom Poster too earthy I am writing concerning the Exhibit ection in the September/October 1992 i ue of Communication Arts (page 108) regarding a poster from the Cleveland Ad Brat . Your article incorrectly tate that thi po ter wa "created for the Cleveland Earth Day Coalition." Thi po ted [ ic] was not created for The Earth Day Coalition and wa , in fact , rejected at the concept stage by our board of tru tees. The Cleveland Ad Brat did create and produce a po ter for The Earth Day Coalition. The condom poster was created and produced exclusively by the Cleveland Ad Brat without any relation hip to the Earth Day Coalition.

you say? "Oh , that' going too far."

Well , how far are we willing to let it go before we wake up? The almighty dollar is the only voice that speaks to the people in power.

Arizona now recognizes the national Martin Luther King , Jr. holiday because of an economic boycott.

Loui iana was persuaded to reject David Duke as governor by the threat of economic boycott. Economic boycotts work. It is one way that individuals can make a difference. We must not allow this drift in our nation to continue. No one is afe when others in our society are ingled out for discrimination. Let' use our power to send a message that will be heard loud and clear. We can make a difference.

CHRIS TREPAL

WES HAYNES

Co-director, The Earth Day Coalition Cleveland, Ohio

Los Angeles, California D

D

Cover art Put your money where your mouth is

The Adverti ing and Design Annual covers. Is nothing sacred?

While reading the November issue of CA, I came across an article (page 268) on the International De ign Conference in A pen. The piece reminded me that the good people of Colorado , in an exerci e of collective ignorance, have said that to be gay in Colorado i to have less right in the eyes of the state than the endangered black bear. Every night i Kri stallnacht to gay men and women a incident of gay ba hing ri e with every state ballot initiative like the recent ones in Colorado and Oregon. We don't need the mind numbing repetition of stati tics to know which way the wind blows (thanks Bob). Had enough? Sick to death of Pat Robertson and Pat Buchanan and their ilk telling u who the real Americans are? Mad as hell and not gonna take it anymore? OK. Don 't visit Colorado, don't ki Colorado , don't drink Coor beer and, acrilege! , don't attend the A pen Design Conference. Eh? What 's that

KIRK JUE, copywriter R OGER HURNI , art director

Mc Cann-Erickson San Francisco, California D

CA Oversight Imagine my acute disappointment to finally make it into the CA Adverti ing Annual (page 25) only to have my ad appear without two thirds of its headline. Our ad doesn 't even make sense in this truncated showing. Couldn't you have at least printed the full headline with the credits? I really don 't understand how such an oversight could have occurred.

In case you wondered, the headline reads: After leading the league in scoring, (front cover) After taking the Bull to the Eastern Conference Championship , (2nd pread) And after winning the NBA title, what is

there left to reach for? (fi nal spread, open to reveal Gatorade cup in hand ).

Yours in despair, SHERRY ScHARSCHMIDT

Leo Burnett Chicago, Illinoi

In laying out the page, I had planned to run the headline with the credits as you had suggested. In my haste, I neglected to tell anyone on the editorial staff of my decision. Please accept my profound apologies.

-P. C. D

Errata We were provided the wrong credits for a self-promotion book for Muse Cordero Chen, Inc. ubmitted by Sawcheese Studio, shown on page 179 of the 1992 Design Annual.

Wilky Lau was the art director, Helen Cho and Jo Mu e the writer and Julian Ryder was creative director.

We were not told that photographer Ron Chapple hould have been credited for the "Rai e Heck" poster for the Christian Biker Association annual run, page 97 of the 1992 Advertising Annual.

We were provided an incorrect spelling for writer John Kinkead 's name in the credits of an ad for Williams & Rockwood, which appeared on page 37 of the 1992 Advertising Annual.

We were provided an incorrect spelling for art director Paul Asao's name in the credits for a public service ad for Goodwill Job Training on page 123 of the 1992 Advertising Annual.

• ADDRESS CoRRESPO DE CE To:

Letters to the Editor, 410 Sherman Avenue, Palo Alto , California 94306.

We reserve the right to publi h letters and to edit for clarity and length.

COMMUNICATION

ARTS

15

HAVING THE WRONG KIND OF BACKGROUND CAN MAKE IT HARD TO CONVINCE PEOPLE THAT YOU'RE RIGHT FOR THE JOB.

IT'S TRUE IN

POLITICS, AND IT'S TRUE IN THE COMMERCIAL ARTS INDUSTRY. UNFORTUNATELY, MOST CONVENTIONAL STOCK PHOTOGRAPHY SERVICES DON'T OFFER THE VARIETY OF BACKGROUND IMAGES THAT AN ART DIRECTOR OR DESIGNER NEEDS TO DO AWARD WINNING WORK.

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INCREASE ANYONE'S DEFICIT. OR A SMOOTH SLAB OF STONE INTO UNIQUE BACKGROUNDS FOR ARTISTIC USE. COSMO•TONE, HOWEVER, DOESN'T BELIEVE IN POLITICS AS USUAL WHEN IT COMES TO BACKGROUND PHOTOGRAPHY.

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OPINION/COMMENTARY

R ICHARD A . LEWIS

ANNUAL REPORTS AT A CROSSROADS

T

HE ANNUAL REPORT IS IN DANGER. THE flagship of corporate communication i under attack and taking on water. And yet, no other corporate document approache it importancei ts timeline , its relevance, its credibility.

The annual report i igned by the CEO, audited by the accountants, scrutinized by the lawyers and filed with the SEC. Financial analysts confirm that, save for face-to-face interviews, the annual report is the most useful source of corporate information.

A good annual report discusses corporate strengths, future directions, problems and misconceptions. Thus, it is of intere t not only to investors, but also to employees, customers, suppliers, university students, acqui ition candidates and the media.

The annual report is widely used as a corporate calling card. So much so, that more than 800 Japane e companies produce English-language, American-style annual reports.

They don't send the reports to shareholders; they use them for global business dealings.

When I attacked the Mead Show So, when I attacked the Mead Show in a speech late last year for promoting "annual reports that are nearly unreadable and therefore usele s," I had more on my mind than the fact that Mead Show judges had once again embraced form over substance.

I had four things on my mind: 1. The world ha changed. The glitzy '80 are gone and it's 1993. A new wind i blowing. The focus i on competitivene , jobs and value.

2. If designers fail to "get it," and keep producing exotic, useless annual reports, they will destroy the annual report a a major income producer for the graphic design industry.

3. Support for annual reports comes mainly from one ource-CEOs, who need articulate annual reports to get their messages out.

4. Today American corporations have a greater need than ever to communicate effectively. Designer who meet this need should enjoy strong business success.

The design industry's worst nightmare To understand the down ide, consider the 1991 Bell Atlantic annual report. I have called it the design industry's worst nightmare. It is a limp dishrag kind of document, printed on proxy paper. It has no cover, uses black and blue inks, and contains only five pages of commentary, plus 33 pages of numbers. Bell Atlantic says it printed 1.2 million of these dismal documents, saved $1.5 million, 18

JA

UARY/FEBRUARY

1993

and received few complaints.

Bell Atlantic is one of even "Baby Bell ." Each Bell company produces in exce of a million annual reports.

The immediate impact of "The Bell Atlantic factor" is the cutting back of mo t Baby Bell annual reports, taking million of dollars out of the design and printing indu tries thi year. More worrisome, given the nation' au tere mood, i the danger of an "anti-annual report mood" preading aero s corporate America. La t November Ted Pincus, a Chicago public relation con ultant, publicly called for abandoning annual report in favor of expanded quarterlies.

The irony is that in today' hostile busines climate the need for a good annual report is more critical than ever.

This document is one of the few place corporate management can speak out and explain them elve without having their words distorted.

How chief executives use annual reports How do chief executive use annual report ? I've asked dozens of CEOs that question: Here is what they have told me: "It' the only document that speaks for the entire corporation. It tells who we are, and it's timely."

"It's useful to be able to tell a reporter the an wer is on page 16 of the annual report. It shows we aren't hiding information."

"When I go on campu to recruit MBA , I find that many students have weird ideas about our company, which I gue s they've gotten from their profe or . I give them our annual report to balance the picture."

"In traveling around the world to do business or rai e capital, I find that the annual report is the one document everyone seems to have."

"My company has factorie in a dozen countries and tens of thousands of employees. The annual report compre ses the organization into omething that people can gra p."

"I want an annual report that conveys quality and builds confidence. I don't want omething that look like we're going out of business."

Isn't it fascinating, as Ross Perot would ay , that this annual report-which ome in the design indu try are working so hard to make meaningless-i , in fact, a product that America's corporate leaders need, want and will pay good money for.

How did we get in this fix?

For the '60s and most of the '70s, annual reports were produced by specialists located in major financial

centers. And the leading firm were Robert Mile Runyan in Lo Angele and Arnold Saks and Corporate Annual Report Inc . in New York. Although thi was a period of de ign renai ance, annual report me ages con i tently focused on the fundamental themes of urvival and growth.

There wa form , ub tance and readability.

Macs can do amazing type-curves, zigzags and loops.

Or better yet, they can make the words practically di appear into the background-so that the graphics , the glorious Mac graphics, can pop off the page, right into your face.

What fun! No wonder designer are reaching for the new and exciting, not the tried and true.

The turning point, it seem to me, came in the late 1970s, when Michael Watras of Corporate Graphics declared that annual report should "entertain" readers. He then produced a Heinz annual report "dedicated to the tomato. " The outlandi h report-96-page long and weighing over a pound-had original tomato art and text printed in tomato-red and leaf-green ink . More entertaining than enlightening , the Heinz report won much recognition, including a Mead award.

"Lack of humility and originality and the ob ession with style is what seems to encourage these excesses" comments Paul Rand , who more than anyone defined the modern annual report through his work with IBM. In his upcoming book, Design, Form, and Chaos, he ob erves: "The absence of restraint, the equation of simplicity with shallowness, complexity with depth of under tanding, and obscurity with innovation, distinguishes the quality of work of these times."

Excited by the po sibilities, new design firms jumped into the annual report field, and not ju t from New York and Lo Angele . They were from San Francisco, Dallas and Boston. The regionalization of annual report design in America had begun.

Corporate design is at a cros roads . We can change the name of this publication to Fun Arts and continue to frolic as long as the money holds out. Or we can rediscover communication arts and build serious design practices that make money by helping corporate America communicate.

By the mid-' 80 Mac-trained junior de igner were pouring into even smaller urban area - Minneapolis, Rochester, Seattle, Atlanta. The further annual reports traveled from the financial center , it seemed, the dimmer became the strategic communications goals.

The trivialization of the annual report is even more consequential than we might realize, because of the plummeting credibility of American business.

And to reach the e far-flung designers, an annual report support industry grew up-newsletters, graphics magazines, seminars, paper promotions and design hows. Mostly, it wa a cheering ection for "risk-taking annual reports ," which happens to be a theme of the 1992 Mead Show. Yes, but we need to start asking-who is risking what on behalf of whom?

Last year during the presidential dialogue about the future of America, corporate leaders were almost totally absent.

They simply hunkered down, feeling, no doubt, that whatever they said would be turned against them by a hostile media. A Lou Harris, John Hancock poll released la t fall indicated three out of four executives find business journalism to be unfair, unbalanced and inaccurate.

During the '80s a number of large-company CEO appeared to support "exciting" annual reports. I suspect it was less a matter of support than of inattention. Managements were engro sed in the ' 80 games of merging, acquiring and downsizing. And the downsizing often started with the corporate communications department. Out went the seasoned pro , in came the junior executives. Often the new people didn ' t know much about annual reports, but they loved the idea of winning design awards.

It seems like everybody is anti-busines these day .

Certainly this includes: journalists, college professors, TV cript writers and most politicians. Paul Tsongas complained during last year's presidential primary that his fellow Democrats "love jobs but hate employers." Forbes magazine has reported that a third of the time business executives are portrayed on television it i a murderer or thieves. Congre has been cooking up new way to burden business with its solution to ocial problems. All these hits on busine s have had one especially depressing effect-more and more young people are joining law firm not business e tablishment .

Then the non-profits entered the picture Meanwhile, non-corporate in titutions-hospitals, YMCAs, tran portation authorities-started putting out annual report . Unlike corporations, the nonprofits had few, if any, restraint . They let the imagination run, and they started winning Mead awards. Thi confu ed the picture. A junior corporate executive looking for guidance was unlikely to make a distinction between a good report for a publicly owned company and one for a non-profit institution.

By now, of cour e, the rocket hip of de ign-the fabulous Macinto h computer-has arrived on every designer' s desk.

And every designer wants to steer it to distant planets.

The plummeting credibility of American business

This is troubling because, despite complaint , a strong case can be made that business is the only part of America that works. Governments definitely don't work-and everyone knows it-Peter Drucker pointed out in The New Realities, business is the original source of the money that everyone spends-whether you're a factory worker, a mailman, a psychiatrist or a designer. Why isn ' t thi point made in annual reports?

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this challenge to the design community. Lift your sights.

Think up ways to help your client , the corporations , communicate effectively-against all odds. Help them to become more human, o readers can relate to business.

Help them to become more relevant, so that the public can understand their contribution to society , especially by providing good jobs. Help them to become more global, so that America can compete in the new global economy.

Help them connect with their own employee

cases and read on trains. They can be per onal and selective, published for a limited audience. They can be extremely authoritative, when filled with fact s, figure and analy i . And with the application of graphic , printed pieces can be imbued with a wide range of appealing qualities, from elegance to gritty immediacy. Use your imagination to develop print literature that provide better olutions than are being offered by televi ion or print advertising.

Here are some of the things we can do

Third, re-think corporate literature. Show the client how you can provide more bang for the budget. Shorten the annual report-most are too long and windy . Then throw in a simple, candid employee annual report. Or sharpen the annual report ' marketing focus . Automatic Data Processing, for example, reassembles its annual report as a 16-page marketing brochure for use by the ADP ale force.

Fir t, get on your client' wavelength. The CEO is your ultimate client, even if you are working through an intermediary. Remember that the annual report's fundamental mi ion i to explain the CEO' s strategic thinking on how the company will survive and grow in today's fiercely competitive enviro nment. Beyond that, look at the annual report as a leadership tool that can help the CEO et the company's agenda and lead it forward.

Second, rediscover print literature's virtues as a communications medium. Printed materials, as opposed to electronic media, are permanent. They can be filed and referred back to. They are portable. They can be carried in brief-

"What can I say?

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His book needed a little more refinement. To me the school is a rarity.

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Fourth, make your reports readable. De igners who play with type until they have rendered it unreadable are engaged in a destructive act that hurts u all. A hard-to-read annual report is u eles in today's fast-paced bu ine s world. Avoid mall type and , most important, pro vide headlines, subheads , deck and other device that make for easy scanning. Draw inspiration from magazines, which as a whole do a far better job than annual reports of providing exciting graphics-and readable type. Print media should not ape electronic media, it should provide a counterpoint-pre enting information in form that enable people to truly under tand it meaning.

Fifth, if you're not comfortable with language, team up with a writer so you can incorporate trong word into your design. To learn how to make those words readable - read Ogilvy on Advertising, Crown Publi her , New York. In chapter even, he will tell you , for example , that five times as many people read the headline as read the copy, that the optimum line width i 40 characters, and that space between line enhances readership-he means two points of space between lines, not two inche .

Sixth, turn out exciting design. I never aid it had to be dull. In fact, dullne and mediocrity , while not the ubject of thi s article, are the primary curses of the annual report medium . For every overdesigned, unreadable report there are a hundred undistingui hed ones that just plod along.

In fact, when you tart offering your clients relevance and readability , along with great de ign , you are likely to find them more willing than ever to take ri k . Why would anyone want a boring report, if they can get an exciting one that works?

So we have a choice. We can use our design talents to help clients address real problem , and in the process achieve financial succes for ourselve . Or we can elf-indulgently design ourselves out of bu ine s. Annual report will continue to be published-but increasingly they will become the province of accountants and corporate attorneys.

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· ENTRIES

ove People started afew years ago with the graphic, point-and-click simplicity of an Apple®Macintosh® personal computer and they never stopped.

The Apple Macintosh Quadra.

They've gone from producing black-and-white layouts, all-type ads and departmental newsletters to producing four-color separations, color comps and entire magazines right at their desks.

They're not just moving mountains. They're editing, separating, retouching and storing them.

With that in mind,Apple developed the Macintosh Quadra™ 700 and 950 personal computers.

Both models combine Macintosh Quadra runs alt the most th · 1 powe1futdesigna11dpublisbingsoftware. esunp e, commonsense virtues of every Macintosh with awhole new level of speed,storage, expansion and networking powers.

The 700 and 950 are also powered by Motorola5 68040 running at 25 and 33 MHz respectively.

The 040 integrates aprocessor, math coprocessor and stunning, photographic-quality color to your QuarkXPress documents,or use the power of Adobe Photoshop RAM cache onto one chip. So you can do all to redefine fine-tuning. the things you do now faster than you've ever Inside,you'll find room to store mountains of done them before. Faster retrieving,faster information. Both the 700 and 950 can accomredrawing, faster everything.

You don't have to worry about buying an t..:=.:=::~iiii• modate a400MB internal hard drive. And the 950 With 24-bit video built in, even lets you add aCD-ROM drive or aremovable extra video card because 24-bit vided' support is built in. This makes it easy to add Ph ;.~;,~~~;z; ~~~t:~1~%.ded to cartridge drive, and adisk arrayor more than a 010

'24·bil 1*k'O SU{'(JOr/ for 11p lo t1 16" 111011ilor- t1/so 01"1ilt1ble for 21" 111011itors 111/b oplio11al tbird·fXtrly 1-ideo <:arrl Met1/io11 oflbird·parly producJs is for i11fomu1tio11al purposes only t111d rouslilules 11eilher tm et1dorsemer1t 11or a rr!COll/llletlfil1/iot1. All producJ spedji<:aliotis t11ul descriplio1is """'supplied by /be res{li!dlt'I! Motorola is a registered lrademt1ri of Motorola Corp. FreeHt111tl t11ul PageMt1ier are registered lrademaris ofAldus Corp. Pt1i11/er is a /rademari of FracJal Desiw1. Otisis is a trademari of 7lme Aris. Inc. l/hislralor is a registered trademark t1nd

Of course, networking and ~~~ file sharing are built in. And Macintosh Quadra also incorporates Ethernet as standard equipment for working on high-performance networks.

The power of distributed There are two Macintosh Quadra . even allows pro- models.

The 950 sits next to your processmg desk; the 700 fits on top of it. grams like DreamNet to borrow power from other Macintosh computers on the same network, reducing rendering time from hours to mere minutes.

All this power will inevitably inspire you to try new things. Like importing and modifying images direct from aScitex. Or taking advantage of Quick'fime to capture real-time video directly on your Macintosh

With programs like QuarkXPress and Aldus PrePrint, Macintosh Quadra makes it more pmctical to lake jobs like color retouching and separating in-house.

gigabyte of internal hard disk storage. (Combined with Apple's new QuickTime™ image compression technology, Macintosh Quadra reduces your Himalayan-sized storage problems to molehills.)

You can increase the memory of the 950 to up to 64MB of RAM for handling compute-intensive tasks such as color separating and photo retouching. And virtual memory even lets you work with several large files at the same time.

and then editing presentations at your desk using programs like Adobe Premier. (With sound built in as well, the 950 may be the ultimate multimedia machine.)

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And discover the latest power of Macintosh. 'The power to move mountains, valleys, rivers, streams and careers.The power to be your bese

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DESIGN

ISSUES

DK HOLLAND

THINK FIRST, DESIGN LATER HOW MA R KE T R E SEA RCH IS AFFECTING THE EV O LUTI O N O F GRAPHIC DESIGN

NTELLIGENT, EFFECTIVE COMMUNICATION tools have never been more needed as we seek to establish a healthy global economy . Research i the meat on the bone of marketing and it is often through marketing that we are able to develop a successful communication tool. Yet marketing is the dirtiest word in the dictionary to many graphic designers; designers who view marketing as a restriction rather than a way to open doors to a better design solution. Web ter' s defines marketing a "all the commercial functions involved in transferring good (or services) from producer to con umer."

I

de igner who are not familiar with de ign re earch had better wake up."

In order to develop the most appropriate research, Niel en ha turned to Cheskin & Masten, one of the oldest and most respected research companies that firmly believes in the "first thing first" approach. "Most research on design is done after the creative process is complete. We call it a di aster check. It' usually a disaster because there is a lack of a clear design strategy," Darrel K. Rhea, a graphic de igner and president of Cheskin & Masten in Redwood City, California, says. "The whole point of doing research on design is to empower designers to create breakthrough designs and to give the client the confidence that the designs will achieve their communication objectives. The technology is here, today, to do this quickly, efficiently. We are interviewing a quarter of a million consumer a year on design-related i sues on behalf of the leading corporations of America. Those

Graphic design can learn from it big i ter the advertising indu try which often use research, what they now refer to as planning, as a foundation for the development of major campaign . Solid planning clearly e tablishes parity between the agency and client. The positioning, based on re earch, is a rational judgment agreed upon by agency and client prior to the creative process. Everything from then on supports the position and subsequent strategy. It' important to differentiate the product or service in a way that e tablishe its value to the audience. The positioning, usually a paragraph , provides a jumping off point for the creative proce s.

Paula Scher, partner in Pentagram and designer of everal award-winning package design ystem , ay that in reality, "Focus groups are killer . This kind of testing forces the consumer to make a knee jerk reaction; o it houldn't be surprising that test result are u ually reactionary. What's wor e i corporate opinioneering. Group opinion in corporation are based on fear of change. De ign firm often pander to thi by not creating change, but creating con ensus. Nothing ignificant is produced and it' a relatively di honest RESEA R CH IS AN process ." Corporate opinioneering may In some areas of design, for instance packbe defined a re earch run amuck in the age design, solid marketing is absolutely mire of politics and self-intere t. Bill INSURANCE POLICY. BUT EVEN essential. JoEllen Nielsen, an industrial Drenttel, al o a principal in a graphic designer and group leader in package de ign design firm, has additional insights IF FUNDS ARE MADE at Kraft General Food observes, "Before we about why designers di like market start the design process, we understand research . "Half the problem is that the AVAILABLE , MANY DESIGN the consumer's vocabulary; what shapes, word itself-research-i loaded with words and images give the correct message fear and expectations. There's a tenFIRMS AND CLIENTS in the package de ign; what people underdency to think that research is a killer stand when they see the package. For of innovation. We imply want to work HAVE NO CONCEPT WHAT in tance, if we put a food product in packagwith people who are comfortable tru ting ing that 'reads' as motor oil to our audience, their own in tinct . Li tening to people A THOROUGH RESEARCH that package has a big image problem. you can look in the eye i the kind of "When there's a change in leadership, research we like." De igner can't design P R OCESS ENTAILS . there's a tendency to act subjectively and using meaningle averages. Many scrap the work of the old leadership in designers feel squeami h about marketfavor of developing something new, to ing becau e they see it as manipulative make it their own. We think of it as the Ownership Synand dishonest. And research i often criticized when it drome. Re earch i an anchor, a way to avoid reinventing reflects the twisted "two-and-a-half-member -in-a-hou ehold" the wheel." stati tical approach.

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It's hard to talk design to a client. They can discuss ideas , but they're out of their element when it come to type, color, form, taste. It's the same with focus groups. " I wouldn't dream of letting a focus group judge the value of a de ign.

They simply look at the co ncept, the content and re spond to that," Rich Sil verstein, creative director and principal in the San Francisco-based advertising age ncy , Good by Berlin Silverstein, says. "The one exception was the Royal Viking cruise line campaig n. I fe lt very strongly about the ad designs, but the client was skeptical that the audience would be able to read the typography. So we tested the ads and I was right. Normally, however, I'd say that design s that break new ground are too scary to focus groups. Letting them be the arbiters of ta te could be tantamount to throwing cold water on hot new designs." Some of the recent highly acclaimed campaigns including Royal Viking; NYNEX Yellow Pages and TV Guide both by Chiat Day and Nature Made by Hal Riney & Partners, ha ve concepts which are firmly (and happily) rooted in planning yet all are innovative design s.

Planners are the consumer's advocate.

They often go so far as to li ve with the consumer on the consumer's own turf, absorbing the essence of what it is that thrills or chills them about a type of product or service. Then they sum it all up in succinct, objective phrases that help establish a 'tone of voice ' for the designer.

This has proven very usefu l in so me agencie , where a typical team used to be limited to the client, account executive and creative director. The planner grounds the project in reality.

On the other hand, graphic design is often based on fluff, not ideas, strate gy or research. In these cases, only pure style and emotion are expressed through the design.

We respond to it, or we don ' t. But there is no concept to di sc uss with the client, nothing substantial to judge. It's hit or miss.

contemporary architecture. Although the official renaming of the hospital was not part of the brief, the hospital wanted the design firm to become involved. Pentagram was selected as the de sign firm and they had placed a high value in their propo sal to conduct re search prior to starting the de sign process. Pentagram partners and graphic designers Colin Forbes and Michael Bierut, along with research specialist/ writer Moira Cullen , conducted a range of face-to-face interviews, including di sc ussion s with the chief of staff of the hospital , the lab technician s, even the mayor and hi s wife.

A written report of their findings and recommendation s including results of visual and collateral audits was presented to the identity committee and the board of directors. The hospital had commissioned several outside research studies prior to Pentagram's involvement. The results had been inconclusive and the conflict over the name had become emotional and political. Cullen recall s, "We had advised the committee that our research process would clarify the MANY DESIGNERS naming option s and indeed it did . Our report documented the candid voices repreWHO SHUN RESEARCH senting all sides of the issue and concluded with a strong argument and strategy in AND MARKETING MAY support of the hospital and city's highlyvalued tradition of civic and professional ALSO BE THE ONES excellence. The name was unanimously approved." Cullen observes that, in general, WHO WISH THEIR "Research is the li stening, a willingness to understand the other that weaves design CLIENTS TOOK THEM into the context of today 's social issues and concerns. The knowledge gained in the proMORE SERIOUSLY. cess builds a powerful platform that allows designers to seek out opportunities beyond the solution of immediate problems."

"It's ego that makes de signers think that they need not look further th an themselves for a solution to a design problem," Ann Willoughby, graphic designer and principal of the design firm, WRK in Kan sas City says, "Independent planners and researchers such as Art Katz and Leslie Westbrook in Kansas City and Moira Cullen in New York are examples of professionals who can provide guidance to maximize the results of the design process . Art is currently working on the development of research for a global brand in the lawn care category with us. He's conducting focus groups through our London, Bru ssels and U.S. offices to add depth to our cultural perspective. The point is that we are involved as a team and the design results will be better for it."

Research Helps Ferret Out Problems One striking example of the power of research in support of design is the succe ss of the new identity for Columbu s Regional Hospital. The 75-year-old hospital is in Columbus, Indiana, a small town often called a ' living mu se um ' of

While design firm s too often wish to stay within their own comfortable universe of design solutions when tackling a client project, one simple question put to the client, "Do you have any existing research we should look at before we start to design?" would shed a whole new light on many projects. For one thing , if the answer is " No ," the dialogue may be started to address the next question , "Would this project benefit from research?" This, of course, requires two things; a budget approved by the client, and the ability on the part of the design firm and/or client to conduct meaningful research.

Either barrier can be a killer. Clients who have previously not allowed for thi s expense have a hard time digging deeper to find the re sources to pay for it. In the end the adage, "the most expen sive suit you own is the one you never wear" can be tran slated to " the design that doesn ' t work for you is too expensive." Re search is an insurance policy. But even if funds are made available, many design firm s and clients have no concept what a thorough research process entails.

COMMUN J CAT IO

A R T S

JJ

The Aldus Graphic Arts Advisory Board:

Michael Bierut

Tim Celeski

Michael Cronan

Yuichi Inomata

Rick Valicenti and his collaborators, Tony Klassen and Michael Giammanco, used Aldus FreeHand to design , illustrate and produce Manhattan Gentle Love, the 1992 collection of chocolates for Japanese confectioner, Hontakasagoya. The project included the icons, packaging, wrappings, in-store signage, and even the chocolates themselves.

Clement Mok

Barbara Nessim

Woody Pirtle

Nancy Skolos

Leslie Smolan

For a free , full-color poster created by Rick Valicenti to commemorate this remarkable project, call 1-800-685-4192. This ad was created using Aldus PageMaker.

Larry Keeley

Katherine McCoy

Harry Marks

Michael Manwaring

Steve McKinstry

DESIGN BY RICK VALICENTI &THIRST, CHICAGO. SOFTWARE BY ALDUS.

When a Japanese confectioner wanted sweet design and packaging, Rick Valicenti of THIRST drew on their good taste and Aldus FreeHand~ Rick is a member of the international Aldus Graphic Arts Advisory Board.

These outstanding designers work with Aldus to ensure our software programs are providing creative tools for illustrators and graphic designers the world over.

T H

Paul Souza

E

A R T

Erik Spiekermann

0

F

p

0

w E R F u L

I D E A s

Rick Valicenti

Aldus , the Aldus logo, PageMaker and Aldus FreeHand are registered trademarks of Aldus Corporation. © 1992 Aldus Co rporation. All rights reserved .

N

l!li'lla11

John Waters

Margaret Youngblood

DK HOLLA D

Basic Questions to Consider When Conducting Research for a Client Project A profes ion al planner or re earcher isn't a necessary ingredient to every project. It's irrelevant to some straightforward, less significant projects. And mo t design firms probably ask some of the following questions even if their firm isn't oriented toward research and marketing. It's just common sense.

1. Can the market (i.e. target audience, age, sex, cultural background, geography, education level) be defined?

in fact, there's nothing preordained that a de igner ha to have good research in order to come up with a good creative idea," say Stephen A. Greyser, a profe sor who teaches consumer marketing at the Harvard Busines School. "Certainly there have been brilliant package design and ad campaigns that clearly were not based on re earch. But you will increase your odds with research. And you' 11 answer some key questions like, 'Is anybody intere ted? Doe anybody care?"

Limits are Our Friends

Do designers fear the answers to those questions because they ju t want to do their own thing, to simply expres them2. What are the features and benefits of the product or selves or to decorate? The graphic design industry i still ervice? Features are attributes and benefit are the evolving, truggling to be recognized a a profession. And positive results of using the product or service. design students are expected to have 3. What i the competition for this product much different skills when they graduor service? Are there existing material ate in 1993 , than around the time when that should be reviewed from the comgraphic design got its name. For instance, "INTELLIGENT RESEARCH petition? How does this product or service learning how to conduct research is a 'stack up' against the competition and the requirement in some graduate chools WILL BECOME competition's materials? What do you now. Chri tian Simm , who teaches believe your reputation to be within your graduate students directed research in INCREASINGLY NECESSARY own industry? Is it different from what preparation for their these in the Comyou'd like it to be? munication /Package Design Graduate IN ORDER TO DEVELOP Department at Pratt Institute, say that 4. How is the target audience's attitude while his course is one of the most CREATIVE STRATEGIES about this product or service? What's the popular in the department, it is al o one appeal? What are potential objections? of the most difficult.

"I've seen tu dents AND WIN THE ATTENTION 5. What does the target audience want faced with a research project for the from this product or service? first time actually break down in tears of OF BETTER CLIENTS." 6. What are the legal regulations , if any, frustration and anxiety." Learning how to that affect this product or service? think analytically and trategically was MOIRA CULLE not what they had in mind when their 7. What are the long and short term goals high school counselor pointed them in the of the client for this product or service? of art school. Simms , who is direction What is the overall image of the client? also a graphic de igner and principal of The Creative Does it affect the product or ervice?

Alliance, in New York, thinks, "It' a mistake for a student to These questions can result in a verbal or written compreenter a design curriculum thinking that, although he or he is a hen i ve report. fine arti t at heart, he or she can become a designer. The student wants the acceptance of peers and parent , and The writing is on the wall for design firms that wish to be fine art may not be een as a career and design is. But the competitive. "As design matures as a profession, intelligent fine artist may not have what it takes to be a designer. " It's research will become increasingly necessary in order to estimated that there are between l 00,000 and 350,000 develop creative strategies and win the attention of better graphic designers out there in the job market. How many of clients ," Moira Cullen cautions. "The race is on. Dentsu, them are actually qualified to be graphic de igners?

Japan's advertising giant, has already established a separate research division dedicated to human studies; a global inforThe designer must be both analytical and intuitive when mation search designed to monitor worldwide preferences, problem olving. It' the designer who learn to think first trends and lifestyles." and design later who learns to control; it's the de igner who doesn't learn to think and analyze who is doomed to Taking the Quantum Leap from Decorator to Designer be controlled. Research is a key to the control de igners so Many designers who shun research and marketing may also greatly desire. be the ones who wish their clients took them more seriously.

"Designers tend not to like to have their ideas censored. And,

•

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This is Brite-Hue Sun Yellow 60 lb.

It just goes to prove that a paper containing recycled post-consumer waste doesn't have to come in muted colors with lots of specks and fibers.

Brite-Hue Sun Yellow Brite-Hue isn't a typical recycled paper.

It's not soft, earthy and filled with little pieces of organic matter. Instead, it's colorful, bright and vibrant. And best of all, it's inexpensive and it has a nice, even surface that prints well and runs easily through laser printers and copiers.

There are lots of other vibrant colors in the Brite-Hue line, most of which contain 50% recovered fiber (based on the EPA definition), including 20% post-consumer waste (as measured by sheet weight). They come in both 60 lb. text and 65 lb. cover weights in a wide range of sizes.

In addition to these standard recycled colors, we offer several Ultra colors that are not recycled. They are also available in a smooth, new 20 lb. laser/copy bond that has been specifically designed for high-speed office equipment.

While Brite-Hue's colors are very bright, they are acid-free. And if you compare them to other brightly colored papers, you will find they are smooth, clean and uniform, and have good fade resistance. Your friendly Ward merchant will be happy to provide you with samples. For the name of a merchant in your area, write us or call 800-365-3413.

~')

Strathmore

Ward Papers P.O. Box587 Merrill, Wisconsin 54452 © 1992 International Paper Company, all rights reserved.

Ward, Strathmore, Brite-Hue and the names of the Ultra colors are registered trademarks of International Paper Company.

INTERNATIONAL@PAPER

It

was

an

ordinary Monday morning at The Stock Market.

Suddenly the elevator

doors parted and four

adult kangaroos bounded

into the lobby .

The receptionist asked with whom they had an appointment , but

they ignored her and hopped down the hallway.

paused before a large bookcase .

A

A photo

The four marauding marsupials

researcher asked if they needed help .

moment later they began gleefully stuffing book after book into their

warm, roomy pouches .

they came .

who

Then they left as mysteriously as

Evidently,

appreciate

The

humans aren't the only ones

Stock

Market ' s

new

catalog .

Software Packaging Design BY

PATRICK

COYNE

HILE MANY INDUSTRIES HA VE remained sluggish during the recession, personal computer software sales continue to grow at a ubstantial rate. For the first three quarters of 1992, North American sales reached $4.15 billion, an increase of 17 .5% from the first three quarters of 1991, according to the Software Publishers Association, a Washington D.C.-based organization comprised of more than 1,000 members.

W Above: Windows and DOS versions of WordStar word processing programs.

Madeleine Corson , art director/designer; Thomas Heinser, photographer; Ed Kerry, writer; Madeleine Corson Design (San Francisco). design firm .

Right: Packaging for Studio 8, a paint program created for designers and illustrators by Electronic Arts . The final film for the packaging was generated from the actual program . Michael Cronan. art director/designer; Michael Cronan/Robert Schwarzbach , illustrators; Cronan Design (San Francisco). design firm .

General Information was repositioning its telephone directory software with a new brand name, identity and package . The Hotline logotype and packaging icons were created to reflect product benefits. The package was designed in a modular format to accommodate future brand extensions. Jack Anderson/Julia LaPine, art directors; Jack Anderson/Julia LaPine/Brian O'Neill , designers; Hornall Anderson Design Works (Seattle). design firm .

Lotus 1-2-3 packaging for Cambridge-based Lotus Development Corporation .

"I've had the pleasure of working with David on a number of packages, " Tom said . "We wanted the look of a computer screen without the super crispness of (at that time) computer generated art. I would do the sketch , David would cut the paper and capture the final composition ." Tom Hughes, art director/designer; David Bishop, illustrator.

Express Starter Kit for Power Up Software Corporation . "Our research showed that packages with a limited palette would be stronger than those with a number of colors," Marty Neumeier said . "Rainbow palettes often get lost in the clutter of the store environment." Marty Neumeier, creative director; Marty Neumeier/Christopher Chu, designers; Jeanne Carley, photographer; Bob Moriarty/Marty Neumeier. writers; Neumeier Design Team (Atherton. Californ ia). design firm .

LetraStudio is one of five packages created for Letraset's line of graphic arts software. Clement Mok, art director; Chuck Routhier, designer; Neville Brody, illustrator; Clement Mok Design, Inc. (San Francisco). design firm .

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Much of these sale were from a handful of popular programs, but they represent only a small fraction of the thousands available in today's computer superstores. Startup software companies require little more than a PC and a good idea to create a program, and over the last ten years, hundreds of designers have added a package design or two to their portfolios. Now, as the industry has grown and matured, several graphic designers are listing software packaging as a speciality.

"The package is a machine for selling," said Marty Neumeier of Neumeier Design Team in Atherton , California. "Every part has to do its job to produce a certain effect in the marketplace. The issue is performance-selling power vs. cost of goods. The graphics have to be part and parcel of a strategy to achieve these performance goals."

Neumeier' s comments may sound like those of consumer packaging designers simply because they now share some similarities-shelf impact, brand awareness, etc. , but it hasn't been that way long.

"In the early days, software developers could get away with packaging a manual and a di kin a plastic clam-pack and hanging it on a 'j' hook," said Alison Woods of Woods+ Woods Design in San Francisco. "Much of the stuff looked like it might have been done by the engineers or programmers. Many companies had very amateurish looking packages, but they were selling because there wa n't much competition. Now software is showing up in places like Walmart and the Price Club."

Clement Mok, of Clement Mok Design in San Francisco, remembers in 1983 the state of the art in software packaging had a very distinctive appearance. "The look was usually a hand-written-script product name with flying

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bright geometric shapes over thin varnished pinstriped rules or a grid landscape. This was a carry over from the Atari and Star Wars school of design-lots of color and lots of flying objects."

Designing software packaging today, is not ju t another application of consumer packaging principles. You do have to think about shelf impact in the supermarket-like computer stores, and producing comps for focus group testing, but a key difference is the intangibility of the product itself-an endless string of code placed on a thin, inexpenive disk. And since the advertising budgets of even the largest software companies are miniscule compared to the consumer product giants, the package is sometimes the only identity people will have to relate to the program.

One of the visual requirements designers have to consider is the numerous selling environments for software. In the store , the package has to stand out from the competition and attract sales pro pect from only a few feet away.

Employees at the larger stores don't have a clue about product benefits o the package has to be self-explanatory.

Egghead Software, the largest chain with over 200 stores, u es layered shelving to display software. Each row of boxes covers up the top half of the boxes on the shelf below rendering many package with the product title on top almo t invisible.

Besides store sales, the same product image has to gain attention at tradeshows, where giant signs and banners compete best. It also has to work in catalogs where the package may be reproduced roughly the size of a postage stamp.

Newspaper advertising requires an image that can still show some detail in black-and-white and a 65-line screen.

The package itself repre en ts a six-sided sales opportunity.

And while there are many exceptions, the most popular package is by far the paper box. With it have come some standards.

"One convention is the feature panel, dubbed the 'off-spine' by one of our clients," said Marty Neumeier. "It's the righthand panel of the box. By listing all the product features on the off-spine, we were able to free up the back to tell a more complete product tory. This convention has caught on among package designers, I'm happy to say. We shouldn't pour our creative juices into new and surprising ways to present bullet points. No one wants it, the audience least of all.

"Some other standard , some we invented, some we adopted, include portable icons or product symbols, screen callouts and platform flags. I don't consider any of the e proprietary. My fondest wish is that they grow into fullfledged cliches. I find they solve a lot of the functional problems, freeing me to concentrate on the more exciting design problem ."

In discussing visual trends, Clement Mok commented on 40

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Left: "The imagery for Apple's System 7.1 package, like all our concepts. was chosen with the help of store research ," Neumeier said . "Half of our interviewees preferred the soft and cloudy number 7. while the other half preferred a more 'real' illustration of a satin flag with number 7. The 'flag ' half turned out to be DOS users. the 'cloud' half Macintosh.

The cloud won ." Thom Marchionna. creative director; Marty Neumeier. art director; Christopher Chu/Jean Stevens. designers; Eric Todd, computer illustrator; Eric Stouffer. writer; Neumeier Design Team. design firm ; Apple Creative Services. client.

Package redesign for Quicken. lntuit's personal finance software .

"Quicken was one of the best-selling products on the shelves. " sa id Alison Woods . "Dealers told them that their existing package was working and not to change a thing , but focus group studies and the emergence of copycat products on the market told Intuit otherwise .

The new package was designed to position Quicken as the market leader and it continues to outsell its competition ." Alison Woods, art director; Alison Woods/ Paul Woods, designers; Paul Woods, illustrator; Woods+Woods (San Francisco), design firm .

This page : Redmond, Washington-based Microsoft's in-house design department redesigned its Windows packaging in 1992 for optimum visibility in software retail environments . John Fortune, art director; John Fortune/Kim Emery/ Rosie Winters/Leilani Fortune/Curtis Asplund, designers; Karen MonteCalvo/Paul West. writers; Aaron Jones/Robin Bartholic. photographers .

"I was very nervous working on the lmprov package, since the product was an important addition to the software available for Steve Job's NeXT computer," said Tom Hughes. former art director/designer for Lotus Development Corporation . "Not only was this a chance for me to be humbled by Steve again (since I had worked with him on the original Macintosh graphics program) but there was also the added incentive of trying to design something that would be a worthy complement to the fabulous graphics program which Paul Rand had begun at NeXT." Serius is an object-oriented program that allows non-programmers to build their own software . "The challenge was to design a packaging system that allows each component to be identified individually while maintaining a visual consistency," said William Swensen . art director and designer; Richards & Swensen (Salt Lake City), design firm .

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the impact of color. "Since 1984, there's been a proliferation of white boxes. This is the result of Apple's shift to a simpler and more editorial approach in packaging. In the computer industry, this was referred to as Apple's 'WhiteLook' or the 'Clorox Look.' The white look has been interpreted by the industry in two ways: Less is more and be as literal and direct as possible; and, use the white as matting for artwork. When done properly, the white boxes are really a work of art-like Marty's Claris boxes. In the wrong hands, it looks like generic packaging."

It should be noted that Apple itself is moving away from the white look, with the conversion of most of its hardware packaging to recycled Kraft.

"Since the late '80s, there has been a conscious effort to bring color back into software packaging," said Mok. "Color is used as accents to reinforce the color capabilities of products. The tricks one utilizes in supermarket packaging have also begun to surface-large type and the use of illustration and photography to evoke a mood."

"Clients feel pressured to try something different because of the competition," Alison Woods said. "They want to stand out and be noticed, and they are willing to try less conventional packaging, but, they don't want a problem package. Crushing is a factor, as well as the manufacturing cost. They also worry about theft and returns due to damaged packages. And if a special box adds four weeks to the production schedule, every time they need to reorder boxes, it's going to be a problem."

As the industry's level of sophistication has increased so has its expectations of the designer.

"In the past, we would often deal directly with the president," Woods said. "Now most software companies have marketing departments recruiting from the top schools in the country. Clients expect things to be done very quickly and since many software developers are creating products at a break-neck pace, they expect the same work habits from their package designers and printers. We used to allow four- to six-weeks for printing and separations. Now two weeks is not unheard of.

"Timing is critical. A missed deadline can mean the difference between being the first one out with a new product or missing the boat. Clients also expect results. They have a lot invested in a product before they even get to the point of packaging it. They want a package that is going to sell their product."

"We designers have 42

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developed the somewhat self-righteous habit of telling our clients they don't understand design," Neumeier aid.

"Conversely, software clients see a hole in our business acumen big enough to throw a cat through. What ensues is a tug of war between the designer, who claims exclusive knowledge of design, and the client, who claims exclusive knowledge of the software business. The resulting package isn't pretty.

"We need to remind ourselves there are three, not two, participants in the design process: the designer, the client and the audience. Only one of these i qualified to be the judge of design. By definition, it's the consumer with his checkbook. Whenever we include the audience, using market research and in-store testing, we get along with our clients beautifully."

This page : The Claris packaging was quite a contrast to the more common dark. cluttered and technical looking packaging that existed in 1989. "The result of this contrary thinking was not only high shelf impact, but an appropriate visual identity for Claris," Neumeier said . After the new packaging was introduced. sales increased 45% across the line.

Marty Neumeier, creative director; Marty Neumeier/Christopher Chu. designers; Curtis Wong, illustrator; Marty Neumeier/Des iree LaGrone. writers; Neumeier Design Team, design firm; Claris Corporation, client.

Right: Address Express packaging . Clement Mok/Jill Savini, art directors/ designers; Clement Mok Design, Inc., design firm ; Tidemark, client.

For Spectre, a network intrinsic computer game, The Design Office of Wong & Yeo (San Francisco) created a stark three-dimensional package mimicking the nemesis of the game, a futuristic robot tank. The unusually shaped package has helped the game become one of the best-selling Macintosh products without any consumer advertising and did not cost more than a standard box format in the same size. Hock Wah Yeo, creative director; Hock Wah Yeo/Cary Chiao, designers; Velocity Development Corporation, client.

Compton's MultiMedia Encycloped ia is the state-of-the-art encyclopedia on CD-ROM. Schools and libraries are the primary market.

The package design works both as a sales kit for the institutional market and a point of purchase display in retail outlets.

Alison Woods. art director; Alison Woods/ Adelaida Mejia/Therese Randall/Ju li a Becker, designers; Paula Polley, writer; Woods+Woods, design firm .

Omnipage is an OCR program capable of recognizing multiple fonts, multiple font sizes and multiple formats on the same document. "We literally took the functionality of the product and portrayed it as part of the identity," said Clement Mok, art director on the package . "The multiple fonts and size logotype can actually be used as a demo device." Chuck Routhier/ Clement Mok, designers; Clement Mok Design , Inc., design firm; Caere Corporation. client.

COMPTON'S MULTIMEDIA ENCYCLOPEDIA

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Despite its current creative potential, the software package may go the way of the vinyl record sleeve, a victim of its own success in bringing new technology to the masses.

"The futurists among us predict an end to software packaging," Neumeier said. "They 'd have software publishers dumping programs onto our hard disks over an optical network or cellular communications. Something like that may come to pass, but I think software products will still need a visual identity.

"One area which may present new design opportunities is packaging for multimedia products. It's easy to envision stores crammed to the rafters with multimedia software on a scale of Barnes & Noble. Multimedia products are content driven, and there's no end of ways to slice up content."

Despite the financial risks of working with start-up clients, the seductive nature of new technologies has broad appeal to designers looking to push the limits and software packaging offers tangible results lacking in most of what we do.

"An annual report can have a positive effect on company profits, but the results aren't measurable," Neumeier said.

"With a package, the results are easier to quantify. For example, a package we designed caused sales to jump 300%, with no change to the software itself. Many designers believe in the power of design; designers of software packaging get a chance to prove it."

• This page: The objective of the lnBox electronic mail software package was to reinforce the product's ability to simplify communication between Apple and IBM-based computers . Courtney Reeser, creative director; Thomas Bond, designer; Dave Stevenson, illustrator; SBG Partners (San Francisco), design firm, Sun Microsystems, client.

American Heritage's electronic dictionary package is reminiscent of the traditional American Heritage red leather bound dictionary with its eagle symbol. "The package design is meant to have a fun, almost 'game' feeling, to distinguish it from its competitors' more corporate packaging," said Madeleine Corson, art director and designer on the project. Bruce Bowles, illustrator; Don Rosenfield, writer; Madeleine Corson Design, design firm .

Right: Packaging for Oracle Corporation's Quicksilver database software.

Mark Anderson/Tony Milner, art directors; Leif Arneson, designer; Geoffrey Nelson, photographer; Mark Anderson Design (Palo Alto), design firm .

Asante's PersonToPerson voicemail software mirrors traditional office interactions. "We designed a series of human-based icons for each type of product," said Barry Deutsch . "The strong, simple format in combination with metallic inks gives the line the quality imagery of contemporary Art Deco accessories." David Koszka, art director; Barry Deutsch/Mike Kunisaki, designers; Hank Osuna, illustrator; Barry Deutsch Designs (San Francisco), design firm; Donaldson Group, agency.

Packaging for Macromind, a line of desktop multimedia interactive software. Clement Mok, art director; Sandra Koenig/Nancy Bauch, designers; Ron Chan, illustrator; Clement Mok Design, Inc., design firm .

44

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COMMU

ICATIO

ARTS

45

lnte\ -pAJ,.abili-lY \l\us/OCR Software fa.xmodem Windows so~are no should be w11hot1L

JANUARY/FEBRUARY

1 9 9 3

SOFTWARE PACKAGING DESIGN

Left: FAXability is a Windows utility that simplifies faxing directly from the computer. To maintain optimum creativity and brand continuity, a multiple product line package design was developed. Brand template elements include a black vertical channel and the consistent treatment of the logo, product title typography and a strong visual with a bright color palette. Jack Anderson/Julia LaPine. art directors; Jack Anderson/ Julia LaPine/Heidi Hatlestad/Bruce Branson-Meyer, designers; Don Baker, illustrator; Hornall Anderson Design Works, design firm ; Intel Corporation , client.

Studio 1 is an animation program by Electronic Arts . Like Studio 8, the title is based on the number of bits per pixel. Michael Cronan. art director/designer; Michael Cronan/Robert Schwarzbach. illustrators; Cronan Design, design firm .

Writing Made Easy is one in a series of products for Compton's NewMedia . The fronts of the packages are kept simple so the title can be seen from a distance. The backs of the packages are treated like an advertisement to give serious academic subjects a warm Norman Rockwell feel . Alison Woods. art director; Alison Woods/Paul Woods, designers; Paul Woods, illustrator; Reid Miles, photographer; Paula Polley, writer; Woods+Woods, design firm .

"Kodak Renaissance is like a Swiss Army kn ife for art directors," Marty Neumeier said . "It combines a variety of design tools in a single program plus the ability to access Kodak Photo CD images. We recommended the square format so the graphics could be easily reduced to a fit a CD jewel case ." Marty Neumeier, creative director; Christopher Chu/Eric Todd/Curtis Wong/Mikyong Han, designers; Phil Johnson/Marty Neumeier, writers; Neume ier Design Team, design firm; Eastman Kodak Company, client.

This page : Microsoft's Mail is part of the Windows line of software .

Because of the large number of products, it was necessary to design a system that would have overall consistency but allow for individual product personality. John Fortune, art director; John Fortune/Kim Emery/Rosie Winters/Leilani Fortune/Curtis Asplund, designers; Karen MonteCalvo/ Paul West. writers; Aaron Jones/Robin Bartholic, photographers.

XSoft Rooms for Windows simplifies and accelerates Windows' functions . Paul Curtin, art director/illustrator; Peter Locke, designer; Randy Haibbits, writer; Paul Curtin Design Ltd . (San Francisco). design firm; TFB/BBDO, agency; Xerox, client.

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book building llJld graphics toola. The mtlil

This page : Frame was introducing this product as the first high-end technical publications software package. The visual approach represents the product's interface. Mark Anderson, art director; Leif Arneson , designer; Mark Anderson Design, design firm; Frame Technologies, client.

The Prince of Persia is a software game from Broderbund Software. Inc. "Although retailers tend to be suspicious of odd-shaped boxes since they're difficult to ship and stack. their objections fade when the box sells effectively," said Hock Wah Yeo, creative director on the package.

Hock Wah Yeo/Cary Chiao, designers; Collette Slade, illustrator; The Design Office of Wong & Yeo, design firm .

Pixel Paint is a continuous-tone color and design software program .

Primo Angeli, art director; Mark Crumpacker, designer; Primo Angeli (San Francisco). design firm; Supermac Technology, client.

Right Lotus MarketPlace is directed toward the Macintosh market.

Tom Hughes, art director; Alyn Carlson-Webster. designer; Julia Talcott, illustrator; Lotus Development Corporation, client.

"The startling face on the PhotoFinish package serves two purposes," Marty Neumeier said. "It grabs attention on a crowded shelf and it demonstrates one of the more interesting features of the software. photographic spray paint. Stores reported sales of 40 units a week without any advance publicity." Marty Neumeier, creative director; Christopher Chu/Curtis Wong, designers; Susan Schelling, photographer; Marty Neumeier, writer; Neumeier Design Team, design firm; ZSoft Corporation, client.

Lexica is a translating thesaurus that presents all related words and phrases in both English and any one of five other languages . Paul Woods. creative director/designer/illustrator; SBG Partners, design firm; WordStar International. client.

"Kid Pix (a children's drawing and paint program) is one of the top software success stories of the '90s, " said Alison Woods. "The product exceeded all of the preliminary sales projections in the first six weeks it was introduced." Alison Woods . art director; Alison Woods/Paul Woods, designers; Paul Woods. illustrator; Julia Becker, computer generated graphics; Woods+Woods. design firm; Broderbund Software, client.

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C O M M U N I C A T I 0

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MARK FREDRICKSON BY

MARK

FULTON

0 HEAR MARK FREDRICKSON TELL IT, BECOMING AN ILLUSTRATOR IS A RELATIVELY STRAIGHTFORWARD PROCEDURE: START WITH THE HELP OF A SUPPORTIVE FAMILY , KEEP YOUR EYE ON YOUR GOAL, SET AND MAINTAIN HIGH STANDARDS AND WORK HARD , REALLY HARD. HE MAKES SUCCESS SOUND SIMPLE, IF NOT EASY. Mark' s family was very supportive. Unlike many parents of young artists , they were aware that if you ' re good enough you can make a living through art. Although they were thinking more of fine art, they recognized his talent and encouraged him to study painting.

He realized early on that his art would require photographic reference and decided it would make sense to begin by learning to take his own pictures. He chose the Tennessee Bible College in Chattanooga because, he says, "I had heard that they had an excellent photography department and I decided that the discipline of a strict Christian school would be helpful."

After a year in Tennessee, Mark returned home to Tucson to attend the University of Arizona. There he took courses in both painting and illustration. "I could see there were many opportunities in illustration, more than in fine art, but not in Tucson, and I didn' t want to leave." So, to make himself more employable locally , he added courses in graphic design to his curriculum.

After graduation, Mark took a job as a graphic designer at St. Mary ' s Hospital in Tucson. "At St. Mary' s, I incorporated illustration into every design I could." The people at the hospital didn ' t know he was honing his illustrative skills with an eye toward moving on. "They just considered my illustrations a bonus ," Mark says, "and they really were, I guess. " After a little less than a year at St. Mary ' s, Mark answered an ad announcing an opening for an illustrator at Tucson ' s 50

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Arizana Daily Star. Based mostly on his college portfolio, he landed the job. "It seemed like my big chance to develop my talent in illustration," he says. Which is exactly what he turned the job into. "The newspaper was just like going back to school," he explains , "only without an instructor.

I had to learn everything on my own.

"They ' d just bring me these stories with holes where they wanted the illustrations. All they expected from me was to fill the holes. " He also says he was "incredibly lucky" to have been able to experience the freedom afforded by this work.

Constantly experimenting and pushing himself, he created his own "big chance" by putting far more effort into every assignment than was required or even expected by the Caption information was suppl ied by Mark Fredrickso n. Un less noted , all illustrations are acryl ic on illustration boa rd.

Right: "The magician was comm issioned for an An heuser- Busch inhouse publication but was never used. The intention was to make him look as sleazy as possible ." Eric Thoelke. art directo r. 18 x 24.

"The bear playing baseball was part of a series of images for Mead. The company found that ch ildren responded favorab ly to ani ma ls partici pating in human activities . To get the action of the bea r. I had photos taken of myself in various pitching poses ." Marna Hen ley, art director; Mead School & Office Products. divis ion of Mead Corp .. cli ent. 18 x 21.

Illustration for an article on compulsive shoppers for the Arizona Daily Star. "My supervisor, Chuck Freestone , was kind enoug h, despite deadline pressures, to give me an extra day to finish this job to my satisfaction . It received a gold medal in the Society of Ill ustrators 29 ."

Mark Fredrickson, art director. 30 x 18.

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newspaper. "I'd often work twenty or thirty hours a week at home, sometimes more, on top of the time I spent at the newspaper," Mark says. "I treated each assignment a if it were a magazine illustration." The management at the newspaper was surprised and pleased with the quality of the illustrations that he created.

considerably when Ceci Bartels Associates became his representative. As he says, "That and my being in as many annuals as I had, really helped 'jump tart' my free-lance career," and it wa n't long before he was able to leave the Daily Star. His stint there had lasted some four-and-ahalf year .

It was on these illustrations that he began to develop his airbrush skills. "Newspaper deadlines are just too tight for regular painting," Mark says, "they're more suited to the airbrush." And he adds, "So is my style of realism and action," although he doesn't seem sure which came first, the style or the technique.

Mark has been freelancing for five years now and he no longer retains a full-time representative. "With a rep, I just didn't feel comfortable a lot of the time. Sometimes I felt like I had to take work that I'd really rather not take. Or I felt that I had to take more work than I wanted to. And I didn't feel comfortable taking work from other ources, no matter how much I wanted to."

Mark occasionally accepts work from reps in other cities, but he selects most of his work from what "just comes in. " He remembers what Bob Peak once said: "One of the greatest days in my life a an illu trator was when I realized that I didn't have to take every job that wa offered to me." It pleases Mark that he's in a po ition to be selective in the work he does. For example, he's now comfortable in turning down any work that he feels could be in conflict with hi personal concepts of Christianity.

The airbrush is still Fredrickson's main tool (working with transparent acrylics) but he says his illustrations aren't airbrush drawings. "I don't let the tool become my guide," he says.

When asked for the secret behind his distorted realism, he just smiles and replie , "There's no secret, that's just the way my mind works."

While illustrating for the Daily Star, Mark began to appreciate the value of national and international illustration competitions. "I realized they could be a way out of newspaper work and into national recognition," he says. He speaks with animated excitement about the first appearances of his work in the Society of Illustrators and CA Illu tration annuals. "I guess CA was the most exciting," he says with a chuckle, disclaiming any influence being selected for this article might have had on that statement, and adding, "I think more art directors see the CA annual; since it's smaller and more selective, it carries more weight with them."

But he credits his winning a Society of Illustrators gold medal as the turning point in his career. "David Bartels, who has an advertising agency in St. Louis , was one of the judges of the show. He was impressed with the piece that won the medal, and he phoned wanting me to do some illustration work for one of his clients." So along with his prodigious workload at the newspaper, Mark began to free-lance.

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Realizing his ambition of illustrating for a national clientele while living in Tucson, Mark lives with his wife, Charmaine and his eleven-year-old son, James, on the outskirts of the city , not far from the de ert and mountains. Mark gives full credit to Charmaine, an accountant, for bringing organization and efficiency not only to his bu iness, but also his life.

Mark tends to be a little self-effacing when it comes to his success. "I think I'm successful in spite of my elf," he says, dismissing all of his hard work over the years with a laugh. His advice to students i to persevere, saying, "If I can make it, anybody can."

•

Left page : Humorist Garrison Keillor from a tongue-in-cheek article written by and about him for the Atlantic Monthly. "In the article he portrayed himself as a falsely labeled devilish person.

He didn't like my representation of him at all; I guess he's not very fond of seeing himself as a caricature. In the story he was also falsely imprisoned and the lines running down his face are shadows from prison bars ." Judy Garlan. art director. 11 x 15.

This page : "Hoopis Alley-oopis." one of a series of ten point-ofpurchase posters for Levi Strauss. "It was a fun project because of the focus on the characters and their actions rather than having the jeans be the main focus of the pieces." Andrea JanetosHyatt. art director; Foote. Cone & Belding, ad agency. 19 x 26.

Originally used in a brochure to introduce a 360-degree sound system for arcade games. Holosonix Sound Systems also used this image in their annual report. "The concentric rings around the boy were air-brushed through carefully cut frisket film. so they would fade over his arm ." Wayne Molinare. art director; Group IV Design, agency. 24 x 24.

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This page : Packaging for a Genesis Sega game called "Quad Challenge," where game users run quad racers around the screen .

"I enjoy doing video game covers because of the freedom I have in interpreting the vaguely defined characters as they appear on the TV screen ." Denny Moore, art director; Moore & Price Design Group Inc., design firm . 28 x 35.

This painting was commissioned to illustrate a lawyer joke for a law firm : Why do testing labs prefer to use lawyers instead of mice?

Because there are more lawyers than mice, the scientists don 't get as attached to the lawyers and there are some things mice won't do . "I found it very surprising that a law firm would poke fun at itself by putting out a brochure that included illustrated lawyer jokes . Apparently, however. it was very successful. " Raeanne Hytone, art director; KSK Communications. ad agency; Anderson, Kill , Olick & Oshinsky, cl ient. 17 x 21.

Right: "Originally done for The Arizona Portfolio. as a divider page, the last use of this pa inting, with a few changes. was for the cover of the book On the Nature of Things Erotic, a commentary on collections of erotic writings published by Random House." Anne Hubbard, art director; Hubbard & Hubbard Design, agency. 16 x 22.

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Left: From the series of images commissioned for Mead portfolios. "The assignment was to create an energetic soccer scene . After I had completed the painting, the vice president of marketing gave me a couple of Polaroids and asked if I could liken the image to that of his son. I did . He really got a kick out of it." Marna Henley, art director; Mead School & Office Products, division of Mead Corp ., client. 18 x 24.

This page: One of a series of posters by various artists to illustrate the Piedmont High School Bird Calling Contest. The winners of the annual contest were featured on the "Tonight Show" with Johnny Carson . "I had done two paintings for this particular competition and Carson held up the one of a man's head in a bird cage, for audience reaction . That poster was later framed and placed in the NBC studios along with others from past contests." David Bartels, art director; Bartels & Co. , ad agency. 13 x 21 .

Print ad for Thermoscan . "The art director asked that I make this baby apprehensive and somewhat frightened, yet trusting . His expression is a reaction to his mother's approach with a rectal thermometer in hand ." John Vitro. art director; Franklin Stoorza. ad agency. 35 x 23.

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Left: "Horrorflickus Addictus," "Headius Bangmetallum" and "Onechoppum Oroppum," from a series of posters used as giveaways with Levi's jeans purchases . "Headius Bangmetallum" was based on a photograph of my son, seven at the time, who I outfitted with a wig from a local school drama department and a studded leather vest I had made as part of a Halloween costume for myself." Andrea Janetos-Hyatt. art director; Foote, Cone & Belding, agency; Levi Strauss, client. Various sizes.

This page: Texas Monthly article on Madalyn Murray O'Hair and her self-destructive fight against religion's influence on the secular world, "God Help Her." "This article, about the first lady of atheism. was very negative. But she. or at least those who represent her. liked this piece so much that they wanted to print it as a poster. I don't think they got the idea; the clenched fist and the cross breaking in her pa lm are supposed to represent her anger and the pain she is inflicting on herself." D.J. Stout. art director. 11x14.

Cover of an illustration and design directory. "The tossed salad elements represent the different services available from the graphic artists advertising in the book." David Bartels. art director; Bartels & Co .. ad agency; RSVP, client. 24 x 30.

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S A KID IN MANHATTAN, Jennifer Morla had a thing for the New York Times. "I loved the editorial page, I loved the way the paper looked, I loved the ads, I liked everything, the whole package," she remembers. "I was probably about thirteen and I asked my mother about it and she said, 'Oh, you might want to become a commercial artist."'

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The rest is history, as they say.

Although she would prefer to be called a designer. In fact, if Morla had her way, the labels "graphic designer" and "commercial artist" would be banished. "First of all, the word 'commercial' is despicable," she believes.

"In the public's mind, it puts a value on it: money for work. I prefer just the word 'designer.' It doesn't put any structure on us. And it certainly gets us beyond print on paper. So many of my colleagues do such a variety of work. We're designing furniture, clothing and videos; the term 'graphic design' isn't even in the dictionary."

BY JULIE PRENDIVILLE

It seems that Morla, 36, has always had her eye on design. "My mother and I would go to the Museum of Modern Art and once when I was about eight, I saw the architectural and design collection that Philip Johnson established. I loved it," she says. The exhibit included an Olivetti typewriter.

"It was workable art. It really showed how design is part of day-to-day life.

"As designers, we can be so powerful because we have in our hands the know ledge of how to communicate very effectively. I remember growing up and seeing the construction barricades with 'Post No Bills' and hundreds of anti-war images. Aesthetically I just got off on the multiplicity of the whole thing. But also, it sent such a strong message. We can make a big difference with what we do. It's not that we all share the same vision, but we should go beyond our day-today work as it comes into the office and be able to influence society much more than we do."

As president and creative director of Morla Design, Inc., Jennifer makes a point of taking on as much pro bono work as the firm can afford. "Design is seductive propaganda. I don't think we can forget that we have a responsi-

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bility as a communication profession to make the most of that. It' wonderful to be able to do pro bono work and it does give u a certain amount of creative freedom to do our best work."

Besides pro bono projects, her firm, based in San Francisco since 1984, has created collateral, identity programs, videos, packaging, store interiors and signage for client such as Levi Strauss & Co. , the San Francisco International Airport, Wells Fargo Bank, Cocolat, Wilke Bashford and Windham Hill. She also serves as president of the San Francisco chapter of the American Institute of Graphic Arts. She was the recipient of the Marget Lar en award for De igner of the Year in 1991.

Morla studied conceptual art at the University of Hartford/Hartford Art School in Connecticut and then attended Massachusetts College of Art in Boston, where she earned a BFA in graphic design.

She first visited San Franci co in 1977, while till in school. "I could immediately feel a strong design pre ence around here. The de ign influence was so evident in the ignage , the

Caption information supplied by Jennifer Morla who was the art director for all projects shown.

Right: Menu for MacArthur Park restaurant.

"The restaurant's interior is constructed of exposed brick with a changing collection of fine art. and dining tables are covered with butcher paper. Crayons are available for the customers to express their creativity. The menu was designed to enhance the interior and the restaurant's ambiance-the use of recycled stock for the cover and interior of the menu. as well as the gestural figure illustrations on the cover. all work to reinforce the theme of people congregating in this casual , elegant setting ." Jennifer Morla/Jeanette Aramburu . designers; Jeanette Aramburu. illustrator; Judi Radice. writer.

Cover and spreads from pro bona brochure for The Mexican Museum in San Francisco . "Our intent was to promote awareness of Mexican art, both contemporary and historical. through the use of details from paintings combined with a traditional pattern. Close-ups of eye imagery-pre-Columbian. colonial and contemporary- reflect a one-on-one contact with the viewer and allow comparisons of different eras reflected in the Museum's collection ."

Jennifer Morla/Jeanette Aramburu. designers; The Mexican Museum, writer.

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This page: "A graphic image series for MTV Sports using symbols to communicate the nature of thrill-seeking sports . Each image is animated for the opening, interim and closing graphics of the program ." Josh Greenberg, creative director/director; Jennifer Morla/ Sharrie Brooks, designers.

Staff of Morla Design (from left to right): Craig Bailey, Jennifer Morla. David Bauer, Liza Thomson, Sharrie Brooks and Scott Drummond .

Right: Morla Design 1992 calendar. "A promotional calendar that conceptually and visually depicts the passing of time." Jennifer Morla/ Sharrie Brooks, designers; Holly Stewart, photographer; Brigitte Harm Van Holden, stylist.

Brochure for Levi's Silver Tab Collection . "To inform department store buyers about the different styles of Levi's jeans and the garment details of their Silver Tab Collection . Due to budget constra ints, black and white photography was employed and then mezzo-tinted, resulting in a distinctive, raw style for the brochure. Hand-drawn type adds to the positioning of the products ." Jennifer Morla, art director/illustrator; Thomas Heinser, photographer; Jennifer Morla/Julie Klee, writers.

Levi 's Girls Fashion trade brochure for sales reps to present to buyers . "This brochure was designed to have enough presence to retain a longer shelf life and to distinguish the line from its competition . Targeted at girls, ages seven to fourteen , the line is more fashionforward than previous Levi 's youthwear lines.

The choice of background colors, upbeat styling and uncoated stock flush mounted to chipboard all lend themselves toward achieving a contemporary feeling ." Jennifer Morla/ Jeanette Aramburu , designers; Bybee Studios, photographer; Dana Nunes, stylist; Teresa Kelly, writer; Levi Strauss & Co .. client.

restaurant , it really permeated the atmosphere here. In New York and Boston, advertising seemed to have a greater influence than design. I fell in love with San Franci co, went on interviews, got great feedback and moved out here. " That was in 1977. Jennifer was hired a senior de igner in charge of print and broadcast at KQED, an affiliate of the Public Broadcasting System.

She then moved to Levi Strauss & Co. in 1981 as art director, where she designed and managed all non-media print communication.

Foote Cone and Belding creative director Tim Price remembers Jennifer during that stint. "I was over at Levi ' s for a meeting and I saw this little flyer, just this piece of paper sitting there, but it looked great. I a ked, ' who did this? ' They told me Jennifer Morla and I actually sought her out. There he was, sitting in this little cubbyhole."

More recently, Tim found himself at the same dinner party with Jennifer.

"There we were at a mutual friend's house for dinner and I was talking about these MTV port things I had seen on TV, and Jennifer said , 'I did them.' I couldn' t believe it." This pa t September, he completed a project for Boys Levi ' s Docker for Price. "I had wanted to use Jennifer for a long time," Price says.

Those MTV sports segment , which served as opening titles, also caught the attention of creative director Matt Haligman of Atlas Citron Haligman

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& Bedecarre in San Francisco. "I liked her MTV sports tuff and I took her to lunch to see if he would work on this project we had. She said, 'I have a real problem working with ad agencies and my minimum i thi amount of money.' As I tried not to choke on the piece of chicken I was chewing on, I aid, ' Here's the project. Let' s see if you want to do it.' She liked the idea, so we worked omething out. It was an attitude of this is what it's going to co t to play with Jennifer. She basically carved out her territory and I just ort of went along with it-after I carved out mine . She did some great stuff for us. We pretty much agreed across the board."

Morla has had a reluctance to work with advertising agencies. "In the past, designers have not had such a great experience with them. The image is sacrificed for the sell ," she explains. " Atla Citron , PCB and Good by, Berlin and Silver tein have created wonderful relationships with designers and really have put design on the ame level of importance as everything el e."

Jennifer, whose staff includes three designers and two admini trators, conceptualizes every project. "Student will a k, 'How can you come up with so many ideas?' Well, you know what?

The more you exercise your mind , the more it works. I get my timulus from o many thing - reading and traveling and people-you have to make time for all of the e things. They all add to your design vocabulary. "

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Left: Levi's Kid 's Jean shop and fixture design .

"The goal was to create the next generation of Levi's Jeans and Dockers shop environments for the young shopper. The surfaces are colorful. varied and interesting for children yet clean and slightly sophisticated . Solid color wall sections with concealed edge lighting help to define the spaces. Criteria included a very costconservative plan and high volume inventory capabilities. A key aspect of the design is the ability to implement endless configurations of high capacity, freestanding shelving walls.

Other functional capabilities include an integrated graphics display system, a sound and video package and a floating electrical and lighting structure ." Jennifer Morla/Scott Drummond, designers; Foote, Cone & Belding, ad agency.

Bottom left and right: Levi's Kid's and Young Men's Jean Shop fixtures . "A modular component system was developed with the purpose of creating unique, exceptionally functional, varied product presentations. The primary floor fixture is a rolling display with the ability, through changing of attachments, to configure a mix of fixture types suitable for any product mix or presentation requirement. For the Young Men's Jeans Shops, the materials are more sophisticated to appeal to the 16- to 28-year old shopper." Jennifer Morla/Scott Drummond. designers; Foote. Cone & Belding, ad agency.

This page: Announcements for the Capp Street Project. a San Francisco experimental art venue featuring site-specific installations. "Typographic copy and photographs reinforce conceptual duality by engaging the viewer to turn the piece upside down (or downside up)."

Jennifer Morla/Sharrie Brooks. designers; Holly Stewart. photographer; Mary Ceruti, writer.

Capp Street Project catalog . "The die-cut ellipses on the folder reveal a layering of information: a means of isolating the title from the typographic description of Capp Street Project. Black and white pages provide a strong, neutral background for the photographs of the work. The brochure utilizes classic sans serif typography combined with asymmetrical photography placement. " Jennifer Morla/ Sharrie Brooks, designers; David Levi Strauss/ Stacey Moss/Marshall Weber. writers; Ann Hatch. editor.

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Left: San Francisco International Airport 1989 annual report.

"The theme of this annual report is 'Gateway to the Pacific,' reinforcing the Airport's link with Pacific Rim countries .

Asian images and styles are evoked in the design of the brochure; Japanese imagery of cranes in flight, and Chinese red lacquer and celadon inks all combine with the subtle illustrations by Guy Billout to communicate this concept."

Jennifer Morla. designer; Tom Tracy, photographer.

This page: Video for Fox Broadcasting Company. "This sevenday countdown aired the week prior to the premier of Fox's 1992 fall season. Still life configurations. objects and exterior locations were utilized to depict the numerical countdown.

The video is edited in a syncopated fashion with positive and negative compositions ." Jennifer Morla/Craig Bailey, designers; David Fowler, creative director; Holly Stewart/ Craig Bailey, photographers; Jennifer Morla. stylist.

Logo for LEAP (Learning Through Education in the Arts) sandcastle contest. "The sandcastle contest is an event for children organized by a group of San Francisco Bay Area architectural firms. The hand-drawn logo represents a sandcastle with an element of playful whimsy." Jennifer Morla/Jeanette Aramburu. designers/illustrators; Trudy Zimmerman. writer.

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MORLA DESIGN

Left: Album packaging for Tuck & Patti . "The title 'Dream,' inspired the concept of this songwriting couple photographed side-by-side with closed eyes (sleep). Shadow-like song lyrics softly sway and undulate in the background . The pale blue rose image is a surreal manifestation of dream1ike imagery ." Jennifer Morla/Jeanette Aramburu . designers; Bybee Studios/Gerry Bybee, photographers; Windham Hill , writer/client.

Environmental awareness poster for AIGA San Francisco . "A one-color poster designed to educate the public and promote individual action regarding environmental issues." Jennifer Morla/Jeanette Aramburu. designers; Jeanette Aramburu. writer.

Poster for Visual Aid, Artists for AIDS Relief. "Through the use of symbols: the 'eye' (visual). the three-dimensional 'cross' (health). the 'sculptor's chisel ' (artist) and the 'hand' reaching out, the poster communicates a need for awareness of the continuing tragedy of AIDS in the arts community." Sharrie Brooks/Jennifer Morla. designers.

Packag ing for Cocolat. "Our intention was to create an elegant. costeffective product packaging system for gourmet chocolates. Due to budget constraints, each individual package was specified as black plus one PMS, and a color palette was designed to unify all the two-color packages in a multi-colored product line. The elegant labeling and reusable containers make these packages attractive gift items." Jennifer Morla, designer/ illustrator; Alice Medrich. writer.

This page: American President Lines 1992 calendar. "American President Lines's theme of 'Connecting the World' is illustrated in a number of ways throughout the calendar: a half-size cover that lifts. revealing two worlds (globe symbols) connected (by dotted line) via American President Lines (eagle); photographic images depicting symbols of products and their destinations en route (words. newspapers. maps) and copy describing connecting stories in which symbols. logo and photographic images connect." Jennifer Morla/Sharrie Brooks. designers; Henrik Kam. photographer; Thea Chalmers, stylist; Stefanie Marlis, writer.

American President Lines 1993 calendar. '"Taking a closer look at the details,' is this year's calendar's theme . The cover copy first introduces this theme with key words which later tie-in to the close-up photographic images that appear on each page . The cover copy is repeated behind each image, a reminder of APL's commitment to its customers." Jennifer Morla/ Sharrie Brooks, designers; Kathryn Kleinman. photographer; Sara Slavin. stylist; Peterson Skolnick & Dodge. writer.

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69

COLOR PREDICTIONS BY

ANNE

RADITIONAL PASTELS ARE PASSE," claims Margaret Walch, associate director of the Color Association of the United States (CAUS). Instead, the Association predicts rich, dark colors for 199411995. "Browned reds and autumnal colors suggest the work of the Edwardians; it's a late 19th century palette-saturated colors, the sense of the graphic, fluid curved lines from the Art Nouveau," Walch says.

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"We'll see all varieties of greens and yellows and multiple blues-an environmental sensibility. This is far removed from a high-tech, hard-edged one where color operated under the aegis of black. The 1980s was a time when black was pivotal and all other shades operated under its influence; in the '90s there's been a shift to an environmental focus where the key color is white. It's a whole new way of manipulating color.

"One might cite the South and the Southwest as regions of great influence, that would certainly be true with the political influence now from president-elect Clinton," Walch says. "We are seeing influences coming not just from our South and Southwest, but from the southern hemisphere generally. We are less interested in northern places as points of design reference and are picking up on below the equator colors of black Africans and the Southeast Asians, as seen in Java prints and batik.

"The brights on the charts are clearer and cleaner," Walch says. "They, too, come from the tropics. As we leave blues and reds, and that whole flag mentality, we shift into greens, yellows and orange and very pale shades which suggest translucency."

The CAUS Interior Forecast shows "in addition to deep shades evolving from the substantial and secure Edwardian Era; light, clear, transparent tones of classical glassware."

Metallics are still in the picture for interiors, but they have matured, moving from high shine gold to burnished and patinaed copper, brass and pewter. "Saturated color" is a key mood in the CAUS interior forecast which shows vibrant reds, jades and blues. "Rich, dark colors are very strong," says Kenneth Charbonneau, of Benjamin Moore, who is a member of the CAUS forecasting panel. "These saturated 'real' colors include deep reds, purples and gold. These must be balanced by 'fresco' pales-paler than pastels, but with a clear hint of color."

"In 1994, graphic designers will be working with paler tints, definitely not primary wheel colors, but more the hues nature presents in graded tones," Walch explains. "This is definitely a challenge for graphic artists."

Linda Thompson of Pallas Textiles, and a member of the CAUS forecasting panel, says, "Watch for analogous color 70

J A N U A R Y I F E B R U A R Y

I 9 9 3

TELFORD

schemes." Another CAUS forecaster, Diana Facteau of Karastan/Bigelow, agrees, "Colors should be taken from adjacent points of the color wheel, not contrasting."

Founded in 1915, CAUS is primarily concerned with color for the fashion, interior and environmental industries. The Association provides American manufacturers, retailers, designers, architects and stylists with guidance and answers to color selection and problems.

A company membership of $520 per year includes the choice of one category of swatched color forecasts for women's, men's, interior/home or children's wear; invitations to color seminars; a monthly newsletter; a color matching service, providing duplicate color fabric samples on request and access to the CAUS color reference libraries which contain color swatches dating back to 1915. The libraries are used by members and scholars who are attempting to be color correct for a specific period. An individual membership is $250, and offered in the interiors category only.

Forecasts are developed by four panels of eight to twelve professionals in the fields of color styling, color use, color research, marketing and merchandising. With a consensus reached, the panels distinguish between colors about to come over the horizon and those already reaching volume acceptance.

The color selections made by manufacturers and designers depend on their markets, class of trade by income, status of sales outlets and whether something is of high or mass market fashion.

CAUS member companies number roughly 1,000 and are mainly from the textile and allied industries but also include architects and interior and graphic designers. CAUS forecasts are dispatched to members each March and September, twenty months in advance of selling seasons.

For more information, contact The Color Association of the United States, Inc., 409 West 44th Street, New York, New York 10036. (212) 582-6884, fax (212) 757-4557.

• Production note : It is impossible to obtain an absolute match when reproducing paint chips in four-color process inks. Some variation is unavoidable.

Right: Some of the colors that are included in The Color Assoc iation of the United States's 1994/1995 color forecast designed for home, commercial interiors and product use . CAUS did not assign names to their colors this year; they are identified by numbers

3 1645

3 1663

31660

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3 1635

3 1639

31651

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3 1630

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31632

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C 0 MM U N I C A TI 0 N

A R TS

71

AYBE IT'S BECAUSE I COMMUTE 70 miles a day to work, but lately I've been noticing a lot of pearl white cars on the freeway. And deep vivid blues , celadon greens, rich reds and magentas. Pat Verlodt, president of the Color Marketing Group, confirms my observations. "Champagne is big for cars," she says. "The automotive indu stry i addressing the need for unique fashion colors and colors that are sophi ticated. For a long time cars looked very masculine-navy blue, red, gray. Now, men drive turquoise cars with hot pink windshield wipers."

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The line between male and female colors has almost completely disappeared, Verlodt claims. As women play an ever larger role in the workplace, they also have an impact on the marketplace. What used to be primarily maleoriented products, like automobiles, are increasingly addressing the needs of women. Studies have shown that when couples buy cars together, the woman has veto power. Hence the increa ed range of colors, the emphasis on ergonomic interiors and adjustable seating and the rounded and curved lines which predominate on this year's models. And it's not just the automobile industry that is reflecting this trend.

The Color Marketing Group (CMG) is a non-profit international association of over 1,200 design and color profe ionals who forecast color directions one to three years in advance for all industries: consumer, contract, transportation, fashion, graphics, office and health care.

CMG provides a forum for the exchange of non-competitive information on all phases of color marketing: color trends and combinations, styling and design, merchandising and sales, education and research.

The 34 color in the CMG's newest forecast paletteConsumer Color Directions-are a result of the Consumer Color Direction Workshops at CMG' International Conference held last spring in Colorado Springs , Colorado.

Five-hundred professionals from a wide range of industries, including design , home decor, transportation , fashion and building products, brought their trend-tracking abilities to the hands-on workshops.

"The components of the 1993 emerging palette show a positive belief in the movement of color as it relates to the recovery of the economy," the CMG' s Colors current brochure proclaims.

Forecast colors for 1994 include Basil, an Italian botanical green; Capers , which represents an expansion of the yellow-green family with strong overtones from the resurgence of the Arts and Crafts movement; Blackberry Wine, touted to complement the "vegetable greens and golds" is a blackened wine color straight from the fashion 72

JA

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1993

runways. The fifteen Emerging Colors-those that will appear in 1994 and continue to be evident in 1995-show overtones of cultural diversity including the Wild West, tropical brights, sheer neutrals and Moori h jewels.

"Politics are going to play a big role this year. We need to keep a close eye on Hillary Clinton and what she is wearing. The environment is going to continue to be a big story, with vice president-elect Al Gore being such an environmentalist," says Verlodt, who predicts we'll see all kinds of greens from blue-greens to yellow-greens-in paint, fabrics and pla tics. "To be politically correct i very important. If you want to give the image that you care about the environment, you want to make color an is ue.

It's a strong tool for the consumer, it sends a message."

1993 Emerging Colors include such earthy offerings as Grape Leaf, Boulder Brown, National Park, Beaver Creek and Silver Mos . "Brown is very definitely returning and replacing the grays we had for a long time. Brown makes you feel comfortable, it's a major part of our palette; they go from chocolates to terra-cottas.

"Color, shape and texture go hand in hand ," Verlodt stresses. "In many cases color is very dependent on texture.

You can't choose colors arbitrarily. When you translate a color that looks great on fabric into a park bench, it may not work as successfully. You can'tjust take a palette and apply it without consideration of these other elementswhat it is , who buy s it, how much it co t .

"I think we've been very con ervative in the movements of color in the last five or six years," she says. "Each year we keep a core of colors from the previous year and add a few. It may be that the brown s become deeper or the greens become bluer. It's a slow evolution. The biggest thing that I can ay about color is that con umers have become more sophi sticated. They are no longer taking other's words for it, they are demanding quality and consistency. I am finding more and more manufacturers addressing the i ue of color in not only their product, but in labeling and packaging. The word is competitive," Verlodt adds.

If you'd like to find out more about the forecasting of color,

contact the Color Marketing Group, 4001 N. Ninth Street, Suite 102, Arlington , Virgini a 22203. (703) 528-7666, fax (703) 522-1843. Those wishing to join CMG are first approved by the Executive Committee to en ure members are all color professionals.

• Right: Examples from the Color Marketing Group's 1993 consumer color directions for the fashion. transportation. interiors and health care industries.

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COMMU

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ARTS

73

THE SMALLEST GLOBAL ADV E RTISING AGENC Y I N THE W OR LD

B Y

JIM

J O HNSTON

DE LORENZO. INDIVIDUAL HAIR CARE FOR INDIVIDUAL HAIR.

N THE LAND AUSS IES REFER TO WITH affection as "the big sun burnt country ," it seems appropriate that one of Australia ' s hottest creative shops is housed in a building covered with plaster of a distinctly sunburnt shade.

I

OMON-what a wonderfully quirky name for an advertising agency !-began its existence in Balmain, a working class neighborhood turned trendy near Darling Harbour, ten minutes or so from the center of Sydney.

It' s not the sort of neighborhood where you'd expect to find a hot creative shop. There's not much happening on Barr Street in Balmain; an occasional truck, the postman on foot, a mum with baby in carriage; about as quiet as any suburb could hope to be.

But inside Number 33 , a group of young rebels with an unorthodox approach to ad making have created an agency making waves in Sydney and New York.

Start with the name. In common with Xerox, it was created as a " brand"-and doesn ' t have a thing to do with the three Aussies who founded the agency. (Actually, OMON is an acronym for Only Meaningful Only New, a succinct statement of the agency ' s creative objectives. ) On October 19, 1987, Marrcus Jaacson, an art director, Siimon Reynolds, a writer and Mark DeTellga, an accounts director, opened for business. That, you may recall , was the day the New York Stock Exchange crashed. That financial event was of more than passing interest to the three young entrepreneurs, for, ironically, their first client 74

J A N U A R Y I F E B R U A R Y

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was a stockbroker whose grand plans were shelved when the market tumbled.

In the five years since, OMON has grown to more than $40 million U.S. An impressive record-especially in a period when Australian advertising continues in a deep recession and American advertising wavers between sluggish and moribund.

Whether rationalization or deep-held conviction, OMON maintains their goal i not growth. Marrcu Jaacson note , "We' ve no interest in joining Jay Chiat in his quest to find out how big you can get before you get bad. We want to be great, not good-and we strongly suspect you can ' t be great if you ' re intent on being big. " The agency earned recognition as the world 's smallest international shop when OMON senior writer Paul Bernasconi joined with former Chiat/Day art director Rodd Martin to open OMON ' s first branch in 1989. No timid step to Melbourne or Adelaide for OMON; they leapt- daringly, dangerously, audaciously- into the belly of the beast, to New York City.

Above : Print ad for Delorenzo hai r care products. Bobbi Ga ssy, art director; David Droga , writer; Sim on Harsent. photographer.

Right: Print ads for Bieresdorf. Bobbi Ga ssy, art director; David Droga/ Pau l Bernascon i. writers .

Print ad campaign for Swiss Del i, Glebe. Marrcus Jaacson. art director; David Droga, writer; Simon Harsent, photographer.

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C 0 M M U N I C A T I 0 N

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0MON

The agency's Manhattan office is tucked away downtown, on Watts Street. From that unlikely site, OMON, New York has done their Sydneysider mates proud, with superlative work for a variety of clients, including a stunning Toyota corporate print campaign.

The New York operation is headed by Joanne Davis who joined as president in mid-1989, after fifteen years with such agencies as Doyle Dane Bernbach, DDB Needham and Wells, Rich , Greene.

Not long afterward, Hilde Oord-former account planner with London's Still, Price, Court, Twivy, De ' Sousa: Lintas-joined OMON as director of account planning.

Throughout the agency, there's a commitment to account planning. Davis explains, "We're one of the few American agencies totally devoted to account planning. Why? Because the smartest strategies produce the smartest advertising-and that's what account planning is all about."

Whatever the cause and wherever the base, OMON' s creative work has been distinctive. That's confirmed by a wall full of trophies from the world's toughest creative shows including Britain's D&AD, the Cannes Festival, New York's One Show, the Andys and the CA Advertising annuals.

Behind the distinctive work is a distinctive system. Elsewhere in the creative world, Bill Bernbach's concept of the art director-copywriter team has become conventional creative wisdom. But there's no such thing as a creative team at OMON. The agency believes it's the job of the writer to generate ideas, and, to that point, has created a special sheet to facilitate the generation of ideas, 30 to the page. Minimum performance for an OMON writer is 2 pages, or 60 ideasand minimum performance won't earn much respect in this prolifically creative shop.

None of the ideas is highly finished; just enough of a visual to make it understandable. And once the ideas are in hand, the process moves to the next stage, an exercise of democracy in action. Art directors, designers and creative staff vote on the ideas-and the popular choice is executed for presentation.

The art director's job in the OMON system isn't to generate ideas. But neither is it to simply get the idea down on paper. It's to make the idea look great. In Jaacson' s words, "No wallpaper, please."

Creative people for this unusual system come from a variety of backgrounds. Jaacson, for example, began as a television set designer, a furniture designer and a builder of log cabins on the outh coast of New South Wales. He went on to work as an art director for Lintas, SSB and Mojo; then headed the art department at both Grey and 76

J A N U A R Y I F E B R U A R Y

I 9 9 3

the Ball Partnership before starting OMON when he was only 25-years-old.

David Droga, head of copy, worked at FCB in Sydney.

Bobbi Gassy, art director and designer, was at the Ball Partnership. Oliver Devaris, copywriter, moved Down Under from Saatchi' s, London, while designer Nick Morgan is also a former Londoner. Others, like art director Sally Overheu, came to OMON straight from university.

While expressed differently in the Southern and Northern hemispheres, there is an agency philosophy.

Avoid the agency look. The last thing OMON wants are advertisements that are readily identifiable as OMON ads.

(None of that familiar reliance on a single typeface.

OMON's creatives joke that the owner of one major creative shop holds a majority interest in Garamond Light Condensed-why else would it be u ed o much for nearly all of the agency's clients?)

Be weird but right; be outrageous but relevant. From the start, OMON has demonstrated the ability to attract undue amounts of attention. Less publicized but just as important, the work is forcefully based on ideas that sell. Jaacson asks, "Isn't that what it's all about?"

Straight headlines, tricky visuals. OMON believes the standard tactic of old-style creative shop is to combine tricky headlines with straight visuals. At OMON, the process i reversed. Make the headline straight and to the point. Make the visual off-beat, unusual; a genuine mind-twister.

There's no lack of advertising agencies in Sydney or New Above . OMON , Australia art director, Marrcus Jaacson.

Right: Print ad for Jones Lang Wootton , a financial services company Marrcus Jaacson, art director; Siimon Reynolds, writer; John Curnow, photographer.

Ad campaign for Seafolly, a swimsuit manufacturer. Bobbi Gassy, art director; David Droga, writer; Simon Harsent, photographer.

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0MON

York. So there's no shortage of competitors, for either clients or people. But OMON's business continues to grow; not spectacularly but surely. And, as one agency copywriter comments, "Sure, there are plenty of places to work in Sydney. But there's only one place to liveand that's OMON." In both offices, there's a common focus on excellence.

Joanne Davis articulated the OMON perspective when she noted, "We don't believe there are such things as 'creative ads' and 'non-creative ads;' only good ads and bad ads. And our criteria for good ads is simple. Make them single-minded. Make them involving. And make them meaningful."

That course of action might not make an agency the largest in the world, or even the biggest in Sydney. But it's a philosophy that produces great creative work and a growing reputation-in two cities .

• This page : Print ad for the Lady Mayoress Relief Fund for Homeless Children . Marrcus Jaacson. art director; Siimon Reynolds; Mike Skelton, photographer.

Print ad from a campaign for Glopec. Bobbi Gassy, art director; David Droga, writer; Uli Balla. photographer.

Right Print ad from a campaign for The Natural Gas Company. Sally Overheu, art director; David Droga, writer; Simon Harsent, photographer.

Ad for Casio . Marrcus Jaacson. art director; David Droga, writer; Richard Gates. photographer.

Television commercial for Bayer, Australia.

"Tula" :30 (Open on an animated cat next to a fish bowl) Cat: (sounding like actor Jack Nicholson) My friend here has a bad cold . Isn't that right? I've just the thing to fix it.

(Cut to cat's paw holding product) Cat: New Action Cold & Flu Relief.

(Cut to fish wrapped in a muffler. Two cold tablets plop down into bowl next to him) Cat: There we go . Because Action is soluble, it works fast. There's even Vitamin C in Action .

(Cut to cat looking through the bowl. magnifying his face . The fish jumps up, frightened) Cat You feeling better little buddy?

(Cut to cat holding fish over his widely opened mouth) Cat Good . I'd hate to have caught your cold .

(Cut to product shot) Woman Anncr. (VO): For effective relief from cold and flu. take Action.

Marrcus Jaacson. art director; David Droga, writer; Alex Proyas. director; Leah Cocks. producer; Craig Wood. editor; Meaningful Eye Contact, production company.

78

J A N U A R Y I F E 8 R U A R Y

I 9 9 3

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C 0 M M U N I C A T I 0 N

A R T S

79

0 MON

Above : OMON. New York creative directors Paul Bernasconi (left) and Rodd Martin.

This page: One from the print ad campaign for The Pelorus Film Company, a television production company, which represents award-winning directors. "It is a very competitive business. The problem is how to break through and convince agency producers and creative teams to work with Pelorus's directors," OMON , New York Limited president Joanne M. Davis explains. "This ad was for a director who has a repu tation of being very nice and very easy to work with ." Rodd Martin/ Paul Bernasconi, creative directors; Rodd Martin, art director; Paul Bernasconi, writer; Jonnie Miles. photographer.

Print ad for Le Coq Sportif. part of a campaign that plays off the name of an over 1DO-year-old sports apparel brand . "They are Le Coq 's first ads in the United States in about four years and they were designed to create excitement about the apparel among the sports clothing trade buyers," says Davis . "The ads first appeared in fashion trade publications such as Sports Style. This particular ad features Yannich Noah who won the French Open tennis tournament. He is now a musician and his style of music is very energetic. As a busy celebrity he only had a couple of hours available for the shoot which took place in Paris; it's a good demonstration of the art director's and the photographer's abilities to work fast. " Rodd Martin/Paul Bernasconi, creative directors; Rodd Martin, art director; Paul Bernasconi, writer; Chris Callis, photographer.

Right: Print ads from a campaign for Toyota that has run in major magazines since May 1990. "The ads are designed in a story-telling manner. understated, warm, human. It's Toyota's first corporate advertising campaign in America . The creative style of the ads, with the sepia photographs, the type that almost simulates the way someone would speak, was as far as we know the first time that graphic approach had been used . Since we launched the campaign, there have been many imitators to the degree that we have received letters commenting on this," Davis says. Rodd Martin/Paul Bernasconi , creative directors; Rodd Martin, art director; Paul Bernasconi , writer; Mick Pateman ("I 've lived ... ")/Jonnie Miles ("Of course ... "), photographers .

80

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U A R Y I F E B R U A R Y

I 9 9 3

B E AUTY WI T HOUT PAIN .

O.av 1d Oenncen , the world '• mon hanle .fru. award -w 1nnln& director, ii proudly repreunted by The Pe loru1 Film Comp.any

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IC AT I 0

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81

82

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1 9 9 3

0MON

Left: Television commercial for Triple M Radio .

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spn 11h;

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"Spot the Lizard" :60 (Open on darkness . A button is pushed and a series of qu ick shots of machines starting up . Cut to close-up of huge guitar tuning bolts beginning to turn) SFX: Machine sounds get louder.

(Cut to spotl ights . One spotl ight sh ines on a pair of horse-like hooves.

Cut to hundreds of musical instruments floating through the air. Flocks of flying musical notes being caught in nets and dumped into the furnace vats. As the vat is emptied, we see it is a music drum. The drum vat opens and pours a chrome-like substance through a pipe-like channel. As the substance flows through the channel , we see the piping is in the shape of a treble clef) SFX: Hissing and spluttering .

(Camera moves to reveal the conveyor belt is the neck of a giant guitar.

Cut to conveyor belt as a three-headed person head-butts end of the chrome blobs with an M. Cut to orchard with ears growing on trees. Women are picking the ears and tossing them into French horns growing out of their backs . Ears are dumped into a bowl in the background of frame. Cut back to conveyor belt; two very old men carrying trombones stand on either side of it. Their four-foot long beards are joined together. They dip their trombones into the bowl of ears and suck them up like a syringe and blow them out through the trombone. Cut to a nest of eggs . Headphones drop down from the roof and attach themselves to the eggs) SFX: Loud rock music.

(The eggs qu iver and crack open to reveal pairs of fluttering wings . A strange steel surgeon with rubber gloves picks up the wings and attaches them onto the chrome figures through M shaped grooves. The second the wings are attached, they are recognizable as baby Dr. Dans . Cut back to the conveyor belt where we see that one of the Dans has only one wing .

The surgeon turns and spots the faulty Dan . We follow the faulty Dan along the guitar conveyor belt and as it passes over the hole of the guitar, a red light flashes, the strings widen and the faulty Dan falls through the guitar hole into a pit of microphone snakes and is consumed in an explosion .

All the other Dans proceed and upon reaching the end of the guitar conveyor belt. are revealed as fully developed miniature Dr. Dans. Camera pulls back for a long shot and we see the whole bizarre factory scene in its entirety as a huge Dr. Dan overlooks the scene) SFX: Shrill guitar sound .

(Dr. Dan's wings spread . Cut back to the hundreds of tiny Dr. Dans leaving the assembly line and then flying toward an aura of white light coming from behind a black grill) SFX: Crescendo of rock music .

(Cut to a tight shot of a small portable radio playing Triple M. There is a pause and suddenly the radio explodes leaving nothing but a stone Triple M logo) SFX: Soft wh isper of radio .

Marrcus Jaacson, art director; David Droga/Siimon Reynolds, writers; Alex Proyas, director; Lois McKenzie, producer; Craig Wood, editor; Videopaint Brush Company, production company; Arizona Productions , soundtrack.

Print ad for Bonds Industries. Marrcus Jaacson, art director; David Droga, writer; Mike Skelton, photographer.

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Print ad for Samuel Taylor. Nick Morgan, designer; Simon Harsent. photographer.

Print ad for Arthur Yates & Company. Marrcus Jaacson, art director; David Droga, writer; Simon Harsent, photographer .

This page : Two ads from a campaign for Jonathon Sceats, an eyewear company. Bobbi Gassy, art director; Si imon Reynolds, writer.

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83

CRAIG CUTLER BY

LARRY

FRASCELLA

I

N THE PAST FIVE YEARS, CRAIG CUTLER HAS been swept up on a wave of work and recognition to become one of New York's leading advertising photographers. Three years ago, he plowed right through the recession, moving from a smaller live-work space in downtown Tribeca to a sprawling, echoing, pillarladen studio on lower Broadway. And now, he can boast a job list that most photographers would and do envy. For the record, his clients have included Tiffany, Steuben Glass, Bell-Atlantic, RCA, IBM, Estee Lauder and Neutrogena, among many others.

Cutler's comet-like streak across the adverti ing heavens may lead you to expect someone cocky and unnaturally slick. But in person, he is extremely down-to-earth. With his lanky Midwestern looks (he was born in Michigan, and grew up in Delaware), the 32-year-old photographer compares well with a young Harrison Ford. Just this morning, he walked to work over the Brooklyn Bridge with his golden retriever, Josie. On his desk prominently sits a snap hot of his newborn son, Jack.

When asked for the secret of his succes , Cutler squirms a bit over his first cup of coffee. "That' a hard que tion to answer," he says. "I guess the secret of my success i the people I surround my elf with. They take the load off me .

"The way we run our business, it's like a military camp.

We have fun but we put in twelve hours of work every day. We ' re always paying attention to details. I'll have one set-up and I'll start another, then go back to the other set and finish. It's a lot of work-and everybody i dedicated to death."

To prove his point, the studio percolates with activity.

People are brewing coffee, answering phone , checking equipment, carrying props and breaking down set .

Although no one seems particularly panicked, there' a definite sense of purpose in the air. The studio itself is made up of a client room (with TV and fish tank), several pacious shooting areas, a few offices and-a rarity in Caption information supplied by Craig Cutler.

This page: "This image is part of an ongoing ad campaign for Neutrogena products. Many of the shots involve water splashes or pours, but this shot was particularly complicated because we had to reconstruct the bars of soap after each attempt." Karen Grant, art director; Carlson & Partners, ad agency.

Right: Print ad for Tiffany. Headline: Few Things Become a Woman So. "As part of a continuing campaign for Tiffany, we are trying to achieve the feeling of looking into a Tiffany's store window display, featuring in this case, bracelets ." Karen Maini, art director; Ted Pettus, writer; Mccaffrey & McCall, ad agency.

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many studios today-a darkroom. "We do a lot of our own color. We even get into platinum printing when we're really stupid and want to kill ourselves," Cutler jokes.

His work may be time-consuming-and technically prodigious-but the results are often deceptively simple. In one shooting area, a small bottle of Tiffany's men's fragrance is completely obscured by a battery of ten lights.

"All these lights have assignments ," he explains. "But the sets are actually more complicated than what you see in the final shot. Basically, the whole feeling is that it should look like one light source, one direction.

"When I shoot, I try to push concept, concept, concept," Cutler says, outlining his guiding aesthetic principle. "A great shot isn't enough. If the image has a story or a concept behind it-something to carry your interest-you're going to be one step ahead of everyone else."

Like so many of the most successful photographers, Craig slid into his field sideways. "I thought I wanted to be an architect, believe it or not. I went to Georgia Tech to study industrial design for a year-and-a-half and realized that chances were I'd land up designing toilet flanges or something like that. So, very confused, I moved back to Delaware and went back to school full-time for graphic design and advertising at the University of Delaware. That was about 1980. It was a very intensive program-and very in tune with reality. There was one thing they really programmed into us: you had to come to New York to make it. And they took us on field trips to see separators, things like that. They really prepared you."

After graduating, Cutler came straight to Manhattan to work for premier commercial photographer David Langley-for whom he'd been a student assistant. "David was a kind of a photo father to me. He encouraged me and took the time to critique the work I was doing-which is something I try to do for my assistants here. The main thing David preached was 'Never specialize.' As it was, I always thought specializing was bull. A good photograph is all about your concept, your eye and your sense of design. That's why I try to do different things. I like to keep all the apples outside the basket in different directions," he says, nicely mangling a metaphor.

Ultimately, Cutler's eclectic style may be the real secret of his success. In recent years, he has explored everything from black-and-white to color to monochrome tints. He has used a wide array of printing techniques. And although he's primarily known for still life, he 86

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has moved further into location work. ("If I had to do still life every day, I'd probably go nuts. Going on location lets the pressure off.") Also, Cutler makes a point of staying abreast of computer technology. He pulls out his recent ad for RCA-which features the famous RCA dog and pup watching a roller coaster on a TV screen. "We shot this in five pieces," he points out. "I even shot the roller coaster separately and put it all together on the Quante! Paintbox.

Computers don't scare me. It's what's coming. And they've made my life a heck of a lot easier. We can present the agency with a finished 8x 10-and all the retouching is done beforehand. Of course, a lot of agencies are stuck in their old ways of depending on certain vendors, like retouchers.

And breaking through all that is hard. But the results are much better if I can take the whole thing through to the final image."

The last cog in Cutler's perpetual motion machine is selfpromotion. He's continually testing, re-doing books and developing mailers. And befitting the career of a man with a magic touch, he's been lucky to have many of his freshest ideas eagerly gobbled up by clients. "In this day and age, I think being a photographer is 90 percent business and 10 percent creative," he concludes. "I'm a firm believer in putting what you earn into advertising. Every free moment we have goes back into promoting. I'm constantly turning the cycle back around." And what's the pay-off for all this hard work and dedication? "Well," Cutler says, casting a quick look around, "you stay real busy."

Right One of a series of ads for RCA Televisions, each including Nipper & Chipper, the RCA dogs. Headline: The RCA 35 Home Theatre. So Real, it's Scary. "The trainer got the dogs to lean as much as possible, we were trying to make them look as if they were actually on the roller coaster.

For the roller coaster shot, we scouted all kinds of amusement parks to find the right one, and went a day ahead of time to rig two cameras to the car. The next day we rode the roller coaster over and over again to get the shots we wanted ." K. J. Bowen/Harvey Marco, art directors; Ralph Ammirati , creative director; Tony Gomes/Steve Biegel , writers; Chromart, computer imaging; Ammirati & Puris, ad agency.

"This photograph of Bell Atlantic Headquarters in Ph il adelphia was assigned to advertise a new software called THINK Software, and to show that there are alternative ways of envisioning objects as opposed to seeing only the obvious." Headline: Bell Atlantic, We're More Than Just Talk. Domingo Perez, art director; Charlie Gennarelli, creative director; Drake Sparkman, writer; J. Walter Thompson, ad agency.

Personal photograph taken in England .

"This image was shot from the hotel room window, the globe being balanced on an antique end table which was balanced on the edge of the windowsill . It was very shaky."

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CRAIG CUTLER

This page : "As part of their new advertising campaign, Ghurka wanted to have an international or European style to the settings for their line of bags. We scouted the surrounding area and created all the ads in the New York area. " Headline: Ghurka By Design . Michael Fiore. art director; Marty Weiss/Nat Whitten, creative directors; Ernest Lupinacci/ Adam Stagliano, writers; Weiss. Whitten, Carroll & Stagliano. ad agency.

This image came about after Craig saw his own x-ray. He found it interesting and used it in this image as an alternative way of showing accessories .

Right: "Personal study for self-promotion treating food and vegetables as abstract sculptural elements. as opposed to how one normally visualizes food ." · This photograph was created to complement a group of personal location images to be published in an upcoming self-promotion booklet. It was taken at the Hotel L'Arbois. Craig Cutler, art director.

National advertising campaign for Digital Corporation . The headline was "NAS from Digital. The Open Advantage" and the copy explained about about Network Application Software as a way of opening network capabilities and applications. Margaret McGovern. art director; Mullen Advertising, ad agency.

Advertising campaign for Tiffany. Headline: Pure Schlumberger. Karen Maini, art director; Stuart Mickle, writer; McCaffrey & McCall, ad agency.

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Left: The photograph of Big Ben is from a series of images produced in England. Craig traveled with a glass sphere which he used in his photographs to study reflections.

Personal work for a future self-promotional booklet.

Personal study of the reflection of an eye, playing off the silver patterns of the knives.

This page: Headline: The Bombay Sapphire Martini, as Envisioned

by Michael Graves. "This is part of a series of ads for Bombay gin, in which each glass is custom made by a designer. This glass was created by the architect Michael Graves, and the shot was intended to be an architectural study, through lighting techniques." Sue Wiedorn , art director; Karen Sultz, writer; TBWA Advertising, ad agency.

"Part of a series of images photographed for self-promotion. The point was to play off of the primary colors of the antique toy cars, using light and selective focus ."

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Left: Part of a series of eight images, a personal study contrasting lipstick with tools .

This page : As part of a personal endeavor, Craig traveled to Death Valley, California, Las Vegas and covered most of the state of Arizona over 16 days and 3,000 miles. Mirrors in three different shapes, octagon, square and triangle, were custom made and carried along throughout the whole trip . The mirrors were placed in different locations as a study of reflections.

From an article on food dips made from healthy ingredients for Fitness magazine , "Go For a Great Dip ." Craig Cutler/Patti Ratchford, art directors; Patti Ratchford, photo editor.

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CHILDREN'S BOOK ILLUSTRATION I S

TH IS

THE

BY

AXFIELD PARRISH, N.C. Wyeth, Arthur Rackham; the work of these and other turn-ofthe-century artists as they moved from the commercial arena to the world of children's books ushered in a period that has since become known as "the golden age of illustration." Their Victorian-period conjurings of knights and pirates, elves and fairies have remained the standard of imagery for children's literature ever since.

M

Until today, that is. Gary Kelley, Sara Schwartz, Lane Smith, Dan Yaccarino; these are four innovative illustrators at the forefront of a new movement in children ' s books , bringing young people new visions of headless horsemen, sibling rivalries and ... stinky cheese men?

Yes, the design sensibility of the MTV generation has hit the children's book world-hard. Contemporary artists are venturing into the realm of the children's book as they haven't for many years and a select group of publishers are welcoming them with open arms.

"Children's books are at the beginning of a new wave,'' says Howard Reeves, senior editor of Hyperion Books for Children . "For too long, children's illustrators were not the most challenging of illustrators. There was always the idea not of 'what do children like,' but of ' this is what is appropriate for children. ' Of course, there have been great children's illustrators throughout time who have been very creative, but until very recently, there was all this visual stimulation going on but you had all these really staid looking children 's books that had nothing going on visually. " It' s no secret to those who follow the business of publishing that children's 94

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NEW

MARISA

G O LDEN

AGE?

BULZONE

books are booming. Consumer sales in 1991 totaled almost $2 billion, according to The Book Industry Group, which predicts continued growth of over ten percent per year until middecade. And, with money to be made, not only are traditional children's book publishers increasing their output, but those who would have never thought of publishing a children's book before are adding titles for youngsters to their lists.

The output is high-there are 5-6,000 new titles published per year. Picture books have always been the mainstay of this genre and, reflective of our more visually oriented culture, there is a greater trend toward letting illustration tell the story. One of the most interesting aspects of this phenomenon is a new willingness on the part of some publishers to push the limits of illustrative sty le, making children's books one of the most fertile beds of innovative illustration today.

Gary Kelley, whose elegant, painterly illustrations have garnered industry accolades from all corners, has followed in the footsteps of those providing the illustrations for a group of classic tales-The Legend of Sleepy Hollow, by Washington Irving and The Necklace, a short story by Guy de Maupassant are among the titles he has published thus far with Creative Education of Mankato, Minnesota.

Children ' s book illustration was not something Kelley says he pursued, but he describes the experience as "just a joy. Working on these projects is like being a film director. I have complete control over the work and get to follow the characters through the entirety of a story. I control the styling, too: what the setting will look like, what moods will be set by each illustration, what the characters will wear."

Tom Peterson, president of Creative Education, has a reputation for working with sophisticated illustrators (Etienne Delessert, Roberto Innocenti and Chris W ormell can also be found on the Creative Education list) and equally talented book designers (Rita Marshall is the company ' s principal designer for most titles, including The Legend of Sleepy Hollow, and Marshall herself chose Louise Fili to design The Necklace). Peterson is also known for offering a lot of creative freedom.

"If we couldn' t have confidence in the people we work with, then we simply wouldn ' t work with them,'' he says.

"That goes for illustrators like Gary and all of the people involved with our books, especially Rita. We ' re a small company located in a small town, but I like to think that the quality of our books attract very talented people."

Kelley's relationship with Creative Education is proof of that attitude.

Approached in 1986 by both George Peterson (Tom's father) and designer Marty Neumeier, who was working on the company ' s behalf, he began his work with a series of books based on Ray Bradbury short stories. A few years later, Peterson , Sr., sent Kelley a stack of manuscripts with the request that he choose any that were of interest.

Kelley recalls , "I immediately picked

Cover and spreads from The Legend of Sleepy Hollow. "I particularly enjoy the art history research involved in these books. My inspiration comes from oil pa inters," Gary Kel ley says . "But I work in paste l, spec ifically because I can get the effects I wa nt fro m th e chalk- it's conven ient and I've become very comfortable in the med ium to be able to work quickly. The illustrations fo r Sleepy Hollow would have taken a year had I been wo rking in oil; that's three times longer than it took in pastel. " Rita Marshall, designer; Wash ington Irving, author; Creative Education, publ isher.

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======== SJ' ======= good come of this same reading and wri1ing. Wha1ever money the schoolmaster possessed, and he had received his quaner's pay bu1 a day or two before, he must have had abou1 his person a1 the 1ime of his disappearance.

The mysterious event caused much speculation at the

church on the following unday. Knots of gazers and gossips were collecied in 1he churchyard, a1 the bridge, and a1 1he spo1 where the ha1 and pumpkin had been found . The stories of Brouwer, of Bones, and a whole budgei of mhers, were called to mind ; and when they had diligently considered them all, and compared them with the symptoms of the present case, they

shook their heads, and came 10 the conclusion tha1 Ichabod had been carried off by the Galloping Hessian. As he was a bachelor, and in nobody's deb1, nobody iroubled his head any more abou1 him. The school was removed 10 a differen1 quarier of the Hollow, and anmher pedagogue reigned in his Slead. his <rue, an old farmer, who had been down 10 New York on a visit several years after, and from whom this account of the

ghastly adveniure was received, brough1 home the imelligence tha1 Ichabod Crane was still alive; thai he had lefi 1he neighborhood, panly through f.._r of the goblin and Hans Van Ripper, and panly in monificaiion a1 having been suddenly dismissed by the heiress; tha1 he had changed his quariers 10 a distam pan of the couniry; had kepi school and studied law a1 the same 1ime, had been admiued IO the bar, iurned poliiician, dec1ioneered, wriuen for 1he newspapers, and finally had been made a juS1ice of the Ten Pound Court. Brom Bones 100, who shonly afier his rival 's disappearance conducted the blooming Katrina in triumph to the altar, was observed 10 look exceed·

ingly knowing whenever the story of Ichabod was rela1ed, and always bum imo a heariy laugh a1 the memion of the pumpkin; TH E LEGEND OF SLEEPY H OLLOW

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Playboy, The New Yorker, Suntori, Chivas Regal and the National Football League, cites both technical and philo ophical differences in creating illustration for a children's narrative: "These projects are more difficult than my commercial work becau e they're more time-consuming. With commercial assignments, I can turn out three piece a week if I'm rolling. But if I'm working on one of the books, I can't switch back and forth-each type of work takes a different kind of concentration. So I have to do the book illustration more in bulk-I'll work on the book for say, two weeks, and then do commercial for a week."

Above: Gary Kelley.

Next Page: Cover and spreads from a series of Ray Bradbury books . "I illustrated four Ray Bradbury stories at one time; a cover and a half-dozen inside illustrations for each book," Gary Kelley says . "I try to mix up the subject matter: the point of view and what's being shown. I try to move from a portrait to a still life to a landscape, to an active scene; I want to keep the illustration as interesting as I can-for myself and for the audience."

Neumeier Design Team. designer; Creative Education, publisher.

The Legend of Sleepy Hollow because it's always been one of my favorite stories. It revolves around historyand who doesn't love a ghost story?

Besides that, Washington Irving has such a great way of describing things; I was really looking forward to using the text as a basis for the illustrations.

"I love the depth of involvement I can achieve in these illustrations. For The Legend of Sleepy Hollow, I deliberately adjusted my style; I purposely tried to give the art the look of painting before 1800. The story takes place sometime about 1790, so I did a lot of research into the painting of John Singleton Copley, Charles Wilson Peale, the Hudson River and the Naive Schools of painting because these were styles contemporary to the period in which the story took place. I wanted my illustrations to reflect their color palettes and the way these painters handled similar subject matter. You can see this especially in the illustrations with the horses; the horse gallops in an unnatural way because that's the way hor es were painted then.

There was no photographic reference for painters."

Kelley, whose commercial clients in editorial and advertising include Rolling Stone, Playboy, German

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At the ame time, Kelley cites the longevity of a book' life a another part of its appeal. He say , "I don't ever want to get to the point where I do my illustration just for the money.

People buy book and keep them; many people collect them. I won the Hamilton King Award [from the Society of Illustrators in 1992] for piece that ran in a magazine that was probably to ed in the trash by most people right after they read it."

Oversized and lavish, Kelley's books bring a very sophisticated sensibility to the children's book arena-and neither he or his publisher feel that any creative concessions are nece ary to work in this format. "I see these as books for any age group," Kelley says, "I've had people call me to do pure children's books and I love them, but that's not me. Classics that happen to be for children will, I think, always be my thing. The painting and drawing comes first for me; if children appreciate it, fine."

As a publisher, Peterson feels that kids aren't given enough credit, especially when it comes to their ability to appreciate and understand concepts. "Cute is well covered by other publishers; we want to present something different," he ays. "People wonder whether our illu trators are too sophi ticated for children, but each year at Bologna [the prestigious international children's book fair] one of the awards is voted

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1hc bo1·.

"He)', Mom! "

"Anclwhnc faces." "\Vh1tc face5! Really?''

"Whncl1ke dus, Morn?"

Three little Nejtro boys danced nrounJ m the dusty

ynrJ, yell mg. Now and then they looked nt the house fmnucally .

TI1c smallest threw dust on

"I'm coming," s;.ml Hattie, :md orcned the screen

his face, snccung. "This

door. "Where )'OU hear 1h1~ rumor!"

way I"

"Up at Joncs's, Ma. Tiu~v 5aY a rocket 's conung, fim

"Wimer than that," she

one m rwent)' )'Cars, with n white man in tt!"

smd gravely, and tumt.-d to thcskyngmn. There was a

"What's .i wh11c man? I never seen one."

"You'll hnd om," s:nd H.iui~. "Yes indeed, you'll find

troubled thmg m her eyes, ru 1f she was look.mg ror a

out."

"Tell us :lholll one, Ma. Tell like )'OU d1cl."

H;uuc fmy.•neJ. ''\~II. it's hccn n long umc. I \\;ts .i lutle girl, you sec. TI1at was back m 1965."

"Tell us nbout n whue man, Mom!" She cnme nnd stood m the yunl, look mg up tn 1he blue clear M:lrrnm ky with the thm whue Mnnmn clouds, and m the di rnncc the Milrtmn hills hrrnlm~ m the heat . She

said at In t, "\Xkll, firsi of .ill, 1hcy got whttc hands." " Wh1rc hands!" TI1c boys Joked, l:lpptng each other.

"And they got whne anns."

thundershower up high, and not sccmg tt made her worry. "Maybe )'OU bcm:r gom 1ck."

"Oh, Mom!" They srnrcd nr her m d1 belief. "\Xk l,.10t rowarch, we JUSt got 10. Nothing'sgomg 1ohappcn, 1s 11?"

"I don't know. I got a focling, 1s :111. " "\Ve JLISI wnnt m sec the ship and ma)1be nm down 10 the port :md see that white man. Whar's he like, huh, Mom?"

Thai 1md the ~11hcr sound.

"Listen," .s:ud McOunn quietly. "L1~ten . "

\'«: w--aucd ~1 moment. And then I hc1,r.1n m henr 11.

F1r ta great vacuumed sucking or rur, and then 1he

l:imcm. rhc bewildcrmcm, the loncltne or the great moru1cr, rolJl-J (WCr and upon US, above U , 50 rhat the sickening rl'Ck of its lxxl\' filled the mr, a stone's thickness away from our ccl l:lr. The monster j.!:lspcd and cried. llle tO\\'er wa~ t,t0ne. The light was gone. The thing th;n had rnllcJ to II acn-.sJ a null1on ye..·u wa b'()llc. AnJ the mon· ncr was opcnmg 11 mouth and scn<lmg our grc;n sounds.

The sounds o f a 11,g Horn, .1~.11n nnd ag;un. And ships for at.sc3, not findmgthehi,:hr, no<sccmgan)ilung, butp; • mg and hearing l;uc that n1glu. must'\'c thought: 1l1cre u

1.s, thl.' lonely sound, 1hc Lonesome ll1y horn. All's well. \'C/c'\'e mun1.lcd the c;ipc.

An<l :.o II went fo r the rest or th:u n1glu.

T

he sun wns hot ;mJ )'ellow the next aftcmoon when the rescuers came out tl) dig us from our smn1..-d·undercellar.

"It foll :lpan, 1 all," aid Mr. McDunn ~nwdy . "~

had a fr.~· h;id knocks from 1hc waves and 1c 11m crum·

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by a group of children. Kelley, Delessert and Innocenti have all won this award." He concludes, "I feel it is a misnomer to call these publications children's books-if a book is well done and beautifully produced, it becomes a title for all ages."

Disillusioned but not discouraged, Smith continued to develop dummies for children's titles and also met and began to collaborate with Scieszka.

Smith recalls telling the writer at the time: "Don't expect anything to come of this."

At the opposite end of the spectrum from Kelley stands Lane Smith, a surprising new superstar of the children's book publishing world-surprising not only because of his decidedly nontraditional illustration but also because of his phenomenal success in the field.

The first of Smith's collaborations with writer Jon Scieszka, The True Story of the Three Little Pigs, has sold over 550,000 copies in two years. The follow-up title The Stinky Cheese Man and Other Fairly Stupid Tales, sold out a 100,000 copy first print run-before the book even hit the shelves.

A dummy for the book that would eventually become Glasses-Who Needs 'em? made the rounds of a number of publishers before Smith met with Regina Hayes, president and publisher of Viking Books for Children. Although Glasses was rejected outright, Smith pulled out his work for The True Story of the Three Little Pigs just as he was about to leave.

Well known for his work in magazines such as Rolling Stone, Atlantic Monthly, Time, Newsweek, Mother Jones and The Progressive, Smith has also achieved critical success for the books of which he is the sole author/ illustrator. In addition to the aforementioned titles, Smith has published Halloween ABC, Flying Jake (both with Macmillan), Glasses-Who Needs 'em?, and The Big Pets (with Viking). He and Scieszka have also produced a series of illustrated novels based on the adventures of "The TimeWarp Trio," that are directed to sevento nine-year-old boys. Both his first and third books, Halloween ABC and Glasses-Who Needs 'em?, appeared on the prestigious New York Times Ten Best Illustrated Children's Books of the Year list.

Smith's interest in illustrating children's books goes back to his days at Art Center College of Design, but his success in the field is characterized by persistence and what he terms "a natural progression" based on experience. Despite critical acclaim, Halloween ABC and Flying Jake were not well received in the marketplace.

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Recalling that first meeting, Hayes says, "Beyond the illustration, it becomes a question of what is needed to make a book endure. I was knocked out by Lane's illustration, but when he showed me Glasses, which I think he had envisioned as a small gift book, I didn't feel children would respond to it. Then, as he was leaving, he pulled out The True Story of the Three Little Pigs almost as an afterthought. We accepted it immediately.

"Jon and Lane then went out on the road, visiting schools and bookstores, and the book really began to take off.

I think it was a real revelation for Lane being in the classroom, talking to kids and seeing what they responded to and found funny. After that he went back to Glasses and gave the pictures a context. I think he saw that children don't have the frame of reference of having read many books; they really need a plot line to carry them along."

Smith concurs that his attitudes have grown, saying: "When I came up with Glasses I thought, 'Wouldn't it be funny if I did a book and the only thing the people in the drawings had in common was that they all wore glasses?'

To me, this was a real laugh riot, but everyone rejected it; they just said 'what the hell is this?' So I let it sit for a while and when I came back to it I thought, 'well ... maybe that wasn't so

Cover and spreads from The True Story of the Three Little Pigs. "The best children's books work on many levels," says Regina Hayes, Lane Smith's editor. "They have a large following of parents who can read them 75 times without going insane before bedtime. because they are so well written. Lane is very well grounded in technique and a sense of what children enjoy, but what makes him different from illustrators that have gone before is that he is also drawing upon all these streams of contemporary art and culture, animation. comic books. television .

He works it all in with a strong design sense and a sense of what children respond to."

Molly Leach, designer; Jon Scieszka/Lane Smith, authors; Viking , publisher. Oil.

And you know what? That whole dam straw house fell down. And right in the middle of the pile of straw was the First Little Pig-dead as a doornail.

It seemed like a shame to leave a perfectly good ham dinner lying there in the straw. So I ate it up.

Think of it as a big cheeseburger just lying there.

He had been home the whole time.

that, I go a little crazy.

When the cops drove up, of course I was· trying to break down this Pig's d<><;>r. And the whole time I was huffing and puffing and sneezing and making a real scene.

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funny; maybe I'll actually do a tory.'

And I think this shows how my thinking has changed a bit too, meeting real kids and being around Jon. I added the kid and the doctor and made it into this confrontational thing with the doctor pointing out all the different faces.

Now it works as a kid's book and it's still kind of my original story-it's still kind of funky."

Above: Lane Smith .

Next Page: Spreads from The Stinky Cheese Man and Other Fairly Stupid Tales. Lane Smith describes the creative teamwork behind the book: "We did it almost like a film; storyboarding it right here on the studio wall. I did the drawings in order and Jon wrote the stories. We rearranged stuff and added transitional characters and then Molly Leach, who designed it, came in and added suggestions about the type. It was really collaborative ." Jon Scieszka/Lane Sm ith, authors; Regina Haynes, editor; Viking, publisher. Oil .

Echoing Kelley's attitude, this integrity of style is important to Smith. He says: "I imagine that if there was a forum for adult books with pictures, I might be doing that instead, but fortunately I haven't had to compromise my work.

When I started, I just assumed I would do what I do and not have to tone it down and I wouldn't sell any copiesand that's kind of how it went for the first two books. Somehow there was this weird little fluke with the Three Little Pigs book and I got accepted for what I do. I think it's really neat that I can do these books and they still look like my editorial work."

Smith does see subtle effects on his illustration that can be directly traced to his work in thi medium: "I'm more confident now that I can paint whatever I write. When I did my first book, I was just learning how to paint, so I tended to keep everything simple; a single figure in an environment. I don't avoid having a lot of elements now."

More surprising to the illustrator is the impact that success in children's books is having on the kind of commercial assignments he gets. He relates: "My work was always dark and stylized and I used to get all the hard-edged jobsthe bleak economy, abortion rights , murder. Now I get calls from like, Child magazine, and they ask, 'Can you do an article on the first day of school?' Or Parents magazine calls and wants me to do something on new playground accessories. I know they're calling me because of the books, but my tendencies are still sort of dark and I still try to put a little edge on things.

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So if it's an article on playground toys, my first tendency is to have the slide breaking and the kid falling on the ground-and that can be a problem."

Smith's view of the children 's book industry is optimistic, yet tempered by realism. Like other , he cite the often stifling power still held by librarians and their large market share, coupled with their tubborn resistance to all but a few wordless book . He al o ays that for every 500 copies of The Three Little Pigs he autographs at a book signing, there will be one copy of Flying Jake or The Big Pets. "It's kind of a fluke that they let me in thi business-90 percent of the book out there are still those cute ones. I think I've been omewhat vindicated because my books are starting to sell, but there's still an attitude that these books don't sell and you have to get past that with book ellers. I mean, you see kids who are riding around with these skateboards covered with funky graphics and then their moms are making them read 'rub the bunny ' books. I have my fingers cros ed because the more innovative things that are out there, the easier it makes my job. I just know that I wouldn't do books unless I could try to do something that I haven 't seen before or that I could be proud of. " The success of the Smith/Scieszka collaboration has not taken place without comment and small controversy in the industry. In every aspect, from the text to the illu tration to the type design to the sales figures, these books are decidedly nontraditional-and definitely not cute. Shannon Maughan, associate children 's book editor for Publisher's Weekly, the widely read trade magazine of the book industry, cuts right to the heart of the issue in tating: "Editors and publishers are alway looking for something fresh, but there's a bottom line in thi business as well. Success run on a book-by-book ba is with the more

" I have found a kernel of wheat," aid th Little Red Hen. "Now who will help me plant this wheat? Where is that lazy dog? Where is that lazy cat? Where is that lazy mouse?" ' Wait a minut . Hold e1·ything. You can't t ll your tory right her . Thi i the nclpap r. Th book ha n 't even tart d et."

"Who are you? Will you help me plant the wheat?"

'I'm Ja k. I'm th natTator. And no, I can' t help you plant the wheat. I'm a v ry bu y guy tt·ying to put a book together. ow why don't you ju t di app ar for a£ w page .

I ll call when In d you."

"But who will help me tell my story? Who will help me draw a picture of the wheat? Who will help me spell 'the wheat'?"

"Listen H nforg t th wheat. Here om the Title Pag !"

(for The Stinl{y Cheese Man & Other Fairly Stupid Tales) cm

VIKING

Well, as it turned out, he was just a really ugly duckling.

And he grew up to be just a really ugly duck.

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sophi ticated titles-and if it 's too sophi ticated, it will fail." Regina Haye agree in principle and in reference to The True Story of the Three Little Pigs , state : "Let me ay flat out that in 25 year of publi hing I have never seen a book sell like this one, or half, or even a quarter. Everyone ay now that we were o brave [in publishing thi book], but we truly never thought it wa a risk, and the proof is that when we saw the art we just knew we had to have a poster for the book. Marketing money is a scarce a hen's teeth in publishing and usually you only do that for the books you know will be important. " The importance of uch uccess goes beyond the heightened reputation of a single illustrator. It also bears great influence in making the medium attractive a a growth area for younger illustrators-and innovative publishing houses.

from my childhood-I thought this would be a great idea for a book.

"After I came back from L.A ., I pulled the sketche out and tarted talking to people I knew who had done children' book , a king them a lot of que tions about how you work in that format. So I put the illustrations all together in a dummy and brought it to Arts Coun el, my commercial representative . They were wild about it, and started bringing the dummy around to publishers.

Howard Reeves, who was ju t starting at Hyperion, was the second editor to see it and he accepted it for publication. The original dummy is actually pretty close to the book that's coming out. Some of the toys had to be removed from the final illustrations because of copyrights and licen ing problems, but the story and the drawings are essentially unchanged. "

Dan Yaccarino, whose first children's book will be published thi spring by Hyperion Books for Children, found this medium to be the perfect outlet for a very personal project. Big Brother Mike, which he wrote and illustrated, is based on his own childhood experience of growing up as a "tormented" younger brother.

Yaccarino, who in five years has racked up an impre sive stable of editorial clients including the New York Times Book Review, Businessweek, and "a lot of city magazines: Chicago, San Diego, Detroit, Miami," relates the purely erendipitous generation of his first book, "I was flying to Los Angeles and didn't have a book to read, but I did have my sketchbook.

I started drawing picture of two little kids and then I added all these little toys that I had when I was a kid: inflatable punching clowns, GI Joes, stuffed rabbits. By the time the flight was over I had spread out across three seats with all these drawing . I loved the idea of these pieces and was wondering what I could do with them.

They were little scenes, little vignettes ] 02

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The experience has been more than comfortable for Yaccarino. He cites a special enjoyment in both the working process of creating children' book and a great satisfaction in the outcome, saying: "There are so few opportunities for an illu trator to do this type of work. In editorial you ' re using a vi ual language that will be recognizable to everyone-that's your job. But children' books are o much fun , although they're completely different because of the pacing. With editorial, you have maybe five pages of text and you have to get all that information into one illustration. With a book , you get to take your time and have the great luxury of examining different emotions and different color .

"The other great thing about doing the book was that they let me get o involved in the design and productionwith editorial there's just no time for that. Now I'm starting to illustrate someone else's manuscript, and it's a learning experience. I've just tarted it so I don ' t know what it's going to be like. I'm excited though , becau e I like the story and have lots of sketches for different images."

While Yaccarino stresses that most of

the element in Big Brother Mike do come from hi own childhood, he under core the idea of the medium of children' book exi ting as the perfect outlet to develop pecific idea through illustration . "I did these drawing for me, so there was no attempt to change my tyle in creating them. The direction i toward children, but it ' not looking back and it ' not looking down. I wa alway read to as a child, and then I got a library card and I remember taking out the ame five or ix book every time. There' s no way to avoid these influences in your illustration-if you were lucky enough to have acce s to them, but a lot of my vision al o come from televi ion ."

Like all of the illu trator interviewed, Yaccarino stresse the importance of working on children' book for the enjoyment of it-and feel that finding the right publisher hould be part of the experience. "With a book there 's so much back and forth, o much input, you have to like the people you're working with or it ' going to be torture, " he ays. "At Hyperion , they understand my vi ion and I re pect their opinions. In editorial, the art director become your best friend for maybe three days of intensive work.

Working with an editor on a book project mean developing a long-term relation ship that hopefully continues beyond a ingle effort."

Yaccarino ' s editor at Hyperion , Howard Reeve , who developed a line of children 's book for the pre tigiou art book house Rizzoli International Publications before moving to Hyperion, which i an imprint of Walt Disney Publishing, is one of a handful of editor who are triving to create more than a niche for sophi ticated illustration in children's book . As might be expected, he expre se trong opinion about where these books fit into the greater marketplace and what opportunities lie ahead. "There is a lot of talent out there, but a lot of people don ' t want to do children' book because there 's no money in it unle you're in for the long haul. You have

Soon afler I was born he asked Mom. "Can you lake him back now> "

Al the playground he pushes me too high on the swings,

And w hen she sa id no. he tried lo mail me.

he never lets me down on the seesaw,

Above : Dan Yaccarino .

Left: Spreads from Big Brother Mike. "I think this book is an homage to those cheap little books of the 1960s that we all grew up on ," illustrator/author Dan Yaccarino said.

"Obviously it's more lush, but the shapes definitely come from my childhood-the furniture is definitely Eisenhower period and it looks like what my parents had when I was growing up. You rarely get to explore this kind of detail and have so much fun with it in editorial ." Mara Van Fleet, designer; Howard Reeves. editor; Hyperion Books for Ch ildren, publisher. Gouache .

Then he let me clean out his bird's cage,

and that night I was Master Controller •

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to be in it for the creation of the work."

He adds, "Children ' book that are more sophi sticated appeal to everybody , o if yo u market them to be where adults will pick them up , they' re going to buy them. And I think picture book are bought by adult more for the illu trations than for the story. But the adult market for children' books is a stron g one that is unfortunately overlooked by much of the indu stry ."

Yet the Rizzoli Children ' Library line th at Reeves established has been very ucce sful , albeit on a mall scale , specifically bec au e the company appear to understand the audience for which it books are intended. Thi s ucces has led to an off hoot which pro ve how great an outlet children's publi hing may become for illu trators.

them to carry the Children' Universe line a well. The line was also thought of for younger parent who are having children and don ' t want to buy typical book for their child."

Sara Schwartz i definitely at home in Ri zzo li ' artistic uni ver e. Unlike the illustrators di scu ed thu far, he pecifically developed her fir t children's book , A Leaf Named Bud, to explore a different style of illustration and to take a deliberate departure from her editorial work.

Children 's Univer e Book is an imprint of the Rizzoli line that bill s it elf as, " A fresh look in children's books by young, innovative designers and illu trators." Su an Carpenter, who is senior editor of graphic products for Universe Publi hing , a nd the perso n now in charge of the Children 's Universe line of book , explains its development: "The purpose of Rizzoli Children 's Library is to introduce children to art hi story , fine art and arc hitecture- and it's been a ve ry succe sfu l line. Becau e of that uc ce , it see med there wa room for another children's line that was very inno vati ve but upheld Ri zzoli 's commitment to quality.

"The Children 's Universe line uses people who are very succe ful in their own fields, but mo t have never done a children's book or children' product before. They are sculptor , toymakers, illustrators; and they 're chosen because of their great imagination and offbeat se nsibilities.

"And , there's definitely a place for the off-beat ensibility," Carpenter continue . "A lot of our ale take place in mu e um bookstore , up cale bookstores, obviously Ri zzo li bookstores, de ign stores. These are the areas that carry the Rizzoli books and we expect 104

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"I've been illustrating for a lmo t ten years now ," she says, "A nd I bega n doin g rea lly inten se storie s. The subjects kept getting more depre sing and more dark . As my illu stration started to take off, I felt th at I wa ge ttin g typecast as that kind of ill u trator. I began to feel that this tyle was closing me in and that I wa clo ing my elf off to the different ways that I wanted to express myself. Children ' books allow me to ex plore the se other area and ultimately bring parts of it back into my other work."

Schwartz, who also works in collage, watercolor, pencil and go uache with watercolor, began using what she calls her "three-dimen sional" technique for j ewelry and other sc ulptural objects.

A Leaf Named Bud grew out of her de ire to bring thi s technique to the printed page. The medium u ed is actually plastic clay. Schwartz forms all the pieces and then they are baked in a conventional oven and later painted.

Th e re sults are very excitin g to Schwartz . "The original in spiration i probably a natural thing temming from childhood, working with clay and Silly Putty," she says, "But personally, thi s technique engage me much more in the artwork and I think other people have a greater response to it. Even when it' printed, people feel that they can reach onto the page and pick off a piece. This technique brings omethin g totall y different to the artwork, it makes it come to life more."

It took almost two years for Sch wartz to develop the illu stration and story

Cover and spreads from The Big Pets. "In editorial, you just work from job to job," says illustrator/author Lane Smith . "If a painting 's not working out for me. I'll just get out the sandpaper and start reworking it. Or if something's happening that I like. I'll go in that direction. If I had planned for it to be a blue piece and then suddenly I decided to make it all red. it doesn 't matter because it's only one image and you're just trying to make it look as great as possible . But with books. I can't just think 'Oh . it would be great if suddenly I could make the background all red ,' because the publisher will say 'but the painting you just did was blue and it's not going to match the rest of the book.' I found that really restrictive initially, but now I'm coming to grips with work ing on the book as a whole and being able to experiment and still make it cohesive ." Molly Leach . des igner; Regina Hayes. editor; Viking . publ isher. Oil.

There , he played while his dog gnawed .

Together, they dug up old bones with other kids who came with their dogs.

And at Cricket Creek one little boy sat with his pet .

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behind A Leaf Named Bud; her i ter Paula wrote the final text. She had ju t begun making the round of publishing houses when a conversation with Lane Smith led her to Rizzoli. She remembers, "Lane called me up and aid that Rizzoli wa tarting thi new line and they were looking for non-main tream illu trator . He aid they were perfect for me and gave me the phone number.

If he hadn't sent me there , I probably wouldn't have known about them."

Ultimately, Schwartz i happy with the collaboration. "With Rizzoli , I had complete artistic control over the book," she says, " And I probably would have had to give that up with another pub! i her. I've got a lot of idea for other books, and I finally have a niche that feels comfortable for them."

She now see the three-dimensional work as another technique she can offer to clients but only when it' right for the subject. With regular client that include Rolling Stone, the New York Times, Ms., Sports Illustratedfor Kids, and multiple publishers for book cover assignments, Schwartz is emphatic when she states: " I take thi medium very seriously and I don ' t want to use it for everything. It ' s not a gimmick and I have to make sure that, in a busine sense, I have enough time to do it right.

"I adju t the medium to the subject. I think all my media have an edge, but the pencil is the most adult and I use it for the more serious work. The threedi mensi onal work is very primitive; I work with very straightforward color, almost as if I'm imitating a child ' s approach to art, because children are not that ophisticated in terms of their knowledge of color. " Schwartz has also been succe ful in attaining the goal she had in mind when first developing a children's book. She feels she ' broken through the typecasting that was limiting her range of subjects and sees a very positive effect on all of her illustration , saying, "The idea that I use now for ] 06

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editorial have become more direct, they carry a punch . They have a central image, and I only retain the detail and nuance when it ' neces ary. " Her next project for Rizzoli i not three-dimensional in its illustration technique, but in it re ult. " Head Trips" is a set of hats representing famous places and fact about foreign land . A Schwartz de cribes it, "The different hats will take you to different places. It ' a fun project and it gives me the opportunity to open up the other mediums that I'm working in. " " Head Trip " is part of a serie of die-cut paper toys that children can con truct and are a complement to the Children' Universe book line. These products stem from the minds of such illu trator as David Kirk and Steven Guarnaccia as well as Schwartz and Dan Yaccarino. Nestled in among the most sophisticated of children ' books, these constructions offer illu trators and other creative artists a completely new outlet for their talents.

Yaccarino developed his construction , called " The House of Fun," as a elfpromotion piece. It came to Susan Carpenter' attention during a meeting on other subjects and, as Yaccarino puts it: "It kind of nowballed from there. The project grew and grew until the total number of illustrations came to around twenty different pieces. " And although the more complicated production aspects of the project sometimes made him " very tense ," Yaccarino admit , "It's probably the most fun I've ever had drawing."

Carpenter, in turn, is very enthu iastic about the creative possibilities of these projects. " Because this is a very nontraditional line, we base our deci ions on everything from complete dummies to scraps of paper taken out of people ' s pockets ," she say . "It really comes down to how the artist or author can best convey their ideas . If I can understand the concept from a scrap of paper, that's fine. Usually it start with a conver ation and then omething begins and develops. The only one that

wa very concrete a a paper con tructi on wa Dan ' s. He came in with a prototype-and he wa the first one to come in with omething that i very similar to what we will actually be producing. His original wa more complicated than what it will actually be, but the piece sat on my de k for week and I just kept thinking about ways that we could construct it-and that children could con truct it. I eventually came up with an alternative that would work and that he wa happy with. " Everyone has a favorite book from childhood and each generation of young readers benefits from a new group of arti ts who e work become part of their visual con ciousness.

Traditional illustrated book in tyle deemed to be most appropriate for children abound in today ' marketplace. But what we are now experiencing , as exemplified by the acceptance and fostering of talent such as the illustrators detailed here , is a greater variety and opportunity for all styles of illu tration to come to the forefront.

Anne Campbell, enior editor for children ' s books at Stewart Tabori & Chang , the publisher who licen ed Gary Kelley ' The Legend of Sleepy Hollow from Creative Education for book store ales , notes: "There i a greater movement toward letting illustration tell the story; books without word s are becoming more and more accepted. Whether this reflects our more visual culture, who know ?"

Campbell sums up her opinion on the current children ' s book market with thi tatement: "There will alway be a place for Sesame Street-children re pond to thi type of book. But parent look at the finer works and feel that they are giving their children an introduction to fine art. These books are about broadening the scope of the children ' s library-it's about building our vi sual heritage ."

•

Above : Sara Schwartz.

Left: Spreads from A Leaf Named Bud. Sara Schwartz followed an elaborate procedure in the creation of this book. All of the clay shapes were first sketched out on the board to which they were later glued in position . These sixteen boards became. in essence. the mechanicals for the book, with blank areas left for the type, also hand-lettered by Schwartz. to be dropped in . The printer's color separations were made from very accurate transparencies taken of the boards .The book's cover. including the spine. was created in the same way. Sara Schwartz/Charles Kreloff, designers; Paula Schwartz, author; Howard Reeves/Susan Carpenter, editors; Children's Universe. publisher. Plastic clay and oil.

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STOCK PHOTOGRAPHY In the '90s the emphasis is on creativity, the environment, ethnic diversity and new methods of delivery.

BY

ANNE

TOCK PHOTOGRAPHY IS NO LONGER viewed as seconds from photographers' a signment work, it i here to stay and it is a big money industry. About 400 stock photo agencie compete for $300 million of stock image ale in the United States each year, according to Bahar Gidwani, chief executive officer of Index Stock Photography , Inc. , with locations in the dual stock capitals of New York and Los Angeles.

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in-house price chart, almost every photo is an exception."

Sarah Stone adds, "We have a comprehensive price guide with over 1,000 entries." While there may be a general cost for research, ay around $75, it appear that each photograph and its use need to be determined on a ca e by ca e basis. And it's fair to say that the end user will be absorbing some of the cost of increa ed research in electronic delivery and the cost of catalog production.

"There's been a gradual trend toward higher quality stock the last ten years," says Susan Turnau, president of Miami-ba ed Sharpshooters, Inc. " Stock was pretty much libraries of bad outtakes. People are shooting pictures that are much more exciting. The competition is much greater than it wa even three years ago."

Today, there is a new balance between traditional tock and photographer ' personal artistic expre sions. According to Stone, "The basic core of ubject matter i the ame, which reflects passages through life. The concepts that clients wish to illustrate remain largely the same." But the '90s emphasis on family and "cocooning" has had an impact on stock. "The kinds of images we can ell in the '90 are different than tho e in the ' 80 . Bu inessmen are no longer clinking champagne glasses over a great deal , but celebrating with family or working with furrowed brows to solve bu ine s problem ," he say . Tony Stone of Tony Stone Worldwide add , "The rapid growth of the senior population in the U.S. attracts more marketing which is aimed at these increasingly affluent consumers of goods and services, and that mean more relevant tock imagery- fit and lively senior shopping at the mall, actively enjoying upscale vacation or playing ba eball with their grandchildren."

"We've taken a sledge hammer to the parameters that used to exist for stock, we encourage our photographers to go wild," say Jessica Brackman, who went from a child model in early 1960s stock to chairman of FPO International, the New York company her father started in 1936.

The weak U.S. economy has resulted in increased sales for stock agencies as design firm and advertising agencies rely on their wealth of images instead of assigning original work. "With assignment work down, more and more photographers are finding stock is a crucial focus for them ," says Brackman. Sarah Stone, North American photography director for Tony Stone Worldwide (with a business office in Chicago and creative department in Los Angeles) , claims that because of the competition, "Stock actually has to be better than assignment work. " It 's erroneous to assume that a tock photograph will necessarily cost less than assignment work. Pricing considerations include where the photos will be placed: brochure, book cover, direct mail piece , consumer ad campaign, point-of-purchase. Other factors include the circulation, placement, exclusivity, market area (national, regional, foreign, international), market group (consumer, trade, educational or non-profit), size and period of usage.

Turnau says, "It's complex; although we do have an J08

TELFORD

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Ironically, one of the " new" looks for stock is actually an old look. FPG 's "Retro" catalog ha been very ucce ful , perhaps in part to America 's no talgia for a le complicated time. A time in which an emphasi on "family values" would not have been nece ary. "We really created that catalog on a lark," Brackman says. "We had this wonderful collection of nostalgic color photos from the '50 and '60s and everyone here loved the tu ff o much we had to believe the marketplace would too. " In Sweden , thi retro Clockwise : From the European Statuary series, Marcia Lippman/ Swanstock; Cosmotone background; FPG, Inc .; Art Wolfe/AllStock.

Center, Bill Longcore/Photo Researchers. Inc.

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tyle of American photography "ha become the total rage," he ay . "We market through an agent there who's been inundated with order . Its image have been used there for an entire advertising campaign for Sweden 's equivalent of our Lotto. "

or one of the fine art magazines," Swan on explain .

"We see ourselves at this point as an alternative resource.

I'd venture to gue there' not another tock agency that has platinum print ."

De pite the indu try ' embrace of fine art photography, Reflecting the world it draw from for its imagery , stock the emphasi on environmental images and the melting has gone from a proliferation of "cookie cutter face " a pot we've truly become, undoubtedly the bigge t buzz in Mary Virginia Swanson, owner of Swanstock Agency in the stock world is the advent of CD-ROM technology. "The Tue on, Arizona, refers to the prototypical happy Anglourgency of a ociety demanding more producti vity in le Americans decorating offices , homes and exotic locales , time has forced all of us to restructure how we do business," say Craig Aurnes , former photographer and founder of to howing a broader range of subject matter. Echoing demographics , multi-ethnic people are showing up in Los Angeles-based Westlight. Hi wa the fir t agency to tock catalogs in increasing numbers, put together a Photo CD Catalog with and there are more environmental Kodak. "The electronic environment image , computer generated images has numerous opportunitie for interand a move toward a "fine art" look. related service ," Aurnes ay . "For "THE KINDS OF IMAGES over ten year we've been using Ted Streshin ky, founder of Photo 20WE CAN SELL IN THE ' 90 s computers to analyze image trends.

20, a relatively small stock agency in the future, you'll want to con ider In Berkeley, California, founded in late ARE DIFFERENT THAN what it takes to look for an image 1989 says: "As the U.S. population is electronically.

THOSE IN THE '8 0 s. more ethnically mixed , it is becoming " In the past, the majority of stock very important in marketing and BUSINESSMEN ARE photography that was going into the advertising to show this variety. We creative company wa coming out of have to addres ourselves to people of NO LONGER CLINKING the combined efforts of the art director, other races and not as ume only photographer and production agency, CHAMPAGNE GLASSES Caucasians spend money in stores." to address the client's needs. As we Stone agrees, "Since we've been in OVER A GREAT DEAL. " have evolved, photographers have the U.S. market the la t three years, become more self-directed . Photowe are making a concerted effort to SARAH STONE graphers are producing simpler pieces how more ethnic people in the catalog.

TO Y STO E WORLDWIDE with distinct concept . They 've studied I always assume that stock agencies in the market and they want to be ucAmerica are concentrating on that." cessful.

There i an intent to try and Gidwani ays, "Black and white images make image with financial ucce in have turned out to be a very good market for Index. By it's a sophisticated study of future markets," Aurness mind ; putting the environment in [our catalog] last year and explains.

He says photographers today are more aware adding more family and ethnic images as those markets of clothing styles, colors that are trendy and of leaving open continue to grow, we are being creative on our side so areas in their image for type. our clients can be more creative."

Electronic layout is affecting art director's decisions.

Swan son , who started Swanstock Agency in 1991, has Photographers' responses to the se need s allow them to a new twist on the stock market; she represents fine art better implement their vi ual concepts. "More and more photographers who seek wider exposure for their work designer are using computer-based design," FPG's Jes ica than the traditional art gallery scene. "I saw a virtual army Brackman says. of fine art photographers who were receiving recognition "It's an industry that's weighted heavily in the print media in the gallery and mu se um world, whose work was never and video monitor environment. We need to adjust our een beyond that one arena," she says. Combine that with thinking," Aurness says . Brackman agrees, "What interests a decline in print sales, corporate collections, public fundme now are the trends toward high tech and the fervor for ing to the arts and grants to artists, another fallout of developing new technologies for toring, transmitting and the current U.S. economy. "I always felt the fine artists manipulating images. We've been developing system for needed a second marketplace for their work. Meanwhile that, but on the flip side is the quality of photography the younger art directors and designers were not finding and upleveling the whole sense of what can be available what they wanted in stock. More and more of my friends who were fine art photographers were getting calls from through tock. " She warn , "If too much emphasis is put individual art director who saw their work in a gallery on electronics, what we have is clip art."

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O VERVIEW OF S EVERAL S TOCK P HOTOGRAPHY A GENCIES Specialties

Accessibi lity

Number of Images

Catalogs

Special Services/Turn-around Time

Three , including " AllStock Word and Picture ," 192 page

Will scout photographers based on pecialty or geographic location/1-2 day

Yes

Immediate transmission available of atellite photojournalism arriving daily from around the world; negatives to follow/1-2 days

AllStock, Inc., 222 Dexter Avenue North, Seattle, Washington 98109 (800) 248-8116 (206) 622-6662 Three photo librarie : AllStock (wo rldwide and general); AlaskaPhoto (150,000 Ala ka original ); Animals for Advertising

35mm; medium & large format; CD-ROM

Over 1.4 million

Bettman, 902 Broadway, Fifth Floor, New York, New York 10010 (212) 777-6200 Fax (212) 533-4034 Pl , Reuter , Hulton Picture Library , New York Daily Mirror photo libraries ; woodcuts; engravings; fine art; movie till ; 15,000 year of picture

35mm; 4x5; large format; B&W

17 million

Cosmotone, Inc., 24422 South Main Street, Suite 503, Carson City, California 90745 (800) 872-7872 Fax (310) 513-6298 Backgrounds: metal , glass, paper, leather, wood, stone, cloth, miscellaneou ; 95% of the photograph are original created pecifically for tock

4x5

Over 1.5 million

Two. Vol. I $100, Vol. II $70; $160 for both catalogs

Catalogs work for cut and comp. o usage fee ; once you purcha e the image, you may use it unlimited times. $400 for 4x5

FPG International, 32 Union Square East, New York, New York 10003 (212) 727-4210 Fax (212) 995-9652 General stock ; geographic; agriculture; indu trial ; sports; natural hi tory ; sc ientific ; historical ; celebrities; still life; movie tills ; human intere t; fine art; food

All format ; CD-ROM (5,700 images)

6 million

Chromes; Gallery ; F/X; Archive; Retro

Personal account repre entatives; celebrity resource/Same-day express service

The Image Bank, Inc., 5221 North O'Conner Boulevard, Suite 700, Irving, Texas 75039 (214) 432-3960 Fax (214) 432-3960 Sports; people; scenics; animals; travel; busine s; con truction; tran portation ; agriculture; environment; medical; arts; fe ti vities ; food; architecture

35mm; 4x5; B&W; 16mm; D-1 and I " TSC or PAL

20 million ; I billion feet of motion picture; I 00,000 illustrations

65 offices worldwide/ I day

Catalog # 12 on CD-ROM. Demo videotape avai lable

Index Stock Photography Inc., 126 Fifth Avenue, 7th Floor, New York, New York 10011(800)729-7466 (212) 929-4644 Fax (212) 633-1914 Busine /industry; medical ; graphics; nature; people; port ; travel ; holidays; food; environment; concept ; model-relea ed vintage B&W

35mm; medium & large format

500,000+

Eleven+ B&W catalog

Sales taff do their own research ; accept MC/VISA/AmericanExpress; Lo Angeles office/I day

Liaison International, Inc., 11 East 26th Street, 17th Floor, New York, New York 10010 (800) 488-0484 (212) 447-2509 Fax (212) 447-2534 ature; people; sports; travel ; industry ; food; photo-illu tration; editorial; B&W

All formats, including video la er disc

Over I million

Computer video imaging ; VHS video cassette cu tom-created; international representation in 36 countries/ I day

Ye

Natural Selection Stock Photography, Inc., 183 St. Paul Street, Rochester, New York 14604 (716) 232-1502 Fax (716) 232-6325 ature: agriculture; nature abstracts; environmental is ue ; scenics; wildlife, e.g., amphibians, mammals, live tock, fi h, bird ; in ect ; plants; people in nature

35mm ; 4x5; 6x7 ; panoramic

250,000+

Also have illustration/1-2 days

One

Photo Researchers, Inc., 60 East 56th Street, New York, New York 10022 (800) 833-9033 (212) 758-3420 Fax (212) 355-0731 Science; nature; medicine; high technology. Repre ents the Science Photo Library; Biophoto Associates ; and several European agencies

35mm; 4x5; 5x7

Over 2.5 million

Two

1-2 days

Photo 20-20, 50 Kenyon Avenue, Kensington, California 94708 (510) 526-0921 Fax (510) 527-7740 Busine s; science and industry ; education; lei sure and recreation; fine art photo ; familie /chi ldren; underwater; aerial (U. S . and abroad); San Franci co

35mm; 4x5; 6x7

Over 200,000

o. Ample amples on hand

Quality images by 35 specialists. Top name photographer also avai lable for assignments. Computerized files/Overnight

Sharpshooters, Inc., 4950 Southwest 72 Avenue, #114, Miami, Florida 33155 (800) 666-1266 (305) 666-1266 Fax (305) 666-5485 Model-released people; general stock; geographic; agriculture; indu trial; sports; natural history ; scientific; glamour; human-intere t; st ill life

35mm; 4x5; large format

1.8 million

Three

Represents approximately 50 photographer who shoot specifically for tock in all easons and locations/I day

The Stock Market, 360 Park Avenue South, New York, New York 10010 (800) 999-0800 (212) 684-7878 Fax (800) 283-0808 Model-released people; agriculture; corporate; indu try ; medical; environmental issue ; education; science; concept I pecial effects

35mm; 4x5; large format; CD- ROM

2 million

LA computer network; Macintosh computer lab with CD-ROM capabilities; 26 international affiliates/I day

Six, including 216-page Vol. 6

Tony Stone Worldwide, 233 East Ontario Street, Suite 1200, Chicago, Illinois 60611(800)234-7880 Fax (312) 787-8798 Los Angeles Fax (213) 938-0731 Model-relea ed people; business and industry ; world travel ; port ; wildlife; environmental issues; background

35mm; 4x5; CD-ROM (5,000 images)

I 00,000+ color images; expanding black-and-white

Ye . Free newsletter,

Eye Two Eye

Unlimited access to photo research team with low annual fee/ ext day in the U.S. ; same day in Chicago and Los Angeles

Swanstock Agency, Post Office Box 2350, Tucson, Arizona 85702 (602) 622-7133 Fax (602) 622-7180 Minneapolis (612) 673-9382 Fine art photographs from per onally generated, long-term projects

35mm to exhibition prints

Bodies of work by over 300 photographers

Binders with samples are tailored to client's visual needs

Access to contemporary fine art photographers by frequent communication with museum curators and gallery directors

Westl ight, 2223 South Carmelina Avenue, Los Angeles, California 90064 (800) 872-7872 (310) 820-7077 Fax (310) 820-2687 General stock; Textures ; Pacific Rim ; Backgrounds for Advertising; Silhouette Solution ; Get Real (model-released people)

All formats; Photo CD Catalog (4,000 images)

Over 2 million

Eight

Stock color seps; cu tom sep (48 hours); 95 % original created specificall y for stock; overnight delivery of stock color eps

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Aurness claims the move to CD is almost like starting a new company. "Building the photographic file i a very expensive process," he says. "The advantage is , if you design your data ba e correctly , it allows the creative per on to be much more individual in their seeking. You can search for images by color, whether there is space for type, where the horizon line is located, ethnic background of people, gender; you apply all the possibilities inherent in the image. " Each of the 4,000 images in Westlight' Photo CD Catalog, available from Kodak , can be located by 40 different criteria. Westlight tudied the way people worked at their computers and came up with hundreds of "concept" words that help in the electronic search.

"What we're going to see through CDROM are more produced images and more homogenou images; the pricing will go down for those images as they get over-exposed," says Index's Gidwani. Stock is entering a more capital intensive era, he says, "where the smaller players will not be able to compete against the bigger players."

Technology i one aspect. "It costs a quarter of a million dollar to produce and ship a first-rate catalog. Our computer ystems alone are another quarter-mil lion dollars. Any major agency is going to be looking at a lot of money to play the stock photography game. As a result I think you'll see a few larger agencies dominating the market, and smaller agencies becoming highly specialized, or combining. "

While well-suited for comp the images are not of reproduction quality, helping to prevent copyright infringement and other unauthorized u age. Users are till " MORE AND MORE required to contact the stock agencies to get reproduction right and to DESIGNERS ARE USING request transparencies for a fee.

"There's alway been a segment of COMPUTER-BASED DESIGN. clientele who would infringe on copyrights and electronics is making it IF TOO MUCH EMPHASIS easier to abu e the right of photographers," says Streshin ky. (See Tad IS PUT ON ELECTRONICS, Crawford's "Legal Affairs" column, page 156 for an in-depth look at the WHAT WE HAVE IS i ue of copyright in regard to digital imaging. ) CLIP ART."

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"The u e for CD-ROM that I see for my agency, is producing a sample of ATIONAL what is in the file , rather than going to ex pen i ve catalogs. I hesitate to go into CD-ROM a the olution for my personal technology," Stre hin ky say .

"I' m not ure it is the final technology. While I see a world where we download from the computer, what the mechanism will be is still a question in my mind." Stre hin ky compares CD-ROM to the early day of VCRs, when people were trying to decide between VHS or Beta, and Beta finally di appeared. "The indu stry should tandardize," Turnau agrees.

JESSICA BRACKMA FPG I

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Despite all the industry hype, the CD-ROM technology is not yet in wide use. "I have to say that in my year-and-ahalf on the road, only one of my clients is CD-ROM ready, and it's a small record label in Los Angeles. I had a meeting recently at Chronicle Book , and they were the first one to a k me if I was going to go CD-ROM ," Swanso n says.

"I think it's going to be tremendous in terms of promotion," she adds, although she feels that the smaller firms she works with will be slower to adopt the new technology.

Photo 20-20' s Stre hinsky agrees, "A very small percentage of my clients have the technology . You see more in the high-end advertising agencies." Susan Turnau of Sharpshooters, says, "The people who are promoting CD-ROM technology will tell you a lot of people have it, but our own urveys don't back it up." FPG's Brackman adds, "It still eems to be quite early from the client end but I think in the next couple of years it could really explode." At Tony Stone Worldwide, their editors are all training in variou aspect of computer generated technology. ] 12

One of the problem with the new technology, is hardware compatibility. FPG, along with AllStock Inc., The Stock Market Photo Agency and Tony Stone Worldwide , banded with 3M to introduce a CD-ROM-based tock photo researching tool that include 5,000 image from each stock hou e, offered as a package which includes a CD player, guaranteeing compatibility. 3M developed the Macintosh compatible image earching technology that allow users to rapidly search, locate and retrieve up to 5,000 low-re olution (72 dpi) color image tored on a ingle CD-ROM disc.

The new technology does not come without problems.

"There are new area of concern," FPG's Brackman says .

"It's a whole new media, really. We have to develop new standards and practices. A the technology improve and you can download and go prepress, it could become kind of a wild wild west."

Susan Turnau ounds a final note of caution: "What you have to remember, with all this technology di cu sion, is that the image is the important thing. If you let the tail wag the dog, and focus all the attention on the device and the pictures aren't what the customer is looking for, then that's going to be a problem in the industry."

EXHIBIT SEND SAMPLES OF YOUR LATEST and best to Exhibit, Communication Arts, 410 Sherman Avenue, Palo Alto, California 94306. Describe the purpose, background and include creative credits. Submit TV commercials on %" videotape cassettes NTSC. Pieces to be returned must be accompanied by a self-addressed stamped envelope adequate to return material or your Federal Express number.

THIS PAGE: BROCHURE for Weaver/Steadman Camera

Support Systems. A camera "head" is the piece of equipment that allows the camera to rotate at the end of a tripod or crane arm in motion picture photography. "My mandate from the client was to visually communicate the superior balancing capabilities of the Balanced Fluid Head, and the ease with which a perfectly balanced camera rotates," explains designer David Mellen, of Santa Monica-based David Mellen Design. He determined that a combination of CAD and 2D illustrations would allow him to mo t clearly show his client 's product. A blue dot repre -en ts the camera's center of gravity throughout the brochure.

David Mellen/Bruce Olandt. illustrators; Polly Rose, writer.

To CELEBRATE THE ARTS, Marchetti Special Events Inter-

national, hired Margaret Car ello of Chicago's Carsello Design & Illustration, to produce a series of posters representing each event in their 1992 season. Carsello used her strong background in painting and fine art to create a series of abstract paintings that expressed each specific event's creativity and energy. "Oggi," Italian for "today," represented an Italian high fashion show. The overall color scheme selected for the show was purple and red with accents of golden yellow. With that in mind, "I layered paint on top of paint to create movement,'' Carsello says. "The swash of red paint that curves from top to bottom represents the free flowing feel of the clothing on the models, as they walk down the runway." The re ponse to Marchetti' calendar of events led to a promotional campaign consisting of brochures, invitations, banner , Thirts, publication advertising, limited edition commemorative posters and the sale of the original artwork.

Karen Baker, writer.

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EXHIBIT

LEFT: ONE FROM A SERIES of outdoor billboards for Spy

magazine. "J. Walter Thompson has been encouraging u to get involved with small busine es to stimulate creative advertising locally," says Dorothy Marcu , enior vice pre ident and director of corporate communications for the New York agency. "We thought Spy wa an interesting magazine with a definite point of view o we presented our work and they liked it. They wanted to change ome mi perceptions about the magazine so we decided to boldly state Spy' strengths a a mart, hard-hitting, funny publication. " Because it was an outdoor campaign , they wanted a quick read for impact and for the tone they echoed their client ' reputation for oftentimes outrageou statements.

"People have been calling and a king for copie of the ad ,"Marcus say , which give a clue to New Yorker ' re ponse to the campaign.

Mike DePirro, art director; Christina McKnight, writer.

OUTDOOR CAMPAIGN for Tarzana Regional Medical Center.

"Tarzana needed to promote their new emergency department. Since no one schedules an emergency, more temporary media like newspaper eemed inappropriate.

Outdoor was chosen as the be t way to get the word out quickly and more permanently throughout the area urrounding the hospital," Robert Goraieb, public relation coordinator for Salvati Montgomery Sakoda, Inc., in Costa Mesa, California, says. "Rather than show the usual casts, bumps and bruise , we decided to concentrate on thing one might hear just before the hospital's new emergency department might be needed."

Scott Montgomery/Ken Sakoda , creative directors; Vincent Picard i, art director; Mike Miyamura, designer/production; Mickey Taylor, writer.

for Weekend Exerci e Company's line of Marika M-Control Bodywear. "Marika wanted to launch a new line of bodywear which has more Spandex, it's kind of like control top pantyhose for the whole body," explains creative director/art director Matt Haligman , of San Franci co ' s Atlas Citron Haligman & Bedecarre. " Obviously, the women who would be mo t interested in this new line are women who aren't nece sarily thin. Our question was, "How do you show this in an appealing fashion way?" The master painting in the campaign were the templates for the photography, by designer-turned-photographer John Casado.

THIS PAGE: PRI TAD CAMPAIG

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Matt Haligman/Heward Jue, art directors; Jeff Atlas/Kirk Citron , writers; Reno ir, artist.

A SERIES of posters to promote newly developed typefaces from Alphabets, Inc. , a type design company located in Evanston, Illinois.

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Ejaz Syed, creative director; David Robson , des igner/typographer/ writer; Peter Fraterdeus, type designer; Kevin Anderson, photographer.

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THIS PAGE: PRI T AD CAMPAIGN for Chateau Ste. Michelle.

Different ads in the campaign are running in 22 consecutive issue of the wine industry bible Wine Spectator. "Since the typical winery ad in this magazine show a winemaker standing in his vineyard holding a bunch of grape , we adopted a different tack, u ing unus ual illustrations and an unconventional tone of voice," says account manager Lambert Jemley, of Seattle's Cole & Weber. "The problem with selling wine made from Wa hington state is that it's not from California. People in the wine trade tend to assume that Washington has a climate that's too rainy and cold to grow quality grape ,"says Jemley. "The story here is that the Columbia Valley appellation of Washington is actually sunny and dry, and is, in fact, quite similar to the famou Bordeaux region in France."

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Steven Johnston/Steve Luker, creative directors; Steve Luker, art director/designer; Steven Johnston, writer; Brian Cairns ("Cynical")/ Julie Paschkis ("Sloth"). illustrators.

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R IGHT: SPREADS from Hammond Incorporated's Hammond

Atlas of the World, a much needed cartological update of our changing world. Pentagram New York's Michael Gericke was asked by Hammond to prepare the complex editorial and pictorial de ign of the Atlas. "The company spent 5 years and $12 million creating a computermapping system based on satellite-derived imagery. It' the fir t completely new atlas on the market in the la t 20 years ," says Gericke. The Pentagram team made recommendations on the Atlas 's colors, typestyles, symbols, charts, graphs and depictions of the new projections and advances in map making technology , which included TerraSculpture, a proces of producing detailed physical relief maps by hand tooling metal and wood probes on sheets of aluminum, developed by master cartographer Ernst Hofmann, a veteran of 37 years experience in Hammond's more traditional map-making procedures. The Atlas feature se.l ected text accompanying each map; it includes a 115 ,000 entry A-Z master index and timely editorial content on topics like demographics and rate of population increase, energy and resources, global warming and deforestation and standards of living. All the maps were computer-generated using Hammond's tate-of-the-art digital cartographic world database. All of the continent maps use Hammond's Optimal Conformal, a projection created by Dr. Mitchell Feigenbaum, the mathematical phy icist renowned for proving the theory of predictability of chaos, and for his work in fractal geometry. The design portion of the project was an ambitious two-year effort for Pentagram that brought designers together with mathematicians, cartographers and digital technology.

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Michael Gericke/Colin Forbes, art directors; Michael Gericke/Oonna Ching/Sharon Harel, designers; Fred Shamlian, writer; various photographers/i 11 ustrators.

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LEFT: AN ENTIRELY DIFFERENT project for New York's

Pentagram was The Good Diner. Former architectsturned-real estate developers Sheldon Werdiger and Evan Carzis, decided to open a 3,000 square foot diner at the corner of 42nd Street and 11th Avenue as their first venture. They retained Pentagram to name the new restaurant, provide a complete graphic package and consult on the interior design. Partner Michael Bierut came up with the name, and asked partner Woody Pirtle to draw the logo , a cup of coffee elevated to sainthood. This divine graphic program extends to menus, announcements, signage and stationery. Architect partner James Biber conceived the interior as a celebration of the inexpensive vernacular materials commonly used in diner construction, in keeping with the deliberately unpretentious theme. Stools and banquettes are upholstered with Naugahyde in deliberately clashing bright primary colors, and floors and tabletops are covered with three types of linoleum. As Biber says, "Everything ' s average; nothing matches." Biber and Bierut collaborated on the art program for the restaurant, huge framed photocopies of archetypical diner objects like salt shakers and teabags. They also designed a series of fifteen slightly different clocks which hang over the counter. "The Good Diner represents an attempt to merge two great traditions from Greek culture: Platonic idealism and tasty cheeseburgers," explains Bierut. "Jim and I have attempted to make the synthesis a reality. " Lisa Cerveny, assistant designer; Michael Zweck-Bronner, assistant architect; Gotham Equities, client.

Tms PAGE: OUTDOOR CAMPAIGN for Levi Strauss Canada. "This project came about because the Levi's Company needed the consumer to know that Levi's is more than a straight leg blue jean," says photographer George Simhoni of Toronto' s Westside Studios. The campaign was initiated during the back-to-school period and was comprised of ten different billboards and ten transit shelter posters featuring various Levi's products. "The response has been excellent, with more product moving at retail, and a much improved awareness of the other products made by Levi's," Simhoni adds.

Brian Harrod, creative director; Diane Eastman, art director; Ian Mirlin, writer; Harrod & Mirlin, ad agency.

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LEFT: "THE PERCEPTION of Kinney among many

women is not a fashionable one," says Ron Lawner of Boston's Arnold Fortuna Lawn er & Cabot.

"The purpose of this campaign was to surprise women that Kinney has such fabulous fashion. " "Hey, Fashion is where you find it" :60 Clothing retailer: We only carry black.

(Cut to various shots of models in black clothing) Designer 1 (VO): There is no deceit in black.

Designers 2: What is black?

Designer 1 (VO): Black is the true absence of color. There is no color in black.

Clothing retailer: Because black ...is black ...

(Quick cuts to designers and models showing garments in brown, green, red and then white) (Cut to woman in party dress. showing off her shoes) Woman 2: You won't believe where I got these shoes .

Camera card: Kinney.

(Quick cuts to different shoes on models) Camera card : That's right. Kinney.

Designers 2: Fashion is .. .lt's what you do ... lt's where you go ... (they get cut off by music) Camera card : Hey, fash ion is where you find it.

Ron Lawner. creative director/writer; Bill Boch. art director; David Kellog, director; Margie Sull ivan. producer; Propaganda Films. production company; Jim Haygood. post/editor; Kelle Kutsugeras. stylist; Elias Associates, music .

RIGHT: "THE PURPOSE OF THIS campaign was to

reenergize a 120-year-old liquid laxative that had been slipping in sales for a long time," Ellen Fleischer, vice president, creative manager of New York's Ammirati & Puris, Inc. , says. "Apparently, it' s paid off because sales are steadily increasing."

"Raymond & Maureen " :30 (Open on a middle-aged couple) Maureen: You know. it's not something we talk about.

(Raymond doesn 't even look up from his paper) Raymond : Then don't talk about it.

(Undeterred , Maureen presses on) Maureen: But when Raymond gets ...

Raymond : Get's what?

Maureen: .. .you know. constipated ...

Raymond : What?!?

(Maureen raises the bottle) Maureen : I give him Phillips' Milk of Magnesia.

Raymond : Put that away!

Maureen : Phillips' works overn ight and immed iately starts soothing the stomach acid Ray sometimes gets when he's feeling ...

Raymond : Aw. Maureen ...

Maureen : Well . it's true. honey.

Anncr. (VO): Only Phillips' immediately starts soothing your upset stomach and then relieves constipation overnight.

Super: Of all lead ing brands. only Phillips' relieves constipation and acid indigestion . Use only as directed.

(Cut back to Raymond and Maureen) Maureen : It can happen to anybody.

Raymond : But you don 't even know these people.

Super: You 'll feel better with Phillips' .

Ralph Ammirati. creative director; Tod Seisser, art director; Ozzie Spenn ingsby, producer; Dektor-H iggins and Associates, production company; Tom Nelson. writer; Sterling Health/Phillips' Milk of Magnesia, client 120

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Tms PAGE: COVER AND SPREAD from four-page insert for Nike International Women's Fitness Campaign from Portland, Oregon's Wieden & Kennedy. Producer Katherine Gulick says, "We tried to focus on what makes the idea of fitness so appealing to women all over Europe: the joy of movement, the companionship of others, the way you feel when you take care of yourself, regardless of what country you live in. And, at the same time, we wanted to acknowledge the importance of personal empowerment for all women, everywhere."

Dan Wieden. creative director; Warren Eakins. art director; Sharon Lewis-Wilker, designer; Janet Champ, writer; Deborah Turbeville, photographer; Oliver Harrison, type/illustrator; Basia Zamorska, stylist; Marek & Associates. Inc ., production company.

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Today we hear about saving our rain forests, doublehulled oil tankers, recycling and conservation. There has been an awakening. A renewed sensitivity to the plight of the earth and its inhabitants, who are trapped in a conflict between the need to sustain humanity and the need to protect what sustains us. ne small step for man.

One giant leap for mankind." Those historic words were spoken by Apollo 11 Astronaut Neil Armstrong as he took those memorable first steps on the moon July 21, 1969.

We were awed at the sight of Earth from Apollo ll's lunar vantage point. The view we shared gave us a new perspective on our planet and our place in the universe. How ironic that a journey so far from home brought us closer to recognizing and appreciating the fragile envelope of life-sustaining resources that we all share.

Now more than two decades later, our journey continues. But it has taken a new direction: inward, toward reconsidering and rediscovering our planet and the interdependence of its ecosystems.

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The recent Earth Summit in Brazil helped to open dialogue and encourage sustainable development through projects that boost economies without depleting our nonrenewable resources and threatening the world's plant and animal species and their habitats.

The l..acandon Rain Forest in Chajul, Mexico, is considered the most biologically diverse area in North America. But the forest here is under attack by logging and agriculture. As it disappears, so do the animals who live here. Coati, tapirs, jaguars, brocket deer, harpy eagles, peccaries, howler and spider monkeys, scarlet macaws and parrots. In such an interdependent ecosystem, if the animals disappear, then hope for the forest's regeneration disappears as well.

The l..acandon Rain Forest is just one of 15 areas of the world that scientists have identified as home to a wealth of threatened biological diversity. Although these "hot spots" contain less than one percent of Earth's land surface, they support a third of all terrestrial species - species that may not survive without humankind's concern and intervention.

EXHIBIT

0 QUES T I ON

LEFT: SPREADS FROM A commemorative edition of the 25th anniversary annual report for the Zoological Society of Houston. According to art director/designer Lana Rigsby, of Houston-based Rigsby Design, "The purpose other than simply celebrating the wonderful variety of life at the zoo, was to explain the Zoological Society' s growth as part of a worldwide development of consciousness about conservation." Writer Steve Barnhill noted the connection between mankind's first view of Earth from outer space and the beginnings of our understanding of the planet as an interdependent ecosystem. The first legislation protecting endangered species was passed in 1967; later that year the Zoological Society was founded. Illustrator Andy Dearwater produced a series of illuminated letters-one features Earl, the zoo' s first animal, and another the 1920 Houston skyline. Texas photographer Arthur Meyerson' s animal portraits, a series originally commissioned for the zoo in 1987 by Lowell Williams, form the visual centerpiece of the book. "The response has been universally enthusiastic," says Zoological Society director Joan Wicks.

"I'm pleased that the book has been so fascinating to people both in and out of the Zoo."

Lana Rigsby/Troy S. Ford, designers; Steve Barnh ill/ Melissa Landrum , writers; Nancy Will iams, project director.

CA S UALS

THIS PAGE: CORPORATE IDENTITY AND packaging for

FALL COLLECTION

Question, a Bombay, India company manufacturing casual wear. "The first task was to arrive at a brand name. 'Question' was decided upon as it symbolizes the rebellious, iconoclastic nature of the target audience-teenagers. The second was to design a logo which didn ' t have a flavor-of-themonth approach, so typical to this line of business. A logo which would stand the test of time; and possess dignity in spite of the maverick brand name," explains art director/designer Amol Sardesai.

The simple look of the shopping bags was offset by the vivid colors of the price tags.

Strawberry Fields, ad agency.

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PROVEN RECYCLED PAPER HAS JUST MET ITS MATCH.

Technology

DESIGN IN TRANSITION THE

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Knowing that graphic designers made up a large share of their conference attendees, the Seybold Seminars organization asked me to host a panel of designers discussing the role of computers.for Seybold San Francisco, held September 22-25, 1992. Over 30,000 people attended the conference, which is an international forum for electronic communicators and desktop publishers. On the following pages is an excerpt from our discussion.

-P.C. Lance Hidy is a type designer, poster designer, computer artist and photographer. He lives in Newburyport, Massachusetts, with his wife, writer Carolyn Coman, and their two children.

Clement Mok' s experience spans a broad range of media including print, video, computer-based multimedia, event marketing and environmental design. Prior to opening his design office in San Francisco , Mok spent five years as creative director at Apple Computer.

Wendy Richmond is co-director of the WGBH Design Lab in Boston. She works with a team to produce computer-based multimedia projects and to develop design guidelines for interactive multimedia. Her Design Technology column has appeared in CA since 1984.

Greg Samata is a partner, with his wife Pat, in Samata Associates, Inc., a Dundee, Illinois, design firm. A graduate of the Chicago Academy of Art, Greg is a member of the 27 Chicago Designers.

Leslie Smolan is a principal and partner in the New York design firm of Carbone Smolan Associates. She and her partner, Kenneth Carbone, have worked together since 1977 and are best known for the redesign of the visitor information system for The Louvre.

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TECHNOLOGY CA: The first thing I want to talk about is your experience getting into computers.

Samata: It was a real struggle for me because when you grow up with a pencil and a piece of paper and think that you are going to transform that tactile thing to a creen, I didn't think I wanted to do that. It's taken me 31;2 year to finally figure out how incredibly important this is to us.

Smolan: We wanted it a an organizational tool. We got into it so early that it didn't have a lot of the thing that people are using it for now.

Mok: Buying a computer was just as important a buying a photocopier, so there wa n' t a transition for me.

Richmond: I started working with computer about 1978 at MIT, what was then known as the Architectural Machine Group. It wasn't to use computers as tool , I wa interested in them as a communication vehicle. What got me turned on was to see books that moved and could make ound.

CA: Was it helpful to get training from other people?

Hidy: I was lucky becau ea a type consultant to Adobe, I was able to go there twice a year and get very high level training from some of their designers. One of the thing that has worked in our studio is one-on-one training with someone who ha ma tered the software.

Smolan: The younger employees tend to be much more sophisticated on the equipment so they're often training people who have been in the business longer. Young people used to come into a firm and didn't have as much to contribute, but they do now.

Mok: No one at our company knows every ingle piece of software. There are three programs that everyone has to

know, but then there are the ancillary types of software.

One person specializes in color prepress or color separations. Another per on does modeling and rendering. It's really through the process of many specialists that we've been able to teach one another about software.

Samata: We bought our first system because one person in the office was just pushing, pushing, pushing for this. We said, go and sit in a room for six months and figure out what all this means. And he did. He literally trained everybody one at a time. He went to maybe two seminars and then studied it on his own and transferred his knowledge to the next person and the next and next.

CA: Is it better to upgrade the hardware you've got, or get rid of it and get something new?

Smolan: We have so many computers that to upgrade them all would bankrupt us instantly. We have a lot of SE/30s that have been upgraded as far as they can so we set up a technology room where we have three high end computers.

Our concept is to keep those as current as we can and take the older equipment and give it to the people who would use them the most. One of the keys is that everything is compatible. We have a systems manager who makes sure that everybody's computer is in synch.

Hidy: A lot of the designers and artists that I know can't afford the top of the line Apples and yet they want to work with 10 MB Photoshop files, so we recommend that they buy a secondhand MaclI and upgrade it by putting in an accelerator card. We have Radius Rockets, but there's some good ones like DayStar and others. I think you can get an old MacII with a Rocket to run as fast as a Quadra 950 for about 30% less than the Quadra' s street price. However, there are three or four different mother boards with the Macll. Some work with accelerator cards and some don't.

So the secondhand path can be a little risky, but it's not a bad way to go.

Mok: I'm in the Lance school of upgrading. We're kind of down-scaling the food chain of older machines for people

doing word processing or spread sheets. For the first time, I am looking at a Unix work station as my next step up.

Richmond: Many people in our audience work in in-house departments and that's where the trickle down theory works the best. At WGBH, the people that have greater computer lust push harder for getting the latest everything. They're excited because they have somebody they can give their old stuff to and therefore justify it. But you have to be in an organization where there's somebody to give it to.

CA: What's happening in terms of the industry with entry level positions?

Smolan: I told someone the other day, I wanted someone who could draw. And they said anyone who graduated after a certain year can't draw anymore because they went right to the computer, which was a horrible thought.

Samata: Years ago, Pat, Jim Hardy or myself, did most of the design work, so we would look for talented production people that could think, but were not necessarily creative.

Now we just hired two new people who happen to be incredibly talented, very creative, and have computer capability as well. These two people had their entire portfolios on Iris prints. There wasn't one thing that was rubbed down, pasted down or cut out and they were beautiful portfolios.

I find that they have absolutely no hand skills at all. Even flapping a board is a big deal.

Smolan: It's kind of dangerous in a way because we focus so much on the concept and if you can't draw your idea out first, the computer is a very slow tool. You can waste an awful lot of time looking for an answer in this machine.

CA: Now that everybody has worked with computers, have you found that your creative thinking process has changed?

Do you start with a pencil and paper? Do you start right on the computer?

Hidy: My drawings were based on photographs for years before I got the computer which is true for a lot of illustrators. I was trained to be very apologetic about that

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because Rembrandt didn't work from photographs. When I started getting into Photoshop, the photographs came to the surface and I realized that I was a terrible photographer.

A lot of them were not correctly focused or exposed. The computer forced me to relearn how to take photographs and to develop my photographic skills. So that was a big influence.

Smolan: We still create on paper and work back and forth with the computer. The projects are so large that we often have a team of people working together. It's difficult and boring to watch the design on the screen. So we get it into some hard form where there are moveable pieces. Then I can really participate in the design process. Also, the tactile issue of how things feel is important to us.

Doing it all on the screen is too abstract.

Richmond: Often when we are working on a project we'll all start by doing sketches separately and then all come together and compare sketches. We've also started scanning our sketches into the computer. The reason we do that is we want it to look as loose as possible at the early stages. One of the problems when you' re making something on the computer is it looks too real too quickly and people get stuck and think oh oh this is it, this is final.

LANCE Mok: In our office there is a coated white wall, and we get together in the room and doodle on the wall, and through that process, whatever is the most appropriate way for a person to work, be it a sketch or be it on the computer, is how the designers in our company design.

Samata: I'd like to expand on what Wendy said. When we first got the computers everything looked fine on it and the designers wouldn't go any further with it. Out comes this trademark with typography that looks like it's done and maybe it's not that good and maybe it's just OK. Maybe it's beautiful, but it doesn't solve the problem. Sometimes the computer has stopped the process, so we don't do that anymore. We want to work on paper until we have at least the direction we think is going to meet the criteria and then try to implement it.

CA: Technical innovations have always caused critics to say, the quality of the craft is diminishing. The real truth is there is always crummy stuff regardless of the technology.

Is the quality of graphic design improving?

Hidy: It is a knee jerk reaction when a new technology comes in. Yes, a lot of terrible photography resulted when everybody got Brownies, but it also meant that a talented young genius like Ansel Adams, at the age of fourteen , could get his hands on this technology and start doing great things. There's going to be more garbage but there's also 130

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going to be a larger quantity of excellent work as a result of the tools being acces ible.

Smolan: I have a concern that the convenience aspects of the technology are going to overshadow the quality issues.

I have a perfect example. Putnam is a client that we've just done a whole new communications program for and we took a typeface and we had it kerned specifically for them because every time PU happens, the U is really far away from the P. It didn't work on every computer and they're having some problems with it and they said, "Why can't we use the original font? We have outside suppliers and are they going to have problems?" When you have the control, it's one thing, but when you ' re taking a design and giving it out to a wider group, they just want to make sure that it is ea y enough to do. When we push the technology into the non-profe ional level, and people don 't know the difference, whatever comes out is "good enough. " I'm afraid that "good enough" may become the standard.

Richmond: I think there are more of the problems of quality in communication now because you' re moving into other media and there' entirely new question about how you get a mes age across.

Mok: In every new technology there ' a bias and you have to give up something.

I'm trying to decipher right now what I'm giving up in order to gain this other sensory experience with a new communication medium. I don't think that working on the computer is as sensory rich , with all the tactile feelings, yet at the same time there is a ensory richness with video and with sound. As someone who is in the business of communicating ideas, that' a whole new palette for me to work with.

HIDY

Samata: I'm finding that the age of who 's doing the work in our office has a lot to do with their sensitivity of typography. To the younger people, great type is if you tear it apart and Xerox it and raster it. Year ago, you were concentrating on the letter spacing or the size. Today we ' re just creating new thing all the time and the younger people say, "Hey, this looks like hell. This is cool. I like this. I don't understand it. I can't read it. It doe n't make sense to me, but boy is it cool."

Mok: Their value base is more television and screen-based than that of print-based aesthetics. So we have to look at that in evaluating what's good and what' bad.

Richmond: A friend of mine, Ronn Campi i, a publication designer, was telling me recently that he's got all these new jobs redesigning publications. They happen to be publications that he designed previously. I asked, "Why do you have to redesign stuff that you just designed a couple of

years ago?" And he said, "Because the way people are reading is so different." This new generation of readers reads in much smaller chunk and needs to have more activity.

MTV ha changed the way we read.

Samata : We have some client relationships where we'll design something and share a disk. Sometimes that works.

Sometimes it doesn't, because the client decides they're going to change the type size on something or change the whole concept without even telling you. We just walk away from those relationships.

Hidy: I want to say some things about typographic quality on the computer. Having come out of a long tradition of monotype type setting, we were used to using old style Richmond : At WGBH, one of the problems is that everyfigures and small caps. A lot of the film composition that body at the station has a Mac and the design department is became available in the early '70s ditched all of that. The a service department. So what's going on there is the other one way that these companies could distinguish themselves, departments say, "I don't want to have to pay for you. My since they all had the same lousy film matrixes, was to see budget is too small. I have to cut back. I'm going to buy a who had the longe t kerning list. "I'm a better typesetter PageMaker and do it myself." This is a BIG problem and it than you, because I've got more kerning pairs." In the is taking a lot of work at WGBH to figure out how the world of monotype there's always been design department can work with the other uneven character spacing and it gave a departments. There was a period when people were saying we should not allow other particular look to a word. When I see type done with custom kerning tables, it starts to departments to have PageMaker. Well, you look like Velveeta Cheese. I think the can't do that. So that's a big challenge for biggest problem with computer type isn't people who are in-house. the type, it's the hyphenation and justifiMok: What we found is that we end up asking cation defaults that come with QuarkXPress more questions of our corporate clients. Are and PageMaker. One of the most important we designing something that you ultimately thing we did to improve our typesetting want to have, and if so let's structure it in a was to change the H and J settings to mimic way that would be in the most appropriate the way monotype used to do it. I also think format. So going in it's not just selling a that Adobe and the Font Bureau and some system, but also providing a template for the of the other companies that are really trying client to work with.

CLEMENT MOK hard to bring out new fonts deserve some Smolan: I think we're a lot like Greg. I think credit because they are reincorporating small it's on computer or not the clients can still take whether capitals and old style figures and bringing out some new one's design direction and alter it if they want to. I think concepts like the multiple master which reincorporates it's a question of managing them correctly to help them buy optical izing so you can get a real 6. How long has it been into what you created so it's not destroyed with tinkering. since we've had that? I think that the idea that computer type is not really a high quality professional medium is not Hidy: One of the ways that we protect ourselves from entirely true. In the right hands with the right technology problem with the client or their printer is we say once we that's out there today you can do stuff that compares provide this film to you and a match print we relinquish any favorably with the best monotype composition. respon ibility for it on press. You have a chance to check the film before it goes on press. We can afford to remake Richmond: There's so many new things you can do by film, but we can't afford to reprint a job so we try to having intelligence actually built into the type. The softdistance ourselves there and make the client and the printer ware can look ahead and if it knows there aren't going to take on some of that responsibility. be any descenders for awhile and a Y comes along it can

insert an alternate Y and have the descender come way over.

CA: Do you find client are sometimes pushing technology?

Hidy: Right now in the United States there are no children's book publishers, at least the big houses, which are interested in using the Macintosh to do art work. Farrar, Straus wa opposed to me doing my book on the Macintosh and they only agreed to do it because I told them there was no option. I worked with Stinehour Press who understood they were dealing with experimental technology and were willing to put on their life jacket and head out into some heavy water with me, so I felt like I had a partner that was willing to support me during some of the problems.

CA: I've talked to a lot of designers who said they lost a lot of bread and butter work-the identity applications. Has it all gone in-house?

Smolan: The problem for us, as business people, is that the client is buying our creativity and our thinking. Our hourly rates don't even cover what we really cost, and the places where we used to make money were at the bottom where we could have people who were less expensive and less experienced but still charge enough money to actually help pay for the people at the top. So our businesses are going to have to shift accordingly to reflect that.

Mok: We do need to look at the pricing structure of what COMMUNICATIO

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Technology DESIGN IN TRANSITION

we're really providing our clients. The client wants a system that they can maintain so we need to go into pricing and bidding a project with those thing in mind.

Samata: It used to take us 6 months to do 150- or 200-page standards manuals. Now we are doing them a lot quicker because of the technology, so the design firm has to reconsider their billing structure. We all want to be profitable. I think clients understand this. They know what things cost. They know the process and it puts the onus on us to be that much better.

Mok: Let us supply the templates, but maybe structure a retainer type of relationship where we go in on a quarterly basis to set up a review process so that we are monitoring that which we have created. We have yet to iron that component out.

Smolan: I have a client who said I want to consider you like I con ider my lawyer and my accountant and I can call you in at any point.

Clients are very sophi ticated these days and realize that at some point we'll have to come back or they can pass things by us. It's a longer term relations hip. It's just how to structure that.

Samata: I think that's happening, for sure in corporate identity. That takes the place of the bread and butter work going away because WENDY everyday you were in those relationships working with the client , it was a great feeling.

I've had two companies do the exact same thing to me.

CA: How do you go about billing typesetting now that it is being done by someone on staff?

Hidy: We had a lot of experience at the beginning of doing typesetting and other computer chores, where the clients expected that they would get great savings because we were doing it all on the Macintosh and we quickly educated them that they were not going to save any money. We knew generally what it cost to get a page of typesetting done. In color prepress, we knew how much it cost for them to go to the prepress house. We charge the same amount and we justify that by saying, "You used to have to send out stuff to four or five different vendors. You had to keep track of the schedules, make sure it was on time, bring it all together.

We're doing all that stuff, you don't have to do that work anymore. So you're saving overhead and hassle."

Samata: We charge exactly what the typesetters were charging us. The technology is allowing us to do it a little faster and a little better. We absolutely should be paid for this.

Smolan: We've tried to find some other way to bill for all that equipment because obviously we ' re maintaining a lot of it. We know what it costs to run it. People are setting things all the time and I can ' t track every Ii ttle piece of paper that comes out of the machine. So we ' ve tried to 132

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figure out a way to bill a percentage of the fee back for computer typesetting.

Samata: We do it all by function code. We finally have come to grips with a pricing structure for our people internally. It's hard to do. It takes a lot of analy i and a lot of history and losing an awful lot of money for a long time until you figure it out.

CA: Wendy and Clement, you ' re doing multimedia projects and you don't have those years of history to develop estimates. How do you go about estimating projects?

Richmond: Inevitably when you start a project the client says, "What's it going to cost?" And, "What's the budget?"

I'll just say two major point quickly. One is that we try to alway tart with a Phase I. And in the Phase I, you at least get paid enough money up front to determine what is the overall cope, what kind of equipment you are going to need and how long is it going to take. But, the one mo t important thing i to determine a due date and stick to it. Because the best way to figure out the cost is to ay, "I'm going to put thi many people on it for this many months and with this much equipment." If you go beyond that date you spend more money.

RICHMOND

Mok: Multimedia has a lot of variables. We try to build into the proposal a step-by-step process to reevaluate the cost so there is a proactive way of managing the expectations of what they are receiving. The hiring of voice talent, and engineering in itself can blow the budget by 20 to 100% very quickly. So, we have to become very good project manager .

Richmond: Absolutely , and a key phrase in there is change of scope. If there's a change of scope somewhere along the line that's a new point of negotiation.

CA: Nobody's mentioned leasing equipment.

Mok: Half of the machines that are in my office are leased.

Samata: As far as we ee, there's no tax advantage, there's just cash flow advantage. So if you can afford to buy it's probably to your advantage to buy.

CA: I wanted to touch a little bit on ethics. (Collective groan from the panel.)

Hidy: I went to Houghton Mifflin and saw a N.C. Wyeth painting hanging up on the wall and I said, "How did you get that?" They said, "It was done as a work for hire." Those days are over. Now illustrators continue to own their work.

We as designers tend to be very careful and not want to rip-off the photographers and illustrators whose work we use. If it's going to be used again we renegotiate a price with that artist. Now every one of these fonts that you use

had a designer or somebody who produced it. I'm a type designer and I have friends who are type de igner and if omebody copies a font and gives it to another person, that's exactly the same a taking a photograph by your friendly freelancer and giving it to another client to use in their publication. You're depriving that per on of some re idual royalty on the ale of their font.

Smolan: Part of the problem is that the software companies make it so expen ive and you constantly get hit with upgrade expenses. We looked into buying a pack of Quarks and the di count was $10 or $20 a program which is minimal on a $600 program. I think we would all like to compen ate the companies if it wa affordable.

Hidy: The software companie ales programs are really oriented toward large corporate clients. They are thinking about a ite licen e for a big corporate building.

What ha n't been taken into consideration is the small studio . I think there i a lot of guess work in the indu try about how to price software. Where do they get this price? It just came out of the air. It's not based on anything except a hunch and I think some of these hunche are wrong. I think that has encouraged piracy.

want to deprive creative people of their living.

CA: Have any of you experienced an unauthorized usage of design on disks?

Smolan: Who needs a disk? I had one client tell me that they loved our work but they didn't want to pay us so they hired some designer to just copy it.

Mok: Somehow, I think designers aren't aggressive enough the same way photographers are. We see design as more of a ervice than a piece of art. It should be treated the same way we treat an illustration or a photograph.

CA: Wendy, you wrote once about a designer whose a sistant ended up taking some work on disk and then contacted the client?

Richmond: The person quit and subsequently stole the client. And the client said, here is a much cheaper designer and we already have the templates, fine. But I'll tell you that person's name is MUD around town. I think that is where you start talking about ethics.

Samata: With the digital connection we now have with clients, they literally can come in and take everything out of our computers. We now have the mechanisms to prevent people from stealing our work whether it is coming from the client or another design firm.

Samata: I wonder how many people in this GREG SAMATA CA: What is the margin of error as far as busines haven't copied one piece of softmeasuring things on the computer? ware somewhere. It does get expensive. I have a problem from a photography point of view. If we go and hire a Samata : I have a real problem with the measuring thing. photographer and pay him $2,000 for a day 's work, plus We really double check our measurements on everything, expense , and he comes back with two pictures we can use page size, type size. It's not a perfect science. We say it's in an annual report, by law he can't allow the client to use going to be a half an inch and ometimes it' fivethem in an in-hou e publication without additional payment. sixteenths. If you've got more than one person working on I think it' starting to hurt the process becau e there isn ' t something, there's inaccuracies in sizing so you really always a budget for it. But there are some photographers have to be design police. who are tarting to hold clients hostage and we are in the Hidy: There is a trick that you can use for the accurate middle. We are agents. We are hiring for our clients. So placement of the elements of your design, if you' re using now the photographer says, "Yeah, well they can't use it Adobe Illu trator or QuarkXPress. You can set the cur or unless they pay me again." So now we're talking to distance if you go into preferences so when you hit the photographers and finding out what their philosophy is. little arrow keys for left or right or up or down you can tell And if they say, " No ," then we may not work with them it how far to move the object. If I have to place a margin because there may not be a budget. It's a tough issue. that's nine-sixteenths of an inch from the trim, I go into Mok: If you are going into a project working with a photothe preferences and figure out the decimal equivalent of grapher and you are manipulating their photographs, are you nine-sixteenths and mark that and then I hit the arrow key infringing their intellectual rights or are you coauthoring and it moves it precisely that distance and I don't have to this piece of work which by definition means you supposuse the ruler tool becau e I know the computer has moved edly should hare ome residual rights from subsequent it exactly. I think on XPress it give you the coordinates sales of that same image. There 's a lot at stake financially too, so you can place things precisely. and no one seems to have the answers.

CA: We solved the problem by going metric. All our vendors Hidy: The bottom line to remember is are the creative people who are involved here, going to be able to make a living if we pursue this cour e. In no instance do we

are metric anyway. Now nobody's trying to convert inche or coming up with decimal equivalents. We're also writing coordinates down even though it's already on the disk. It COMMUNICATIO

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Technology DESIGN IN TRANSITION

doesn't hurt to have hard copy with data on it. That solved a lot of problems.

Richmond: I know everybody says this, but the kind of intelligence computers are capable of having makes me think that it's so ridiculous what we have to deal with.

Frankly I think it is disgusting.

Samata: And you're not going to take it anymore.

Richmond: In many cases I don't. I'm very heartened by the fact that there is a lot of work going on in the computer industry to build more intelligence into computers, to eliminate what we're going through right now, having to be so specific and having to describe to these stupid machines so carefully what we intend for them to understand. I think that the more vocal we are about having to conform to the way the computer wants us to do things instead of the way we want to do things the better. I know that people in computer companies are all ears.

I just had to say that 'cause I think we' re all really paying a lot of dues right now and we should be rewarded for it. (Audience laugh)

CA: What are designers going to be doing in the future?

can't imagine that I could do it as well as an engraver or somebody that's got better equipment, better craftsmanship, better technology.

Hidy: One of the good things about the computer is that it allows you to customize your own job description. For myself, I'm an old print maker. I want to do those color separations. I don't want anyone else crewing around with it. I want to do it myself. So I ay, OK, I want to be a prepress guy, I want to be a type etter, 'cause that's what I used to do when I was 20-years-old. If you don't want to do the prepress work there are service out there who will do that for you. If you want to have someone el e do the proofreading or polish up your typesetting you can buy that service.

Smolan: We already do so many jobs. We do signage. We do packaging. We do print.

We get omeone to print a job well, and know how to direct them. Why take on the other jobs of being perfect typesetters, perfect separators, when I already know how to delegate tho e perfectly? And typesetting, it feels horrible to take that back. I don't want tho e jobs back. I just want someone I can trust to do them beautifully, better than I can.

Mok: I'm seeing the shift of our studio towards CA: Part of the problem here is defining what a graphic designer does. serving as executive producers, putting teams LESLIE SMOLAN together to create these interactive digital Samata: We continually have a problem projects. Be it a demo, be it a title or a book or trying to get ourselves established as a whatever. I think the studio size will probably somehow profession. Leslie and I have been through thi with the remain fairly nuclear, very small.

AIGA. If we could get to that point, maybe we could get to the next step. I mean anybody that pick up a pencil or picks Richmond: One of the things going on at WGBH is up a mouse is a designer. something we call multiversioning. It is the idea of producing a lot of different products in different media CA: What if you don't want to work with computer ? Can from one basic idea. Rather than saying "OK, we have the you survive? television program, now let's make the book, now let's Samata: I used to think so. I don't think you can compete make the interactive video disk, now let's make the CDin a lot of area . That's the issue. What do you really ROM," it's more with this idea: "Let's think about what want to be doing? I think it would be hard to compete simultaneous media we want to create." When you start financially without a computer. I think you'll survive thinking of a project that way, there's a lot to consider in because the services are till there. Not everybody can terms of design and production from the start. There is the afford the technology, not everybody wants it. potential for the designer to have a much larger role both Richmond: No, I agree. I think that what will happen is that in terms of conceptual work and what's going to be the people who aren't using computers will specialize in some proper medium for this idea. other area that is going by the wayside. I know that there is Mok: About a year ago, Sony came to our studio to look at a particular letterpress company in Boston that is doing a our capability and they probably best described who we booming business. I've never seen him so busy. are. We're a system integrator for design. So that's what Hidy: Yeah, but being able to use a waxing machine or we're going to be doing. rubber cement is a little different from letterpress printing.

CA: System integrator doesn't sound as sexy as graphic It's not that glorious a craft. (Audience laugh) designer but it might be more appropriate as we take on CA: On that note, it is time for us to go. Thank you. more prepress functions.

Samata: I will never do color separations. I refuse to do that. It won't happen in our office. Never say never, but I J34

J A N U A R Y I F E 8 R U A R Y

I 9 9 3

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Company _ _ __ _ _ _ _ _ _ _ _ _ _ _ _ _ __ Title _ _ _ _ _ _ _ _ _ _ __ _ _ __ _ _ __

City _ _ _ _ _ _ _ _ _ _ _ _ State _

Zip _ _ _

Phone _( _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ __ _

1 . Which best describes your company's business function?

0 0 0 0

Ad agency Graphic Design firm Independent Designer Photo Studio

0 0 0 0

5 . Do you receive catalogs from other stock agencies?

Magazine Book Publisher/Packager Corporation Other (please speci

0

Yes 0 No Which ones? _ _ _ _ _ _ _ _ __

c OMSt llT 0 ___:_ ~ .- '\ 1

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\

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I'

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6 . If I could only call 3 stock agencies, my top choices: 2 . Which best describes your job title?

Creative Director 0 Photographer 0 Art Director 0 Production Manager Illustrator 0 Graphic Designer 0 Art Buyer 0 Other (please speci

1. - - - - - --

O

3. - - - - - - - - - - - - -

O

3 . I read the following magazines at least 3 times a year

. In a year, I use stock photography in my projects

lilii••·······

O Communication Arts 0 Photo Design 0 AIGAA 0 Publish 0 Graphic Design:USA 0 Mac"' 0 Step-by-Step 0 American Photographer 0 Magazine Week 0 Ad Week 0 New Media 0 Publisher's Weekly 0 ID 0 Print 0 Presentation Products 0 Confetti 0 How 0 Art Direction 0 ASMP Bulletin 0 Ad Age 0 Photo District News 0 MacUser 0 AVC Presentation D & D 0 Spy 0 Folio D Computer Pictures My favorite graphic design trade magazine is

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0 Yes

0 No

------

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Rarely, if ever

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0 No

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Technology Reviews

L ISA S PIEGELMAN

RESOLUTION: GET ORGANIZED T WOULDN'T BE A NEW YEAR IF THERE weren't New Year resolution . You know the tandard list: lose five pounds , exercise regularly and get organized. So, it eem only appropriate to tart off the New Year, and thi column, with products for getting organized such a scheduling programs and photo databases.

I

to schedule and organize one per on , or it can be u ed to coordinate schedu les for an entire office. It is available in four configuration : the single-u er ver ion i $99, the fiveuser version is $449, the ten-u er ver ion i $799 and the 50-u er package is $3,799.

Now Software Inc ., 319 S.W. Washington Street, 1 lth Floor, Portland , Oregon 97204, (503) 274-2810.

NEW TIME M A AGEME T AND C ALE DAR SoFTW ARE

One of the leading makers of appointment book and calendars, Keith Clark, is now offering a computer version of their popular AT-A-GLANCE, time management planners for IBM PC DOS computers. And ju t like the traditional planner, the AT-A-GLANCE Time Management Software program has a daily planner, monthly calendar, master task Ii t and address book. In fact , it ha everything you need to organize your life.

Imspace System Corp. , a privately-held company, recently introduced PICTpocket, a low-cost image brow ing utility for the Macinto h. PICTpocket is de igned to provide graphic de igners and desktop publisher with an ea y way to locate and retrieve digitized photographs, clip art and QuickTime clips. It can support thou and of image , according to the company.

AT-A-GLANCE is organized into four primary functions: Time Manager, Day AT-A-GLANCE, Contacts and Print functions. There is even space in the program to put unlimited notes, and the program can print mailing labels and automatically dial phone numbers. It i priced at $49.95.

A great feature of this product is that it can can Macintosh disks and folders for an image and create an icon or miniature version of the original image. In fact, the product only stores the e im age icons for reference, unlike other image databases that rely on words.

Keith Clark, 101 O ' Neil Road , Sidney, New York 13838 , (607) 563-9411 , fax (607) 563-8811 .

PICTpocket i available for $79, and it comes with everal other utility programs. Or, even better, you can dowr. load a free, functional demonstration copy from online ervices such a CompuServe Graphic , Macsy , Multimedia Forum or Im pace System BBS. But a word of caution, when you download from bulletin board , you run the ri k of encountering a computer virus.

M ACINTOSH CALE DAR PROGRAM

For the Macinto h computers, Now Software makes a calendar and time management program, called Now Up-To-Date. It is similar to the AT-A-GLANCE program in that Now Up-To-Date schedule appointments and print calendars for appointment books. However, it doe n' t have the trademark AT-A-GLANCE look and feel, or the breadth of time management features.

Recently, Now Software has started shipping Version 2.0, an improved release of the software. This latest version features an integrated To-Do list and WYSIWYG appointment book printing, according to company officials. The To-Do list function lets you literally create a Ii t of item To Do. This list appears in a separate window on the screen, and the items in the list can be prioritized and marked with due dates or completion dates. Also, this new ver ion supports WYSIWYG printing for printing the appointment books. Moreover, Version 2.0 has an AlarmsClock function that allows you to view all the appointments and To-Do i terns scheduled for a given day , and to set sounds for different deadlines.

La t, but not least, Now Up-To-Date is available in single user or multiple user versions. As a result, it can be used J40

J A

U A R Y I F E 8 R U A R Y

I 9 9 3

IM AGE SYSTEM

Imspace System Corp. , Suite 360, 4747 Morena Boulevard, San Diego, California 92117 , (619) 272-2600, fax (619) 272-4292.

SLID E 0RGA IZER

Multiplex Di play Fixture Company ha introduced SlideBase-Pro, an IBM PC DOS program for organizing slides. Actually, thi program can be classified a an image database because it allows you to catalog slides and ha extensive search and retrieval capabilitie ; it can earch for key words , group tag numbers , each slide can earch three key words and slides can be cro referenced in twelve different categorie . There really i n' t a limit to how large your lide databa e can get, as you are only limited by the space available on your hard di k.

SlideBase-Pro has a variety of other u eful feature uch as tracking functions for slides that have been checked out; it provides data about when a slide was checked out.

You can even include pricing data, and print two label per

lide with up to three line of data per label. The program, which i $195, work on IBM PC DOS computers, and require a hard disk drive and 640K of memory.

Multiplex Di play Fixture Company, 1555 Larkin Williams Road, Fenton , Missouri 63026, (800) 325-3350.

Es TIM A TI G A D SCHEDULING SoFTW ARE De igner Bonnie Phippen of Phippen Design Group hated the ta k of estimating client jobs and scheduling o much that he developed two Macinto h Excel templates to make her life ea ier.

The media contacts portion of the program is ba ically a database for addresses and other client information uch as publication circulation. It features an index for earching for magazine title .

Finally, the photo-archive features allow you to catalog and reference roll of film. It allow you to specify film type, color or black-and-white, photographer and proce ing.

Along with all these function , you can create charts based on data from both the mail li t and media contact databa es.

Public Relations Manager requires a Macintosh computer with 4MB of memory, 6MB of hard disk space. It i priced at $1,495; a videotape demonstration is available for $20.

The E timating Manager template calculates hourly rates, expen e and markup , and is a useful checkli t tool for renembering potential co ts. It also allows you to keep a list of actual job cost a a quick reference. Estimating Manager i priced at $175 plu a $5 shipping and handling fee.

The company, Desktop Solution was founded in 1987, and is an Apple-authorized re eller that specialize in desktop publi hing and small business accounting.

The Scheduling Manager i designed to track one job, or all the jobs in the office. It features a reference chart, or an overview of project , and it has been de igned so you can quickly et up a chedule, and then change it. Scheduling Manager is $75 plus a $5 hipping and handling fee.

PRODUCTIVITY SOFTWARE FROM CLARIS CORP.

Phippen Design Group, 2200 Bridgeway, Sausalito, California 94965, (415) 331-2250.

OFFICE MA AGEMENT SoFTW ARE

Public Relations Manager i billed a a "management cure all," and it certainly eem to have enough features to tackle every basic office cheduling and management ta k from mailing li ts to photo archives to project management. (Sorry, it doesn't do phones.)

Even though the Macinto h program, developed by Desktop Solution , is really de igned for public relations firms, it has many useful functions for tracking client and projects and dealing with photo that are important for a design company. Briefly, the program has four primary functions: mailing list, publication products, media contact and photo archiving.

The mailing list feature allow you to create a database with multiple key words and print labels and envelopes from the list.

The publication production section has a variety of features for tracking and checking the tatu of printed materials uch as client data, budget information and job specification . Moreover, it has features for managing client projects such a planned and actual tart dates, planned and actual costs and project milestone .

Desktop Solution , 4315 Valley Green Mall, #191, P.O. Box 189, Etters, Pennsylvania 17319, (717) 938-4270.

Early this year, Claris Corp. plans to ship Retrieve It!, a search and retrieve program.

Unlike other Claris products, this is the first one not developed by Claris, but by other, independent companies.

And to designate the difference, Claris will market this under a new Claris Clear Choice label. By selling nondeveloped programs, Claris can potentially broaden its product ba e without significantly increasing its resources.

The arrangement also give smaller companies a chance to sell more products by leveraging Claris' s brand name and distribution channels.

Retrieve It!, a utility for the Macintosh, was originally developed by MVP Software of Palo Alto, California. The program can search for file names, key words or trings of text within file on a Macinto h hard drive, floppy disk, CD-ROM or file servers. A key feature of thi program is that it earches inside the different files; when the program is searching, it displays a golden retriever as an icon mascot, and when the hunt is over, the program barks!

(Very cute.) When a string of text or names is located, you can view the document within the program. Retrieve It! will be priced at $89.

Claris Corp., 5201 Patrick Henry Drive, Box 58168, Santa Clara, California, 95052, (408) 987-7000.

• COMMU

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Technology

RESOURCES Books

is in the ection on u ing EPS file , not in the ection on drop caps.

VISUAL QUICKSTART GUIDE

The biggest disappointment i the omi ion of information on the trapping function in version 3.1. The color section is also rather kimpy. But clearly Weinmann is chiefly concerned with helping people create black and white page in Quark, and in that her book excels.

-Richard Koman

QuARKXPRESS 3 .1 FOR THE MACI TOSH

By Elaine Weinm ann 14.95 Published by Peachpit Pres 24 14 Si xth Street, Berkeley, Cali fo rni a 94710

Conventional wisdom has it that QuarkXPre i difficult to learn because it pasteup metaphor is somewhat less than intuitive-elements are placed in frame and fine-tuned through measurement palettes and dialogue boxes. I have never found Quark to be particularly hard to learn; I suspect the difficulty lies in the wordy, poorly written and worse-illustrated manual, which comes in three spiral-bound books. What a plea ure for new users to et a ide that heavy box of manuals and turn instead to this Visual Quickstart Guide.

Ju t about everything in Elaine Weinmann 's 190-page book is in the form of lists of actions and captioned illustrations. Unlike the Quark manual, there are no introductory pa age or long li t of important concept . For instance , the first sentence of the chapter of typography is: "To resize type u ing the Mea urements palette: " And we're into it. There follows a fourstep list and two figures that illustrate concepts in the text.

But what makes thi book work is the design. References to the figure s in the text are in bold face, and the figures are captioned in detail. Every page has a margin heading that tells you what information is on that page . And although some pages are quite dense, the art never interrupts copy , and it's never hard to follow.

Visual Quickstart Guide does more than make plain the dense instructions of Quark 's manual ; it also tells you how to create effect that the manual neglects to mention. For instance, two figures show how to split a letter into negative and positive halves. Another figure shows how to make type wrap around a drop cap; unfortunately , thi s 146

J A

U A R Y I F E B R U A R Y

I 9 9 3

How To GET GREAT TYPE O u T OF YOUR COMPUTER

By Jame Felici $22. 95 Publi shed by North Li ght Books 507 Dana A ve nue, Cincinnati , Ohio 45207

How to Get Great Type Out of Your Computer is a compendium of "the 112 mo t important things you should know to work with computer type."

And the book is just that: 112 tips and example presented in a manner which is both ea y to read from cover to cover or to refer to as needed.

While this work is oriented toward generating type with some sort of electronic layout program, the advice applies to all methods of electronic document production from corporate correspondence to book publi hing.

Some of the more vital , but nonetheless rare words of wisdom, cover: making sure variou program get along , publishing a tyle guide, sharing resources , aving "intermediate takes" and avoiding excessive customization.

Mr. Felici wrote the book to help both people who know type but are unfamiliar with how to get the results they want from a computer, and those who feel comfortable with their computers but know nothing about type. No doubt most computer users will find at least one new trick in the e pages.

-Cynthia Verdow Conferences

Digital ' 93 , the annual digital imaging conference spon sored by the National

Press Photographer A ociation , will take place February 25-27 , in Wa hington , D.C. The conference will address the impact of digital photography on newsroom photographer and editors.

The conference al o feature s workshop s in desktop publi hing and advanced image editing. Regi tration is $125-$17 5. Call the NPP A at (800) 289-6772.

Seybold Boston , the semiannual electronic publishing conference and expo, take place this year April 13-16 at the Hynes Convention Center in Boston. It features two new e ion the Quark Profe ionals Seminar and the Multimedia for Publi her eminar-a well as an expanded main conference. The conference will addres color, type, new technologies and strategies. The Quark eminar covers the latest trend s with the program and its user , including a preview of XPre for Window and ver ion 4.0 for the Mac. In the multimedia program , presenter di cu ss the technologies, tool and bu ine detail of multimedia. Seybold Boston includes Seybold Expo, April 14-16, featuring 150 exhibitors. Call (800) 433-5200.

-Richard Koman Training

Data-Tech In stitute offers two courses on Macinto h trouble hooting and data recovery. The cla ses run through January and February in a number of citie around the country . The Macinto h Survival Cour e and Advanced Troubleshooting for the Macinto h each cost $795. Call (201) 478-5400 for more information or fax (201 ) 478-4418.

This winter, the Rochester Institute of Technology (RIT) i offe.ring everal new cla es on electronic imaging.

"The Kodak PhotoCD Sy stem ," February 24-26 and April 14-16, gives a broad overview of Kod ak 's film-to-di sk technology and it applications. It covers image editing, file [ C O N TI

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COMMUNICATION ARTS 1993 ILLUSTRATION ANNUAL

CALL FOR ENTRIES Drawing, painting, collage, electronic, three-dimensional, any form of media art is eligible to be selected for this exciting Annual. Illustrations will be chosen on the basis of creative excellence by a nationally representative jury of distinguished designers, art directors and illustrators.

DEADLINE FOR ENTRIES IS MARCH 16, 1993 If selected, your award winning work will be handsomely reproduced in the all-color, 200-page July issue of CA.

60,000 copies will be in circulation worldwide, assuring you important exposure to professionals in the field of advertising and design. The Illustration Annual will be distributed to subscribers, and by single copy sales through art material stores and book stores.

As a service to art directors, designers and art buyers, the index will carry addresses and telephone numbers of the illustrators represented.

NO RETURN OF ENTRIES Communication Arts also sponsors a design competition and an advertising competition. The deadline is June 22. Entry forms will be bound in the magazine or you can send us your name and address to receive the forms in May 1993.

NO HANGING OR ACCEPTANCE FEES

ANNUAL EXHIBITION

Eligibility Illustration first produced between March 15, 1992 and March 16, 1993 is eligible. Entries may originate from any country. Explanation of the function in English is helpful to the judges.

CATEGORIES EACH ILLUSTRATION IS A SINGLE ENTRY

Preparation of Entries

A/1 Advertising (ad, poster, record jacket,

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.

All. Advertising series-five or less ($36)

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

Entries can be submitted as UNMOUNTED printed samples, e.g., ad tear sheets, pages or spreads, brochures, annual reports, books, posters, etc., or paper or plastic mounted 35mm slides. (Slides are projected for the judges.)

packaging, etc.) ($18)

B/1 Book (cover, jacket, interior. Must be published) ($18)

8/2 Book series-five or less ($36) E/1 Editorial (consumer or trade magazine, newspaper) ($18)

E/2 Editorial series-five or less ($36)

Please do not send any original art. CA is not responsible for damage or loss of any entry. Submission of an entry ackno~ledges the right of Communication Arts to use it for exhibition and publication in the 1993 Illustration Annual.

F/2 For sale series-five or less ($36)

Preparation of Packages

1/1 Institutional (company/association

Send entries, UNMOUNTED, in flat packages only, no mailing tubes (they frequently arrive damaged). If you are entering slides, insert them in plastic sleeves.

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 16, 1993.

F/1 Work produced for sale (poster, print, note paper, greeting card, etc.) ($18)

publication, annual report, facilities booklet, catalog, etc.) ($18)

1/2 Institutional series-five or less ($36) S/1 Self-promotion (printed pieces for illustrators, studios, agencies, printers, paper companies, etc.) ($18)

Forms and Entry Fees

Sfl Self-promotion series-five or less ($36)

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

Make checks payable to Communication Arts.

U/1 Unpublished ($18)

Foreign contestants must send an International Money Order or a check in U.S. Funds drafted on a U.S. bank.

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.

U/2 Series of unpublished-five or less ($36)

•

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

Explanation of Function Since media art is commissioned for a specific function or purpose, which may not be evident if only the art is submitted, we are asking for a brief explanation (25 words or less, please) on Form B such as the title and content of a book or article or selling premise of an ad.

Acknowledgment of Receipt of Entries If you want to know if we have processed your entry, please enclose a stamped, self-addressed card or envelope. As soon as we open your package, we'll send it to you.

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

Awards

For foreign acknowledgments, please send a self-addressed envelope and include in the total cost of your entries either 35 cents for Mexico, 40 cents for Canada or 50 cents for other countries.

A ward of Excellence certificates for the illustrator, client and art director of each accepted illustration will be mailed in September 1993.

DEADLINE FOR ENTRIES IS MARCH 16

N 0 RETURN OF ENTRIES

Mail entries to: (United States Post Office)

Delivery Service: (Federal Express, UPS, etc.)

Communication Arts 1993 Illustration P.O. Box 10300 Palo Alto, CA 94303+0807

Communication Arts 1993 Illustration 410 Sherman Avenue Palo Alto, CA 94306+ 1826

A

COMMUNICATION ARTS THIS FORM AND THE FEE MUST ACCO MPANY YOUR ENTRIES

P.O. BOX 10300, 410 SHERMAN AVENUE, PALO ALTO , CA 94303+0807

NAME

PHONE

B

TAPE THIS FORM OR FACSIMILE TO THE BACK OF

I CAT E GORY

FOR SERIES ONLY

FOR

EA~H

CA

FAX

COMPANY

PIECE

ADDRESS

USE CITY

THIS IS NO . -

STATE

ZIP

OF - - - SINGLE ENTRIES ... . ..... . ............. $18 EACH $ -

-

--

- SERIES . . .... . . . . . . . . . . . . . . . . . .. . .. . .$36 EACH $ - - -

ILL USTRATOR

ART DIRECTOR

No RETURN OF ENTRIES F 0 R

CLIENT EXPLANATION OF FUNCTION :

B

FOR SERIES ONLY THIS IS NO . -

USE

DATE PROCESSED

TAPE THIS FORM OR FACSIMILE TO THE BACK OF EACH PIECE

I CATEGORY

CA

[

FOR

CA

USE

B

J

D

I CATEGORY

THIS IS NO . -

ILLUSTRATOR

ART DIRECTOR

ART DIRECTOR

CLIENT

CLIENT

EXPLANATION OF FUNCTION :

EXPLANATION OF FUNCTION:

B

B

FOR SERIES ONLY THIS IS NO . -

FOR

CA

USE

-

CHECK THIS BOX IF YOU INCLUDED A SELF-ADDRESSED STAMPED ENVELOPE TO ACKNOWLEDGE RECEIPT OF YOUR ENTRY

FOR SERIES ONLY

ILLUSTRATOR

I CATEGORY

-

TAPE THIS FORM OR FACSIMILE TO THE BACK OF EACH PIECE

OF -

TAPE THIS FORM OR FACSIMILE TO THE BACK OF EACH PIECE

TOTAL FEE$ -

FOR

CA

USE

OF -

TAPE THIS FORM OR FACSIMILE TO THE BACK OF EACH PIECE

I CATEGORY

OF -

FOR SERIES ONLY THIS IS NO . -

ILLUSTRATOR

ILLUSTRATOR

ART DIRECTOR

ART DIRECTOR

CLIENT

CLIENT

EXPLANATION OF FUNCTION :

EXPLANATION OF FUNCTION :

OF -

I FOR CA USE

ANNUAL EXHIBITION

PRINTED

ON

RECYCLED

PAPER

Technology RESOURCES

format , image compression, encoding, authoring and retrieval sy tern , etc. The fee is $745.

RIT ' Photo hop work hop , February 22-23 and May 20-21 , teache participants to u e Photoshop to create and manipulate digital image originating from canner , video and other digital sources . Each participant u e a Macintosh Quadra 700. The fee i $545.

Electronic Photography to Prepress, February 24-27 and June 9-12 , give a step-by-step look at the process of moving electronic image from creation to producing films and proofs . Topics include creating photographs, canning and editing photo , and producing halftone film and proofs. The fee is $1,095.

Other cla es in RIT's electronic imaging curriculum include "Electronic Imaging for Non-Technical Personnel," March 11-12 and "Electronic Photography and the Macinto h." For more information call (716) 475-2759 .

Electronic Directions, an electronic publi hing consulting firm in New York City , offers a full battery of clas es on Macintosh , PC and NeXT computers. Cla ses cover basic skill , word proces sing , bu iness programs , illustration, prese ntation s, image processing and multimedia. Cla es take place at ED ' s offices at 220 East 23rd Street, Suite 503, New York, New York. They also teach NeXT classes in Wa hington , D.C. Call (212) 2136500 for ED's handsome color tabloid magazine/brochure or fax (212) 213-0599.

The Graphic Arts Technical Foundation in Pittsburgh ha everal classe aimed at printers and service bureaus , although designers may find thing of intere t. "De ktop Production for Advanced U er " is a three-day affair covering hardware and software selection and desktop publishing procedures. It takes place February 10-12 and June 23-25. The fee is $745-$845 if you don't belong to GATF. "Halftone and Color in Desktop Production" con i ts of three days on

such topic s as color requirements , monitor and imagesetter calibration, separation and proofing . The dates are May 26-28 and the fee i $745$845. Call GATF at (4 12) 621-6941 , fax (412) 621-3049.

Publications

The Page's self-description a "the visual guide to desktop publishing" is not quite accurate. The monthly newsletter, published by Chicago-based Page Works , cover somewhat more ground than that. While The Page typically has one or two features on Mac software-such as "Basic drawing techniques" (u ing FreeHand or Illu strator) or "Printing with PageMaker 4.2," each issue usually includes more general de ign pieces that don ' t even mention computers. For instance, there's "The power of a second color," "Ideas for new letter typography" and "Developing a corporate identity program."

The Page also offers ome computer articles that don't explicitly have to do with design, but which will be of some help to the desktop designer.

For instance, there's a piece on choosing a Mac , another on System 7 tips and one on new features of QuarkXPress 3. 1. Since these computer articles tend to just skim the surface, interested readers will probably look toward the big Mac magazines and even full-length books (on System 7, for example) for the full story.

Overall, the mo t helpful articles are the more general design and layout pieces; these are usually the main feature and have lots of illustrations.

The how-to articles are also good, but tend to be rather brief and limited in scope. In general, The Page emphasizes PageMaker and FreeHand (both from Aldus) and Adobe Photoshopalthough there are occasional stories on XPres .

Page Work ha broadened its focus somewhat in the last year, moving to embrace Windows as well as the

Macintosh. That trend i reflected in a 60-page booklet, "Basic of De igning & Producing Newsletters with PageMaker," suitable for both the Mac and Windows versions of the program.

The Page i $65 for ten i sues. The newsletter booklet is $15 plus $3 shipping. You can reach PageWorks at Box 14493, Chicago Illinois 60614, (312) 348-1200, fax (312) 404-0717.

High Color magazine covers PC-ba ed graphics, video and presentation technology . It also pays a lot of attention to image editing programs. In theory, that makes sense because an image can be u ed in print, video, animation , presentations, 3D renderings and more. Judging from the stories in the September/October 1992 i sue of High Color, the reality seem to be that image editing is done by photographer and designers for use in print.

One major feature, written as an image-editing photographer's diary, details the trail of pixels from an industrial shoot through canning and editing in Aldus PhotoStyler for Windows. The article is a thorough overview of the sort of editing tasks a photographer is likely to use, although it doesn't go into advanced special effects. I was particularly interested in the photographer's use of Kodak's PhotoCD, a process by which film developers digitize images and tore them on a compact disk.

This story is typical of High Color.

Many of the articles are first-person ca e studies about using technology for real-world jobs. Other topic in the September/October i sue included a roundup of computer display sy terns, an article on land cape architects use of rendering software and a review of a beta release of QuarkXPress for Windows .

High Color is published by Imagetech Publications, 21 Elm Street, Third Floor, P.O. Box 1347, Camden , Maine 04843 , (207) 236-6267 , fax (207) 236-6018. Subscriptions are $23.70 for six issues.

-R.K. COMMU

ICATIO

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151

HUMOR

R ICK T HARP

GROOMING THE PRINTER A true tory (as best a can be remembered)

fibers into the paper, but, I don't think it' made from poodle hair , Mr. Carp.

9:15 a.m. Monday, July 6, 1992.

RT: I till like the paper and would like to u e it anyway.

Rick Tharp' s (RT) de ign firm, Tharp Did It (TDI) received a phone call from Acme Business Card , Inc . (ABC: a fictitious name, u ed to protect the true identity of a printer in the San Franci co Bay Area).

ABC: All right, we can do

Ring .. . ring .. .

TOI: Good morning. Tharp Did It. aid your cards are engraved, but your catalog amples are thermographed.

ABC: Oh ... that's cute. (giggle) This is

Adrianne (real name), from Acme Busine s Cards. I Rick Tarp there?

ABC: Well. .. yes, that 's right. We call it

TOI: That's Tharp. One moment please.

RT: Rick here!

ABC: (another giggle) This is Adrianne

from Acme Business Cards and I'm calling about an order we just received from you today.

ABC: We have a few details we'd like to

go over with you. Do you have a econd or two?

ABC: Fir t. .. today is Monday and you've

ordered red and black engraved busine cards?

RT: Yes . Those are my favorite colors.

ABC: Well, Monday are blue.

ABC: (giggle) No sir. I don't think you

understand. I mean we only run red ink on Wedne days and blue on Mondays, o, we won't be able to deliver your cards to you on our regular 24-hour turnaround.

RT: When did you say red is?

ABC: Wednesday.

RT: Can you hold the order until

Wedne day?

ABC: Yes. We could do that.

RT: If that's good for you, it' s OK with me. A couple more days won't make much difference. But, I do have a question about your printing process. You U A R Y I F E 8 R U A R Y

RT: I'm sure it is .

ABC: We want to make ure the logos

ABC: Well , our price are very compet-

you've cho en from our catalog are the ones you want on your busine s card. You picked number 272 and number 227.

RT: I thought it was so mething like that when I saw your price was only $28 for 500 cards.

I 9 9 3

RT: Sure.

RT: That' Tharp.

RT: I'm sorry. I don't have your catalog

in front of me. Could you tell me what the image are?

ing department? They 've got a question about the paper stock.

ABC: Yes. Number 272 i a poodle and

RT: Sure.

RT: Ye . That is what I pecified.

ABC: Mr. Carp!

ABC: Then you must want two different

RT: That's Tharp.

business cards. One for your kennel busine sand one for your firewood bu ine s?

ABC: Your order say you'd like us to

RT: You 're telling me?

J A

ABC: Hello, Mr. Harp?

ABC: Can I turn you over to our print-

RT: Yes I do.

J52

engraving but it's really thermography.

Most of our customers don't know the difference so it's just better for us to call it engraving.

itive when compared to actual engraving.

RT: Oh ... yes!

whatever you want. We keep it in tock o, it' no problem.

We just wanted to check with you before we went any further with the order. But, I would like to transfer you to our art department. They have a que tion about the logo s you've selected. Can you hold while I transfer you?

use Simpson Evergreen paper for your business cards. Considering the red and black ink you elected, we think a paper that's a bit lighter than the dark pink you selected would make the card more readable. Evergreen has little fibers in it and red probably won't how up a well as it would on something like our Canary Yell ow.

RT: You are probably right about that canary, but I like to use recycled paper.

Besides, I heard that the little gray fibers in the paper are actually recycled poodle trimmings mixed into the paper.

ABC: We buy our paper direct from a

merchant house and aren't aware of the process used for getting those

number 227 is a chain aw.

RT: No. They both go on the same card.

If you read the text you'll ee that ...

ABC: I'm sorry ir, but our typesetting is

done in another department so we don't have acces to the text here. I'm going to switch you over to them. Maybe they can straighten thi out. If you could hold for ju ta minute, I'll connect you with them.

RT: Sure. I'm not too bu y anyway.

ABC: Mr. Harp ?

RT: Yes, it' still me.

ABC: Did you place an order for the

'poodle grooming' card with illu stration number 272?

RT: Yes I did.

ABC: I'd like to make a recommendation on the lettering tyle you've selected.

RT: OK. ABC: You elected HE752 for the busine name Tharp Did It. That typeface doe n' t really reflect the bu ine s you're in and we thought you might want to con ider omething with a little more tyle and flair.

RT: I HE752 Helvetica?

ABC: Why, ye it is.

RT: Do you have Helvetica Swa h?

ABC: No, I don ' t think we have that one, but we're ordering ome new style in a few weeks and that might be one of them. Would you like for me to a k our order department if it i on order?

RT: No, that' all right. I really don ' t want to wait.

ABC: Oh, it won't take long.

to talk to you for just a econd.

RT: No, I meant I don't want to hold up the printing of the cards until you get the lettering tyle ordered. Do you have another typeface suggestion?

RT: Sure. I've got most of the morning free anyway.

ABC: Perhaps something like PA562 would look be t.

AB C: We probably won't be able to get the cards to you until next week because of all the changes.

RT: I don ' t have your catalog in front of me. Could you tell me what PA 'whateveritis' looks like?

ABC: It's PA562 and it's a script with a modern flair to it. I think it would look more appropriate considering the busine you're in.

ABC: Rick?

RT: Yes?

RT: Change ? What changes? You are only changing a type tyle and the card hasn't even been type et yet? I could really use ome cards this weekend at an AIGA event I'll be ...

ABC: A what?

RT: You ' re the pros . If you think it would be better, then it's OK with me.

RT: An A.I.G.A .... oh, never mind. Next week will be fine. Thanks for calling.

ABC: We ' ll get the order going right away. But let me transfer you to Adrianne in the front office. She needs

ABC: You're welcome Mr. Farp. Oh, yes. Just one more thing. About that chain saw ...

BOOST YOUR CAREER We believe it takes masters to make masters. Our faculty are among the best in the business. Over the years the roster reads like an international Who's Who

of advertising, design and illustration. What's more, you can continue to work full-time while earning aMasters Degree in Advertising Design or Illustration.

WITH THE MASTERS It takes about two years to get adegree - three intensive two-week summer residencies on the Syracuse University campus plus briefer sessions in major

cities like New York, Toronto and London. "It was the jump-start I needed to get my career back on track," says one student. "You saved my life," says another.

FR 0 M

SYRACUSE

So what are you waiting for? If your career needs aboost, cal I, fax or write for our brochure. Or have achat with one of our faculty or some of our former students.

Syracuse University Independent Study Degree Programs, 610 East Fayette Street, Syracuse, NY 13244-6020. Telephone 315/443-3284. Fax 315/443-1928

COMMUNICATIO

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LEGAL

AFFAIRS

T AD C RAWFORD

COPYRIGHT AND THE DIGITAL REVOLUTION

T

HE EXTRAORDINARY POWER OF COMPUTer i tran forming the way in which many image reach the public. Communication profes ionals now create their imagery through a combination of techniques, some traditional and others reliant on computers and specialized programs that allow the manipulation of digitized images. The images that are manipulated may be created in the computer, canned from material created out ide the computer, or obtained in digital form (for example, from newly developed camera uch a Sony ' SEPS 1000 or Kodak ' DCS that record image digitally rather than on film).

This transformation of the way in which images flow from talent to client to the public raises complicated is ue regarding ownership of what i created, when images created by other may be used, and what is an infringement. Technology has often pushed the boundaries of the copyright law . For example, photography did not exist when the first copyright law in the United States was enacted in 1790. Other inventions, such as phonographs, jukeboxes, radio, television and communications satellite , have each rai ed the que tion of whether the copyright law must itself transform to ensure a proper balance between rewarding creativity and ensuring that the public enjoys the fruits of thi creativity.

Old Wine in New Bottles?

The advent of sophisticated software to manipulate image may, from the copyright viewpoint, simply be old wine in new bottles. Many of the images that the software makes po sible could be created by traditional methods, but these traditional method would be far more costly and time conuming. And , while precomputer era pirate may not have had scanners, they certainly had other methods to duplicate and steal creative works.

To see whether the traditional tests for infringement or fair u e are workable in view of the changing technology, let us examine two photographs created by the manipulation of preexisting photographs. These image , created by New York-based adverti ing photographer and computer illustrator Barry Blackman , do not raise is ue of copyright infringement becau e Blackman created the preexisting photographs as well as the two end photograph . However, after we examine the techniques and results of the computer manipulation, we can consider whether the e end images would have been infringements if the preexi ting photographs had been taken by someone else.

Blackman created the end images incorporating the nude and the martini gla s by using his in-hou se system of Barco Creator software running on a Silicon Graphics 240GTX Power Series. As we can see from the illustrations, the end image using the nude is composed of seven pre] 56

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ex1 tmg image and the end image of the martini glass is composed of four preexi ting image . A number of technique were used to tran form and combine the e preexisting image into the final image .

The Nude For the nude, (above and upper right) warping wa used to give the clock the rippled effect a it lie on the water.

The distortion capability of the program compre ed the hourglas s, after which the warped clock was merged into the hourglass . Once the di torted hourgla exi ted a a separate image, it wa repeated in smaller and maller sizes until it vanished into the horizon. The model' tor o wa ilhouetted, the brick wall wa mapped to follow the contour of the body , and then warping wa u ed to create the hedding of the kin.

The ky' s color was corrected to match the color of the water. Also, the lake wa stretched and flattened by

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TAD CRAWFORD

perspective distortion to give the sen e of a far larger body of water in the background. Mirror imaging then created the reflection of the tor o on the water, but with transparency o the ripple of the water could still be een.

The red lips were silhouetted in order to create a repeat pattern of the lips without any background. In 3D two wire frame pheres were constructed, one in ide the other. On the inner sphere the brick wall was mapped, while the outer phere was made transparent and had the lip mapped on it. The placement of the various altered image into the final image was done by cutting and pasting in the program.

The Martini Glass Creation of the end image using the martini gla (bottom of the previous page) also required a number of steps and techniques. The gla s was silhouetted, made transparent, and placed by cutting and pasting on the earth which had been flattened by perspective distortion. The clouds were compressed and dropped behind the glass. The cracked ice effect was created by warping the surface of a wimming pool into a cone shape for the lower part and an ellipse for the upper part.

The olive and toothpick were then pasted on top of the cracked ice cone with minimal transparency o that both olive and toothpick seem to be inside the ice. The bend in the toothpick, which hows the refracting effect of water, wa drawn in. Finally, the earth was warped to follow the contours of the stem of the glass.

Infringement of Fair Use If either of the end images had been created by a computer illustrator who did not have the rights to use the preexisting images, would the end results have been copyright infringement or fair use? To answer this, we have to consider the te t for infringement (in which the u e i impermissible and the user is liable for damages) and fair use (in which the use does not require permission be obtained from the copyright owner). In reviewing these tests, keep in mind that the rights of the copyright owner create a ten ion with the First Amendment rights protecting the dissemination of information to the public. Fair use is an outgrowth of the e First Amendment considerations.

The test for copyright infringement is twofold: (1) Proof of access by the infringer to the work alleged to be infringed must be shown (or, if the similarity between the two works i great enough, this access can be assumed); and (2) The jury must conclude that an ordinary observer would believe one work is indeed copied from another. On the other hand, fair u e has a fourfold test: ( 1) the purpose and character of the use, including whether or not it i for profit; (2) the character of the copyrighted work (use of an informational work is more likely to be a fair use than use of a creative work); (3) how much of the total work is used in the course J58

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of the use; and (4) what effect the use will have on the market for or value of the copyrighted work.

Applying the e te t , I believe that both of the end images would be infringement . Thi i becau e the nude torso in one and the martini gla in the other have been taken and used in a recognizable way in the final images. However, seeing the strengths of the image creation proces uggests some of the danger that the future certainly holds.

For example, certain of the con tituent change push the boundary of what might be considered an infringement.

Would an ordinary ob erver conclude that the warped clock face was taken from the original clock face ? Or that the hourgla s was taken from the original, elongated hourglass?

Or that a picture of the surface of a swimming pool had been transformed to create an image of cracked ice?

Would the ordinary ob erver or, for that matter, even the photographer who created the original image realize that the ea cape around the model ' tor o came from the original image of the lake? Or ee that the contoured brick on the torso and the sphere came from the image of a brick wall ?

Or know that the clouds behind the martini gla are a compressed version of another image of cloud ? If the photographer will have difficulty in tracing the origin of one image in another, how will the ordinary ob erver succeed in seeing the copying?

A Practical Problem The new technology certainly makes policing far more difficult. If a photographer may have difficulty eeing that his or her image has been manipulated in an unauthorized reuse, who will be able to do better? Even if a watchdog agency could be created (like ASCAP or BMI for mu sic), the manipulative powers of the oftware operator can make it extraordinarily difficult to know whether an end image has resulted from unauthorized manipulation of preexisting images.

Concern over the danger presented by the digital revolution has led to a number of intere ting developments: (1 ) The American Society of Media Photographer (ASMP) ha decided to create a profit making photography licen sing agency to serve its member and establish practice that are fair to both creators and u ers ; (2) A system of ymbol to indicate when photograph have been manipulated has been proposed (but, of course, this system would not help when the manipulator is also an infringer and refu ses to use the system); and (3) A number of photographer feel a conflict between their de ire to allow their images to be digitized on CD-ROM to achieve the widest di stribution and their fear that this increases the likelihood of unauthorized reuse. All of the e development will be explored in future columns. © Tad Crawford 1993

FREE-LANCE

BARBARA GORDON

PRICING THE ASSIGNMENT N TODA Y'S COMPETITIVE ECONOMY, PRICing a job correctly i more important than ever. I'd like to devote this column to di cussing ome of the e lement that go into pricing a job and refer you to some reference ources to help you .

I

can't be kept or an art director who ha made a verbal promi e can be let go in the middle of a campaign, o on package deals I always find it ju t make good en e to have something in writing-up front.

Usage

Do not as ume when you price a job that ex pen e are included. You must always negotiate thi item before you do the job. When e timating, try to be a accurate as you can and make it clear to the client what your expen es will be. Once you are involved in the job, if additional expenses come up, always check with the client first. My experience has been that clients don't like urprises, especially when it come to unexpected costs. Some client will refu e to pay for additional expenses becau e they were not notified of them at the time.

How will the work be used? Will it be used as a national consumer ad to a large audience or a trade ad to a limited one? Will it be u ed as a brochure, billboard, direct response, promotion piece or on a package? Along the same vein, how long will the work be in use? One year? Five year ? Forever? What right will be old? One-time or all right , original work and copyright? Obviously the larger the audience, the longer the time and the more rights being sold, the greater the price. These rights and u ages must be negotiated before any a ignment i taken on. To take anything for granted or to negotiate after the fact only leads to problems, dis ension and even lawsuits.

Amount of Time & Work Involved Along with other considerations, time and labor enter into the price picture. Rendering or shooting a product on a limbo background is going to take less time and preparation than doing a historical scene that will require days of reference research for the artist and location scouting and extensive prepping for the photographer. Time is money and the more time and preparation required, the higher the fee. And of course if omething i required on a rush basis, where the freelancer ha to work over a holiday or round-the-clock, overtime should be included in the fee.

Skill & Expertise of the Freelancer Just as one would expect to pay more for a noted surgeon or a ea oned trial lawyer, one would pay more for an establi hed proven freelancer over an unproven beginner. And in certain instances where one has a unique look, style or point of view that only that freelancer can deliver, the marketplace must often pay more for this uniquenes

Package Deals If a client offers a freelancer a quantity of job , 1t 1s not uncommon for the client to ask for a volume discount and most freelancer will give such a discount since they are being guaranteed a specific volume of work. On package deals, it's a good idea to put the deal in writing; a letter can be drawn up stating, "for a guarantee of 10 ads over 12 months, the fee per ad will be $3,500. If the number of ad fall below 10, then the fee will be $4,000 per ad, etc."

In our business it's easy for a client to make promises that ] 64

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Expenses

Corrections If a freelancer makes a mi take, e.g., an arti t deviates from an approved sketch or a photographer forgets to take the lens cap off during a hoot, the freelancer i re pon ible for correcting that mistake at his expense . Most artist will do minor corrections on a finished piece of art for nothing.

Minor corrections, however, are just that-minor. Any corrections that are in addition to, or different from what was on the approved sketch are billable to the client. If an art director is present at the shoot and approve it and later requests changes that require a reshoot, that i billable. The correction and re hoot are ba ed on time, effort and the extent of the correction; the fee hould reflect this.

Budgets When pricing, I often find it helpful to a k up front if a client ha a particular budget in mind only becau e it aves a lot of time. If you are looking at a propo ed project and thinking $10,000 and you ask the client what their budget is, and they say they were thinking of pending $500, obviou ly there i no nece ity for the two of you to keep talking. However, if you are thinking $10,000 and the client is thinking $9,000, there is room for negotiation and you're in a range of agreement.

"Kill" Fees We all hate them but sometime a job get aborted at the beginning, middle or end. If a job has been completed, and the client "kills" it, the freelancer is entitled to a full fee plus any negotiated ex pen e . If a job is terminated after it's tarted but before completion, then the freelancer i entitled to a portion of the fee based on the proportion of the work done at the time of the cancellation, plu all agreed upon reimbursable expenses.

Complete Your Resource of Creativity [SETS OF PAST ANNUALS AVAILABLE AT SP EC IAL DISCO U TS]

Design Annuals [ ov ·9 1. '88 - sow ouTJ ....... . .. $24

NOY'90A D '89.

. ... . $24

NOY'87A D '86 . . . . .. . ....... . . . . ...... . . .

Editorial

24

ov '85,'84,'83 ...... . .. .. ........ . ... .

All of the above tipulation apply more to adverti ing, packaging and promotion. In editorial situations you are more apt to find that the publications have "page rates" or "cover rates" that are fixed. However, when you run into an unu ual situation where they are a king you to do more than they usually request of a freelancer or they have a rush situation, there should be some flexibility.

Advertising Annuals (DEC ·9 1 -

If freelancers have to put out a good deal of their own money , e.g., they have to fly across country or buy expensive material , then it i not uncommon to a k for an advance which i later deducted from the final bill. My experience has been that the policy of advances varies greatly. Some agencie are very liberal with advances and other flatly refu se to even con ider them. It doesn 't hurt to a k for an advance and for tho e agencies refusing to give them, the freelancer will have to decide on a case by case basis whether they want to do the job or not.

If a job is going to be strung out over a erie of month , it is perfectly acceptable to ask to bill that job in in tallments.

I've found just about all clients are amenable to this.

Tl .......... $24

DEC '88,'87,'86 ... . .. .

...... . . . .... .... $24

DEC '85,'84,"83..

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

. ........ .

Design and Advertising

ovmEc '80,'8 I ,'82.

Illustration Annuals (JULY '9 I JULY '92 AND ' 91 .

Advances & Payment in Stages

SOLD o

DEC '90 AND '89 ... .. ... .

36

NEARLY SOLD OUT]

. . . . . . . . . . . . . . . . . . . . . . . . . . 24

JULY '90 A D '89...... . . . . . ....... . .................

22

JULY '88,'8 7,'86. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22 . . . . . . . . . . . . . . . . . . . . . . . . . . . 17

JULY '85 A D '84.

Photography Annuals AUG '92 A D ' 91 ... .. ..... .. .... ....... .

. . . $24

AUG '90 AND '89 ......... . . .

. . . . $22 . ........ .. ............. 22

AUG ' 88 ,'87,'86 . ....... ... .

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

AUG '85 A D '84 .. . .... .

17

Art Annuals [COMB I ED ILLUSTRAT ION A D PHOTOGRAPHY] JULY/AUG UST '83 ,'82,'81........... .. .

. .. . ... ...... .$22

BECAUSE SOME COM B! AT IONS HA V E ONLY SEVERAL HUNDRED

OPIES

REMA!

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I G, WE RESERV E THE RIGHT TO REF U D YOUR MO

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DOM EST IC ORDERS INCLU DE POSTAG E; FOR FOREIGN ORDERS , ADD

Sources

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I

SH IPP! G PER MAGAZI E ORDERED. PLEAS E A LLOW UP TO THREE WEEKS

If there i one complete source of pricing that every freelancer hould have, it is the Pricing and Ethical Guidelines Handbook published by the Graphic Artists Guild, 11 We t 20th Street, 8th Floor, New York, New York 10011, (212) 463-7730, $22.95 plus hipping and sales tax. It cover every conceivable free-lance situation, for illustration and de ign and more. Everything i broken down into easily understandable price ranges based on usage; photographers can al o benefit from thi publication because so often the creative fees for photography and illustration are similar.

I cannot recommend this book too highly. It will be the best $22.95 you've ever spent.

Another price guide i Negotiating Stock Photo Prices by Jim Pickerell, available from the American Society of Media Photographer , Inc. (ASMP), 419 Park Avenue South, Suite 1407 , New York, New York 10016, (212) 889-9144, $28 plus shippi ng and handling. The ASMP also has a free list of their other publication in the photography field.

One la t word on pricing. When pricing a job-be fair. Be fair to yourself and the client and pricing won't be a problem.

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ADVERTISING

BRETT ROB BS

PRO BONO: CHARITY OR SELF-INTEREST?

I

S PRO BONO WORK MERELY SELF-INTEREST parading as charity? Most agencies would vehemently deny that. Yet we all know the unspoken rule of the game-in return for our advertising savvy , the client mu t accept the "award-winning" work we give them. An arrangement most of us doing pro bono work have assumed was fair for both sides.

But a nonprofits become more sophisticated and as boards concerned about financial survival demand more accountability , the old rules are changing. And the gentlemen's agreement between pro bono clients and their agencies is being put to the test.

Consider the situation Anderson and Lembke recently found themselve in. They agreed to do a print campaign for Ice Hockey in Harlem, an after school sport and study program. The first ad they presented to the client showed John Vanbiesbrouck, the Ranger goalie, in his hockey uniform with the headline, "This man survived being shot at by a group of Harlem youth ."The client was taken aback.

John A thorn, the Anderson and Lembke creative director explained the need to break through the clutter and pointed

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It's certainly a situation many of us have faced. And they ' re words most of us have spoken. A pro bono client have become more as ertive, they ' ve imply exposed a flaw that's been there all along. By forcing the e clients to live under a kind of Damoclean word , we deny them control over their own image. More importantly , we also di tort the whole proces by destroying the traditional balance between an agency's understanding of advertising and the client ' s understanding of their organization and their mission. While agencie often find that balance fru trating, it al o helps ensure that advertising that's arresting is also responsible.

An official at a Midwestern environmental organization who spoke on the condition of anonymity underlined the problem that can arise when that balance is destroyed.

"Everyone," he said, " thinks the agency will go away if we really start turning the crews on one another to find out if the ads are really right for us and our target. So we don ' t." And Tina Odinsky, event coordinator for Ice Hockey in Harlem makes the problem even clearer. "We were walking on eggshell . I wa trying to make everybody happy and still get profits for the event we were promoting.

I was trying to make Anderson and Lembke happy so they could really express their creativity in full. And I was also trying to let our board of directors who has to approve the ads , feel safe."

In such an atmosphere, hone t di cussion is practically impos ible. But in thi in tance a i u ually the ca e, it was al o nece sary. Clearly the Vanbie brouck ad was attention getting. Tough questions, however, needed to be asked about whether it was in keeping with the organization ' s image or in the be t interest of the Harlem youth it was designed to upport. And the client needed the freedom to answer tho e questions honestly. "What a nonprofit does is every bit as important as what an agency 's paying clients do," says Julie Fenton , the assi tant vice pre ident of marketing for the United Way of Southeastern New England. " And if you ' re just going to take what they give you and don ' t feel you can say ' no,' then you might a well do it your elf. Because you may end up getting something that you don ' t want or that doe n' t fit your organization."

But as pro bono clients become more demanding can the work till be rewarding for their agencie ? The an wer depends on whether agencie are willing to change with the times. What could have been an explosive meeting

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166

out how the copy turned the headline around. But the discussion dragged on until finally he aid, " Look, one of the stipulations of doing pro bono work is that we be allowed to do our be t work. If we have to compromi e our value and can ' t do work that erves u a well as you, it's just not worth it." And as Athorn notes, "they came around. "

I 9 9 3

between Ogilvy and Mather and the World Wildlife Fund sugge t one direction that change could take.

After walking their client through cripts, a ripamatic and a 45 frame board, Ogilvy pent week shooting in the Venezuelan rain fore t on a venture that at times re embled a combination of Fitzcarraldo and The Mission. Finally they returned, and pleased with their efforts, walked into a conference room where 30 people from the client had gathered to see the long awaited rough cut. But in tead of applau e , there were questions. About the use of epia, about the typeface and mo t importantly about whether the haunting vi ual and music were in keeping with the World Wildlife Fund's warm panda bear image. In fact, there were enough people with enough reservation that the client wanted to conduct focus group to decide whether they should even air the commercial. A commercial to which Ogilvy and a lot of other people had already donated hundred of thousands of dollars worth of time and talent.

Certainly, Ogilvy was "surpri ed" and "taken aback" by the re ponse. And certainly they and the World Wildlife Fund ' s adverti ing people defended the work strongly.

But there were no ultimatums. The agency's respon e seemed to stem from what Dana West, the World Wildlife Fund ' s associate for press and media, calls "their pa ionate commitment to what we do and the issues we are involved with." Mark Frankel, who at the time was a producer for Ogilvy, confirms this. "We didn't just care about an individual ad or commercial," he says. "We cared about the rain forest and wanted to be involved with the organization long term. So we didn'tjust seek to challenge them, we al o wanted to atisfy them the same way we would a paying client."

The tory , of cour e, has a happy ending. Not imply becau e the focus groups were overwhelmingly positive.

Nor even becau e the commercial went on to generate both awarene for the client and award for the agency.

But primarily because having been given the freedom to say "no" even late in the game, when they finally did decide to run the spot, the whole organization embraced it. So that the experience, as Frankel says, "deepened the relationship, leaving u all feeling that having done thi we could then go on to take even bigger risks together."

Clearly , it was the agency' pas ionate commitment that helped the relation hip survive. And just as clearly, such commitment is all too frequently missing from the traditional pro bono relationship. In tead, we settle for what Athorn call a "cau ewe can believe in." But as the client' demand increase, such belief i no longer enough.

Becau e when pu h comes to shove, unless we feel more passion for the cause than for our own ideas, it's all too easy to issue ultimatums or simply cut and run.

Such pa sion, however, i in far shorter supply than the number of worthy causes needing our help. And given that fact perhaps it' s time for agencies to reexamine their prioritie . After all, donating services in return for an opportunity to win awards, recognition and salary increases is not exactly pure charity. Which, if I remember correctly, involves some amount of real sacrifice.

Nor does a willingness to put a pro bono client' s needs ahead of our own demand a nation of saint . Hill, Holliday, for example, already has an entire division devoted to pro bono work. And while some of the clients offer real creative opportunities, others, like the Boston Ballet, do not. But then that' not the point. Because the empha i , ays Margaret Fitzgerald, the agency' director of community relations , i on ervice.

Earle Palmer Brown has a similar focus. Which is why the agency recently inve ted considerable time in developing a member hip profile for the Che apeake Bay Foundation.

"Even though it didn't win awards for the agency or produce ads for my portfolio,'' notes senior copywriter Tom Darbyshire, "the profile was necessary if we were to help the Foundation grow." And that, after all i the whole point of doing pro bono work. For as David Lubars, the executive vice president/creative director of Leonard Monahan Lu bars & Kelly ob erves, "Your goal should not be to see what you can get but to see what you can accomplish."

The recognition that there is something even greater than a great idea is an important one and carrie its own reward.

Because, when approached properly, pro bono accounts allow us to do work that we care about and that may also make the world a little better place. The sense of ati faction that produce is something no award, no matter how prestigious , can offer.

~ URDROPJD

Y OU

LLrT? CALL US AND ASK FOR A COPY OF CORPORATE IDENTITY: IMAGE IMPACT ANALYSIS, A STUDY T HAT WILL GIVE YOU QUANTITATIVE AMMUNITION THE NEXT TIME YOU ' RE PRESENTING E NGRAVING. THE STUDY IS FREE. THE INFORMATION IS INVALUABLE. 1-800-E NGRAVE ( 1-800-364-7 283 ) .

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167

BOOK REVIEWS CALIFOR IA CooL: WEST COAST 1Azz OF THE 50s &

60s, THE ALBUM CovER ART Edited by Graham Marsh and Glyn Callingham Published by Chronicle Books , 275 Fifth Street San Francisco, California 94103

$24.95

Vintage album cover design is gaining respect and recognition worldwide as a valuable part of graphic design history.

Record labels such as Verve and Prestige, aware of the value of these old covers, include reproductions when an artist's work is collected in a boxed set, either as small cards (e.g., Billie Holiday on Verve) or as illustrations in the companion booklet (John Coltrane on Prestige.) Last year, two important books on cover design hit the stores: David Stone Martin, Jazz Graphics by Manek Daver, and The Blue Note Book by Felix Cromey, Graham Marsh and Glyn Callingham. The latter two are back now with California Cool, a compendium of vintage covers associated with the "West Coast" jazz of the 1950s and '60s. Visual treats include the painterly cartoon covers of Ed Renfro, dramatic cover portraits of musicians like Teddy Edwards, Art Pepper and Hampton Hawes, and lots of humorous poses as on Shorty Roger's "Chances Are It Swings." With two introductions containing memories by photographer/ designer William Claxton and writer/producer/musician Leonard Feather, California Cool invokes the lighter attitude that existed on the West Coast, near the ocean and the warm California sun.

Unfortunately, there are many flaws in this new edition.

By including covers from several labels, as well as many designers and artists (as opposed to the single team of Blue Note's Reid Miles and Francis Wolff), there is a lack of stylistic cohesiveness. This could have been avoided by presenting one or two labels only (for example, Claxton' s major clients, Contemporary and Pacific Jazz), or by organizing the covers by label or designer. Instead, California Cool carries on the arbitrary and sometimes silly "chapters" of the previous book, such as "Girls" and "Hats." What makes such groupings frustrating is the absence of analysis, whether visual, typographic or even sociological.

There is no cross-referencing of musicians, artists or labels, and the captions do not include the issue/recording date (a must in any book on jazz). We learn nothing of most of the designers/photographers, some of whom are represented by several covers, e.g., Bob Guidi or Woody Woodward.

At least one cover is from the 1980s (Chet Baker's "Witch Doctor"), and many are reissue cover designs, with slight, but important changes in typography, logos, layout and even artwork. In one case, the "two" covers for "Pacific Jazz 1205" are shown, but the fact that they were issued back to back is not noted, an essential point to both designers and jazz collectors. Also, not all the record labels included were West Coast-based, and some of the sessions were recorded elsewhere, like Miles Davis's "Birth J 68

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of the Cool" (New York City) or Albert Mangelsdorff's "Now, Jazz Ramwong" (Germany).

It is telling that the editor, Graham Marsh , is described as an "Americaphile." Both books have a breezy, image/ fashion-conscious approach, like an ersatz hipster meandering through his record collection. It is troublesome that the editor intend this a a "sourcebook" for designers; are we to "cop a look," without any critical and informative analysis of this part of de ign hi tory?

Oddly, I still recommend this book, if only because so few well-printed collections of cover designs exist. Books like California Cool provide important and essential documentation of a part of de ign (and jazz) history too long overlooked. The Daver book on David Stone Martin was published in Japan, and, just as with Japanese reissues of classic jazz recordings, the attention to detail and thoroughness of presentation and analyses were exemplary. Let 's hope Marsh and Callingham take a cue from this in their next endeavor. For now, anyone who is both a designer and jazz fan can have fun flipping through California Cool , and daydreaming about someday finding one of those rare albums in a garage sale for 50¢.

-Angelynn Grant A

GRY GRAPHICS: PROTEST POSTERS OF THE

REAGA /BusH ERA

By Karrie Jacobs and Steven Heller Publi shed by Peregrine Smith Books, P.O . Box 667 Layton , Utah 84041

$ 17 .95

If Bill Clinton's election heralded the great return of the Democrats, Angry Graphics may become a collector's item or merely a nostalgia novelty gift. But whichever way the political winds blow, it will alway be an interesting collection of social protest graphics that puts the "Me" decade of the 1980s in a cold and brutal light.

The book is sure to trigger an intense response-either sympathizing with the issues or lamba ting liberal political dissent. Either way, the design aspects remain powerful from rough collages to accomplished illustration, each addressing issues of war, AIDS, homelessness, gay rights , gang violence, gentrification and censorship.

In less than a hundred pages, Jacobs and Keller give a brief history of Western protest graphics in this century, a discussion of the "angry" examples to follow and still have over 75 pages for artwork. The work is al mo t entirely four-color posters presented one to a page. Included are works by established artists and designers such as Barbara Kruger, Josh Gosfield, Keith Haring, Robbie Conal, Seymour Chwast and Tibor Kalman; public agencies like the Coalition for Homeless, the Union of Concerned Scientists and the Africa Fund; guerrilla graphic groups including Gran Fury, World War 3, Act Up, Guerrilla Girl

and the Firework Graphic Collective of San Francisco; as well as various students, community groups and anonymou s individuals.

Each group is really "selling" their point of view. It's almost an angry advertising primer.

R uss1A

Co STRucnv1sT PosTERS

By Elena Barkharova Publi shed by Flammarion , di stributed by Abbeville Press 488 Madi on Ave nue, ew York , ew York 10022

27.95

While the historical legacy of the Russian Revolution is being re-written each day , the graphic design movement prompted by socialism will be forever distinctive for its bold and aggressive style. Russian Constructivist Posters is an excellent showcase of how sociali t political imperatives were tran slated into graphic design in the 1920s and '3 0s.

The book is an oversized paperback (11" x 16") that shows the best of Soviet avant-garde poster art from those decades in 200 full-color, full page illustrations.

Page after page has indu strial and mechanical imagery juxtaposed with strong typography and the heavy use of primary colors; it' s visceral design. Although it's certainly enjoyable to just browse from page to page, it's even more interesting after reading Barkhatova' s brief history of the movement based primarily on the archives at the SaltykovChtchedrin Library in St. Petersburg. Only a highly motivated and dedicated group could give birth to such powerful graphics.

After the October Revolution of 1917, the Constructivist movement ought to merge art and life through mass production and industry. They rejected the division between art and production as an outmoded vestige of bourgeois ideology. Artists were exhorted to work in the urban environment and in factories, and to apply all their creative resource to the design and production of useful objects.

DESIGN DowN U DER 2

By Margo Ro uard-S nowman Di stributed in the U.S. by ippon Shuppan Ha nbai U.S .A. In c., 1123 Do min guez Street, #K , Carson City, California 90746 $49.95

Design Down Under-in Au stralia and New Zealand- is alive and well and growing as a sophisticated and worldly giant. The publication of their juried competition proves it in over 250 pages of well-chosen examples of communication graphics, corporate identity series, packaging , environmental graphics, illustration and typography. Design responds to its situation and Australian design carries its own subtle flavor. Show juror Henry Steiner, a design tran splant to Hong Kong , sums it up by saying, "Biggest island or smallest continent, it 's a large place with cities and designers on the edges of a sun-baked expanse of land containing animals unique to Au stralia and an aboriginal, sophisticated Stone Age culture. " As Asia flexe s its industrial and commercial muscles, the Oz designers keep creative pace. The book itself is superbly printed; "printed off-shore" as we say. A preponderance of the pieces shown meet the highest of world-class design standards, many with unique regional and cultural references. A great message from a one-world arena.

-Byron Ferris

~UR

L

IDOIESNT KNOW'

Initially , graphic arts were incidental to a movement focusing on three-dimensional objects. However, by the late 1920s, Constructivist artists turned increasingly to agitational po ter , slogans and panels to convey social and political imperatives that allowed them to participate in the construction of a socialist society.

With such purpose in mind, the Soviet avant-garde created strikingly original posters for theater, cinema, industry and government. A sense of raw power jumps off each page. Participation in a changed future did wonders for design, although the entire movement got muddled in the everyday reality of politics. But the work still stands as a sy mbol of the potential of uniting all aspects of society in a common purpose.

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f 69

MATERIALS

PosT-ITS

It seems that every time I turn around there's a new Post-it product popping up; the present product is a Pocket Pak. Now you ' re asking yourself, "What is a Pocket Pak?" Perhaps you've heard of this precious little parcel of papers, petite enough to fit in purses, packages and pockets without creating a problem; they're perfect for pressing perceptions.

OK, enough with the alliteration (I couldn't resist), 3M has recently introduced travel-and-go packages of Post-it note that offer the convenience of the office pads in handy (and attractive) pocket-size dispensers. The 2 3/ 4" x 3" notes come in non-refillable packages of 50 and have the same removable adhesive that you ' re accustomed to, there is even a "handy annual calendar provided on the inside back cover." For further information on the Post-it Pocket Pak or any previous Post-it paper products (sorry), write 3M Commercial Office Supply Division, Department CS92-32, P. O. Box 33600, St. Paul, Minnesota 55144.

that won ' t work either. For lack of anything better, I'm going to get myself off the hook by just calling it cool.

Here ' s the scoop : International Paper, makers of Gatorboard, recently introduced a fire-retardant version of "its popular lightweight Gatorfoam panel. " Called Gatorboard FRP, the product has a Class A fire-retardant rating and is perfect for exhibit halls and convention centers that require fire-rated exhibit material. It' s asbestos free , dimen ionally stable and comes in 4' x 8' panels in 1/2'' or 3/4" thicknes es.

Made from a non-flammable mineral core , laminated on both sides with Uniwood FR overlays, it is much lighter than plywood and lighter and less expensive than PVC foam panels. For details and/or a free sample of thi s product, phone (704) 872-8974 or write Uniwood Division, International Paper, Attention Cheryl Jones, P.O. Box 5073, Statesville, North Carolina 28677.

-Sue Sprinkle

FIRE- R ETARDANT B OARD

LITERATURE FoR YouR FILES

Here's a hot new product. Actually, hot is not a good choice of words. But it is a product that really sizzles. No, no, no,

A request on your letterhead to the f ollowing companies will bring you the literature described. ..free unless otherwise noted.

Can You Do This?

The Noranda Forest Recycled Papers Portfolio .. . is a bimonthly two-sided 8 1/2'' x 11" format brochure that will educate readers on topics like de-inking , chlorine, paper permanence and the toughest of all- recycled paper definitions. For me, the most interesting facts fell under the headline "Products +,'' a list of the top ten books on the New York Times ' s Best Seller List in recent months, printed on recycled stock (from Toni Morrison to Robert Ludlum). Noranda welcomes your questions and comments about recycled paper issues. The Canadian company is represented in the United States by Fraser Paper, Limited.

To request a copy, write Tamara Weiss, editor, The Noranda Forest Recycled Papers Portfolio, c/o Fraser Paper Ltd ., 9 West Broad Street, Stamford, Connecticut 06904 or fa x (203) 371-5551. In Canada, write Noranda Forest Recycled Papers, 703 Evans Avenue, Etobicoke, Ontario M9C 2E9 , Canada, or fax (416) 622-1583 .

At Tom Monahan's creativity workshop in

Newport, Rhode Island you ' ll learn how to

open up your mind and lots of other neat

tricks. March 5-7, 1993. Call 401-277-9050 x171.

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The Seven Seas ... is a promotion from James Ri ver that appeals to this Southern California girl. The 32-page book is filled with salty tales of the sea and reproduction s of ocean-related illustrations dating as far back as 1550. A "belly band" surrounding the book repeats the image of Neptune, shown on the cover. Several pages of text are devoted to describing the attributes of Brightwater, a paper " made from the waters of deep artesian wells."

Available in Smooth, Riblaid and Marble, Brightwater is a family of archival-quality papers. Among the interesting printing tec hniques used in The Seven Seas, are metallic

duotone effects achieved by using a special five-color process called Williamson Integrated Metallic Systems.

The promotion was designed by Sibley/Peteet Design, Dallas, Texas. Additional cards feature die-cut covers in the shapes of octopus, shell, sea horse and star fish; inside are detachable postcards featuring other sea creatures. The sea nurtures life and is a rich source of imagery; The Seven Seas explores this rich environment and presents a tasty catch. If you'd like to fish for your own copy, contact your James River Premium Printing Papers representative or distributor or write James River Premium Printing Papers, 145 James Way, Southampton, Pennsylvania 18966.

SEGD/ADA White Paper .. .from the Society for Environmental Graphic Design, was created in response to the confusion voiced by environmental graphic designers across the country when attempting to understand and comply with the Americans with Disabilities Act civil rights legislation. This document was developed with the input and support of many disabilities organizations, the Architectural and Transportation Barriers Compliance Board (ATBCB) and other standards organizations. It provides answers to commonly asked questions and clarifies areas of ambiguity including the use of a "simple serif" typeface, when and where Braille and all capital letters is required, allowable minimums for raised lettering and proper dimensions of signs for overhead information. The White Paper also incorporates comments and revisions gained from the SEGD-sponsored national series of ADA educational seminars held this past April. The seminars presented a forum to gather input from representatives from the ATBCB and numerous key professionals from other disabilities organizations and allied design groups.

SEGD will continue to monitor the ADA and will issue addenda as clarifications emerge. The 24-page illustrated White Paper is available to non-members for $20. For membership or White Paper information, contact the Society at (617) 868-3381.

Mirrorkote Reveals the Enchantment of Nature ... shows Kanzaki Paper Mfg., Ltd.' s Mirrorkote Super Gloss Brochure and Mirrorkote Super Dull Brochure, a new line of cast-coated papers. Mirrorkote is a premium paper with cast-coating on one side, and Kanzaki's GoldenCask finish on the other. Miyo Ohshima Slater, of Boston's Gunn Associates, was creative director/art director and designer for the brochure which shows applications that take advantage of the paper's dual surfaces. Butterflies, flowers and leaves are used to demonstrate the printing qualities of Mirrorkote. Among the stock photography is original photography by Kurt Stier of Harvard, Massachusetts. For further information, write Kanzaki Paper Mfg.

Co., Ltd., USA Office, Cerritos Town Center #480, 12750 Center Court Drive, Cerritos, California 90701, phone (310) 924-2438 or fax (310) 402-5379.

Instinct: The Color Green ... is a brochure from Canada's Island Paper Mills displaying their Resolve Coated recycled coated paper. Resolve Coated is an alkaline sheet manufactured with 50% recycled paper including 10% postconsumer wastepaper. Gloss and matte finishes are available in 60, 70, 80 and 100 lb. basis sheet and web. The attractive brochure was designed by Zacharko Design Partnership and it features photographs by Robin Bartholick, Alan Abrams, Francesca Lacagnina and Tom Collicott and painting by Karen Yurkovich describing the themes: money, nature, myths, synthetics and concludes with, "Green synthesizes the cool blue light of the intellect, with the gentle warmth of the yellow sun, yielding wisdom and hope for the renewal of life." To receive a copy of Instinct, write Island Paper Mills Co., P.O. Box 2170, 1010 Derwent Way, New Westminster, B. C., V3L SAS, or fax (604) 526-0701.

-Anne Telford

~

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COMMUNICATION

ARTS

171

CLUBS , CONFERENCES , SEMINARS PUERTO Rico

Grafica 93 will take place at the Condado Convention Center on February 24 and 25. An exhibit area will feature demonstrations of Photo hop (Adobe System ), Freehand (Aldus Corporation), Quark (Quark Expres ) and Multimedia (Apple); the introduction of Latinamerica Confederation of the Graphic Industry (CONLA TIN GRAF) and the presentation of renowned Mexican graphic designer Eduardo Danilo. The seminar fee of $150 includes six eminars, three each day , and coffee break , refreshments and hors d'oeuvres at the exhibition area. Before February 17, a special fee of $135 i offered. For hotel information or to register, contact Grafica 93, 207 Eleanor Roosevelt Avenue, Suite 3, Hato Rey Puerto Rico 00918, phone (809) 250-6193 or fax (809) 756-8992.

cation at Valtek Incorporated ; communication vice president, and pre ident elect, Nancy Volmer, Park City Chamber/Bureau; program vice pre ident Jeri Cartwright, Salt Lake Convention & Visitor Bureau ; member hip vice pre ident Julie Hackett, KBZN-Radio ; record and finance vice pre ident De Von Zumbrennen, Valtek Incorporated ; education relation vice pre ident Marcia Bank , Utah Arthritis Foundation; editor/publisher of the chapter' monthly newsletter Ben Clark, Deseret Generation and Transmi ion Cooperative. Former pre ident Jim Brown will erve as the enior delegate for the executive board.

For membership information call Julie Hackett at (80 1) 359-145 l. !ABC/Utah, P .O. Box 1440, Salt Lake City , Utah 84110.

I DUSTRIAL DESIG ERS

DIRECT MARKETING

The Direct Marketing A ociation will hold it 28th Spring Conference & Exhibition, March 23-26, at the New Orleans Hilton Riverside & Towers. Following the Socratic tradition of discovering and disseminating information, the forum will feature sessions with a panel of experts who will present major issues to the delegates for follow up in an open interactive dialogue. Keynote speakers include: Lester Thurow, author (The Zero Sum Society) and dean of MIT's Sloan School of Management; Michael Gunn, senior vice pre ident, marketing American Airlines; and George R. Mrkonic , executive vice president, specialty retailing, Kmart Corporation. To register for the conference, contact DMA (212) 768-7277, extension 100. DMA , 11 West 42nd Street, New York, New York 10036.

NEW YORK

The Visual Arts Museum, at the School of Vi sual Arts in Manhattan, 209 East 23 Street, will present the design and photography work of Henry Wolf in an exhibition from March 26 through April 9. An opening reception will be held on Thursday, March 25, from 6 p.m. to 8 p.m. In addition, Wolf will pre ent a free slide lecture on Monday, March 29, beginning at 7 p.m. After Wolf' 1941 arrival in New York from Vienna, and study at the School of Industrial Arts, he became a designer and later, art director of Esquire magazine. Thi led to art direction at Harper 's Bazaar and the beginning of Show magazine. In 1972, he opened Henry Wolf Productions, Inc. Among many awards, he received the AIGA Gold Medal and is included in the Art Director's Club Hall of Fame. For information, contact Joel Garrick at (212) 481-5591.

SALT LAKE CITY

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AIGA/RocHESTER

The Rochester, New York, chapter of the AIGA elected it board of directors for the coming year: pre ident Debra Burger, Burger Design Communications, Inc. ; vice president Josa nne DeNatale, Lichten tein M arketing Communications; treasurer Steve Palozzi , McEvenley & Palozzi Graphic Design; secretary Marisa Pankow, Marisa Pankow Desig n; fundrai ing committee chair Su an Kochan ; membership committee Henry Brent, Image Consultants; education committee Gabrielle Peters, Peters and Associates; new sletter editor Bernadette Pace Caro, Mobil Chemical ; member ho~ Peggy Trabert, Sigma Marketing Group ; and speaker lecture coordinator Greg Meadow s, Desig n for Industry. AIGA/Roche ter, P .O. Box 18398 , Roche ster, New York 14618.

- Jean A. Coyne

The Utah Chapter of the International Association of Business Communicators (IABC) elected eight officers: president Phil Skousen , director of corporate communi172

The members of the Indu trial Des igner Society of America (IDSA) have a new late of officer and director for the 1993-1994 term. The board will be led by: pre ident David Tompkin s, director of industrial de ign for Himont Inc., Wilmington , Delaware; executive vice pre ident James Ryan, partner of Henry Dreyfus s As soc iate , New York; ecretary/treasurer Craig Vogel , associate professor of design, Carnegie Mellon University, Pittsburgh. IDSA 's current president, Charle Pelly , will take office a chair of the board of director . The new di strict vice pre ident are: David Kusuma, Mile , Inc. , Pitt burgh; John Howard KDA Indu strial De ign Consultants, Chicago; Martin Wil son, David Cooper A ociates, Ltd., Pitt ford, New York; Bret Smith , Auburn University , Auburn, Alabama; Betty Baugh , Betty Baugh De igner, Tiburon , California.

IDSA , 1142-E Walker Road , Great Fall , Virginia 22066.

Phone (703 ) 759-0100 or fax (703) 759-7679.

I 9 9 3

Copy must be received two months prior to the publication date. Please include a contact, phone number and address.

T he televi sion commercial winners from Communication Arts' s 1992 Adverti sing Annual are now available on videotape. Con sidered one of the most important adverti sing competition s in the world , thi s reel contain s the fine st television advertising produced tod ay.

This year ' s di stinguished national panel of creative directors selected 93 commercial s (from over 2,200 spots submitted) to receive Communication Arts's Award of Excellence.

The videotape includes a complete listing of creative credits for each commercial and is available in 3/ 4" professional or VHS format for $215.

To order your copy of the award-winnin g commercial s from the 1992 Adverti sing Annual , please fill out the information below and send thi s page or a fac simile to Communication Arts.

COMMUNICATION ARTS [P . O. BOX 10 3 00 , PALO ALTO , CALIFOR

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COMMUNICATION ARTS INDEX VOLUME MARCH/APRIL

34

1992-JANUARY/FEBRUARY

A*I Prospera Alphabets Design Group (design firm).

Poster promoting typeface (Exhibit): Vol. 34, #8 (Jan/Feb) , p. 115.

Color Predictions New colors for 1993: Vol. 34, #1 (Mar/ Apr), p. 98; New color for 1994: Vol. 34, #8 (Jan/Feb), p. 70.

All Star Sports Birdsall Voss & Kloppenburg (ad agency). Ad (Exhibit): Vol. 34, #5 (Sep/Oct), p. 113.

The Columbus Dispatch Special section covers for the newspaper, using QuarkXpress (Exhibit): Vol. 34, #5 (Sep/Oct), p. 112.

Aspen Report on the 1992 IDCA conference.

Vol. 34, #6 (Nov), p. 268 .

Communication Arts Annuals Illustration Annual: Vol. 34, #3 (July); Photography Annual: Vol. 34, #4 (Aug); Design Annual: Vol. 34, #6 (Nov); Advertising Annual:Vol. 34, #7 (Dec).

Atlas Pentagram (design firm). Hammond 's Optimal Conformal (Exhibit): Vol. 34, #8 (Jan/Feb), p. 117.

Baines, Phil (London designer) Article/portfolio: Vol. 34, #5 (Sep/Oct), p. 130.

Communication Arts Design and Production How we produce the magazine.

Converting to computers became a crash course in typography: Vol. 34, #5 (Sep/Oct), p. 150.

Concrete Design Communications (Canadian design firm) Article/portfolio: Vol. 34, #1 (Mar/Apr), p. 34.

Boddingtons Draught Bitter Bartle Bogle Hegarty (London ad agency). Two posters (Exhibit): Vol. 34, #5 (Sep/Oct), p. 108.

Burke, Philip (illustrator) Article/portfolio: Vol. 34, #5 (Sep/Oct), p. 58.

Converse Ingalls, Quinn & Johnson (ad agency). :30 TV (Exhibit): Vol. 34, #5 (Sep/Oct), p. 116.

Cooke, Marty (advertising columnist) "This Article Doesn't Need a Headline": Vol. 34, #4 (Aug), p. 192.

Charleston's Homeless Families Gil Shuler Graphic Design. Poster (Exhibit): Vol. 34, #5 (Sep/Oct), p. 110.

China Show, Graphic Design in The first graphic design competition in mainland China: Vol. 34, #5 (Sep/Oct), p. 48.

Crawford, Tad (attorney-at-law) Columns on legal affairs . "A Tax Warning (Part I)": Vol. 34, #1 (Mar/Apr), p. 24; "A Tax Warning (Part II)": Vol. 34, #2 (May/Jun), p. 28; "Confirmation of Assignment": Vol. 34, #3 (July), p. 157; "Stock Photography Delivery Memo" : Vol. 34, #4 (Aug), p. 176; "Dangers of Disks": Vol. 34, #5 (Sep/Oct), p. 36; "Typeface Design Protection": Vol. 34, #7 (Dec), p. 251; "Photographer 's Rights in an Age of Computer Manipulation": Vol. 34, #8 (Jan/Feb), p. 156.

Cleveland Cleveland Ad Brats (ad agency). Poster (Exhibit): Vol. 34, #5 (Sep/Oct), p. 109.

Crown Cruise Line West & Company (ad agency). Ad (Exhibit): Vol 34, #2 (May/Jun), p. 121.

Chateau Ste. Michelle Cole & Weber (ad agency) . Washington wine ads (Exhibit): Vol. 34, #8 (Jan/Feb), p. 116.

Children's Books Booming market for illustrators in the '90s: Vol. 34, #8 (Jan/Feb), p. 94.

Curry, Tom (illustrator) Article/portfolio: Vol. 34, #2 (May/Jun), p. 50.

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1993

Cutler, Craig (photographer) Article/portfolio: Vol. 34, #8 (Jan/Feb), p. 84.

Dayton Hudson (department store) In-house designer Bill Thorburn article/ portfolio: Vol. 34, #2 (May/Jun), p. 74.

Designer/Client Relationships Ellen Shapiro (designer/writer) looks at long-term designer/client relationships.

Peter Good/Patrick Mccaughey, Wadsworth Atheneum Museum: Vol. 34, #2 (May/Jun), p. 58; Milton Glaser/ William Louttit, Grand Union Supermarket: Vol. 34, #5 (Sep/Oct), p. 82.

Designing with Computers Seybold panel discussion with Lance Hidy, Clement Mok, Wendy Richmond, Greg Samata and Leslie Smolan: Vol. 34, #8 (Jan/Feb), p. 128.

Difford, Ian (South African photographer) Self-promotion poster series (Exhibit): Vol. 34, #2 (May/Jun), p. 123.

Diner Pentagram (design firm). The Good Diner Restaurant (Exhibit): Vol. 34, #8 (Jan/Feb), p. 118.

Disney's Bonnet Creek Golf Club Richardson or Richardson (design firm ).

Golf tee sculpture (Exhibit): Vol. 34, #5 (Sep/Oct), p. 110.

Doral Telluride Resort Wes elman Design (design firm).

Signage (Exhibit): Vol. 34, #5 (Sep/Oct), p. 115.

Duka, Lonnie (photographer) Article/portfolio: Vol. 34, #5 (Sep/Oct), p. 94.

Bvo (London design firm) Article/portfolio: Vol. 34, #5 (Sep/Oct), p. 136.

Emigre (magazine and fonts) Rudy Vanderlans and Zuzana Licko, article/portfolio: Vol. 34, #1 (Mar/Apr), p. 64.

This Spring, Add These Two PHOTOs To Your Portfolio. ············~

,,o'o , , ,,, ,c ' •••'

I I I I I I I I I I I I I I I I I I I

Coming this Spring to two great cities ...

Each venue will have a top-notch conference program, produced by Photo District News. Seminars range from the basics of studio lighting to the latest in digital imaging. And with either show, you're sure to get the greatest talent and the latest in new products and new technology under one roof.

PHOTO Midwest and PHOTO West. Coming to Chicago March 26-28 and San Francisco April 23-25. For more infonnation, complete and return the coupon below to PHOTO/CMC, 200 Connecticut Avenue, Norwalk, CT 06856-4990 Phone: (203) 852-0500 Fax: (203) 838-3710.

-,

© CMC 1992

r I I I I I I I I I I I L

I'm interested in

Name Company/Studio Address City Country

Exhibiting PHOTO Midwest '93

Attending PHOTO West '93

TItie

State Phone#(

)

ZIP Fax#()

------------------------P01 2

I I I I I I I I I I I

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I DEX TO VOLUME 34

Fallon McElligott (ad age ncy) Article/portfolio: Vol. 34, #5 (Sep/Oct), p. 68.

Field Museum Poster Carse llo Design (design firm ). Margaret Carsello painting (Exhibit): Vo l. 34, #8 (Jan/Feb), p. 113 .

Forbes, Colin (design iss ues co lumni t) Pentagram 's tran sition to the next generation . Vol. 34, #6 (Nov), p. 261.

Morla Design (design firm ) Article/portfolio : Vol. 34, #8 (Jan/Feb), p. 60.

Kinney Shoes Arnold Fortuna Lawner & Cabot (ad age ncy). Fas hionab le shoe TV commercial (Exhibit): Vol. 34, #8 (Jan/Feb), p. 120.

Gilbert Paper Promotion Craig Perman, photographer; Robert Va lentine, art director: Un Libro en Imagene (Exhibit): Vol. 34, # I (Mar/Apr), p. 115 .

Gordon, Barbara (arti st's representative) Column s on the free- lance cene. "The Buy Out" : Vo l. 34, # 1 (Mar/Apr), p. 22; "How to Get Assignments Despite the Reces ion": Vol. 34, #2 (May/Jun ), p.

140; "The Directories" : Vol. 34, #3 (Ju ly), p. 168 ; "T he Photographer' s Portfo lio" : Vo l. 34, #4 (Aug), p. 167 ; "T he Rep/Talent Relations hip": Vol 34, #5 (Sep/Oct), p. 35; "Getting Started": Vol. 34, #6 (Nov), p. 256; "Flash in the Pan" : Vol. 34, #7 (Dec), p. 234; "Pricing the Assignment": Vol. 34, #8 (Jan/Feb) , p. 164.

Grand Union Supermarket Mi lton Glaser/Wi ll iam Lo uttit, long term designer/c lient relationships . Vol. 34, #5 (Sep/Oct), p. 82.

Levi Strauss Canada Harrod & Mirlin (ad agency).

Photographer George Simhoni 's mal l po ters (Exhibit): Vo l. 34, #8 (Jan/Feb), p. 119.

Lewis, Richard A. (opinion commentary) " Annual Reports at a Crossroads": Vol. 34, #8 (Jan/Feb) p. 18.

Limited Budgets: Great Ideas Article/examples: Vol. 34, #2 (May/Jun), p. 94.

Los Angeles County, Music Center of Baker Design Associates (design firm).

Fund-raising brochure (Ex hibit): Vol. 34, #2 (May/Jun), p. 125 .

Marika Atlas Citron Haligman & Bedecarre (ad agency). Bodywear ad (Ex hibit): Vol. 34, #8 (Jan/Feb), p. 115 .

Groove Dots, Morozoff Chocolates Designer/writer Laurie Rosenwald 's packag ing (Ex hibit): Vol. 34, #5 (Sep/Oct), p. 109.

McGraw-Hill's Primis Carbone Smolan (design firm).

Electronic publi shing system (Ex hibit): Vol. 34, #1 (Mar/Apr), p. 114.

Hands, Bruce (photographer) Article/portfolio: Vol. 34, #1 (Mar/Apr), p. 74.

Harley-Davidson The Richard s Group (ad agency). Point of purchase poster (Ex hibit): Vol. 34, #2 (May/Jun), p. 124.

U A R Y I F E B R U A R Y

Holland, DK (design i sues co lumni t) "Graphic Design Education" : Vol. 34, #5 (Sep/Oct), p. 24; "Importance of Research": Vol. 34, #8 (Ja n/Feb), p. 30.

Keeley, Larry (opinion commentary) "T he Strategic Palette": Vol. 34, #2 (May/Jun ), p. 134.

Fredrickson, Mark (ill ustrato r) Artic le/portfol io: Vol. 34, #8 (Jan/Feb), p. 50.

J A

Mooney, Cathi (adverti ing co lumni t) "Wh y Bi g Idea Come From Sm all Agencie ": Vol. 34, #2 (May/Jun ), p. 148.

Keaney, Siobhan (London de igner) Artic le/portfolio: Vol. 34, #5 (Sep/Oct), p. 124.

Fowler, David (adverti sing columni t) Network television program promotion.

Vol. 34, #6 (Nov), p. 279.

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Henry Art Gallery Li vingston & Company (ad age nc y). :30 TV (Ex hibit): Vol. 34, #5 (Sep/Oct), p. 116.

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Monahan, Tom (adverti si ng columnist) "Creati ve: Dirty Word ?": Vol. 34, #I (Mar/Apr), p. 20; "Catholi cs Can Now Eat Meat On Fridays": Vol. 34, #3 (July), p. 188; "Bill Bernbac h is Dead": Vol. 34, #5 (Sep/Oct), p. 2 1; "Fear in the Creative Process": Vol. 34, #7 (Dec), p. 254.

Morrow Snowboards In-hou e cata log (Exhibit): Vol. 34, #2 (May/Jun), p. 126.

Mullen (adverti ing agency) Article/portfolio: Vol. 34, # 1 (Mar/ Apr), p. 44.

Newbury, Jeffrey (photographer) Article/portfolio: Vol. 34, #2 (May/June), p. 84.

New York State Lottery DOB Needham (ad agency). Billboard and :30 TV (Ex hibit): Vol. 34, #I (Mar/Apr), p. 11 2.

Nike Wi ede n & Kennedy (ad agency).

International Women 's Fitness 4-page ad insert (Ex hibit): Vol. 34, #8 (Jan/Feb), p. 121.

OMON (ad agency) Article/portfolio: Vol. 34, #8 (Jan/Feb), p. 74.

Oriole Park at Camden Yards David A hton 's signage and graphics for the ballpark. Vol. 34, #5 (Sep/Oct), p. 102.

Outback Decking Three ad for the company by writer/designer Scott Zacaroli.

(Ex hibit): Vol. 34, #5 (Sep/Oct), p. 11 3.

Packaging Software Overv iew of thi s expanding field: Vol. 34, #8 (Jan/Feb), p. 30.

Pennant Herbicide Howard Merrell & Partner (ad agency).

Three print ads for weed co ntrol (Exhibit): Vol. 34, #2 (May/Jun), p. 120.

Philips Interactive Media Maddocks & Company (de ign firm).

Interactive CD covers (Ex hibit): Vol. 34, #2 (May/Jun ), p. 11 9.

Phillips' Milk of Magnesia Ammirati & Puri (ad agency). Liquid laxative TV commercial (Exhibit): Vol. 34, #8 (Jan/Feb), p. 120.

Phoenix, City of, Logo Competition Corporate identity for the city of Phoenix: Vol. 34, # l (Mar/ Apr), p. I 02.

Segura, Carlos (designer) Chicago design office goes digital.

A1ticle/portfolio: Vol. 34, #6 (Nov), p. 223.

Toelke, Cathleen (illu trator) Article/portfolio: Vol. 34, #I (Mar/Apr) , p. 54.

Siegel, RitaSue (design placement director) "Changing Demographics of Design": Vol. 34, #1 (Mar/Apr) , p. 94.

Touchscreen Interactive Systems Technology , Vol. 34, #7 (Dec), p. 202.

Photography, Stock Article on trend in the indu stry: Vol. 34 , #8 (Jan/Feb) , p. 108.

SlaughterHanson (design and advertising firm) Article/portfolio: Vol. 34, #1 (Mar/Apr) , p. 84.

Pinkhaus (design firm) Article/portfolio: Vol. 34, #2 (May/Jun) , p. 40.

Software Packaging Design Overview of software packaging: Vol. 34, #8 (Jan/Feb) , p. 38.

Porter, Matthew (opinion commentary) Discussion of the design controversy concerning the 1996 Olympics in Atlanta: Vol. 34, #6 (Nov) , p. 282 .

Spiegelman, Lisa (computer columnist) Techno logy reviews. "Adobe Goes After Lucrative Windows Market" : Vol. 34, #1 (Mar/Apr), p. 130; " Video Animation , 3D Graphics":Vol. 34, #2 (May/Jun), p. 174; "Accounting Software for Graphic De igners": Vol. 34, #3 (July), p. 174; "Radius De ktop Video" : Vol. 34, #4 (Aug) , p. 198; "Computer Price War": Vol. 34, #5 (Sep/Oct), p. 172; "Special Effects Macintosh Program" : Vol. 34, #6 (Nov) , p. 241; "Personal Label Printers": Vol. 34, #7 (Dec) , p. 220; "Re elution: Get Organized": Vol. 34, #8 (Jan/Feb), p. 140.

Question Casual Wear Strawberry Fields (ad agency). Shopping bags and price tags (Exhibit): Vol. 34, #8 (Jan/Feb) , p. 123.

Recycled Paper Analy is form from Recycled Papers: The Essential Guide by Claudia Thompson: Vol. 34, #6 (Nov) , p. 266; Update article and listing of manufacturers: Vol 34, #2 (May/Jun), p. 111.

Red and White Ferry Service to Alcatraz Goldberg Moser O'Neill (ad agency).

Poster (Exhibit): Vol. 34, #I (Mar/Apr) , p. 110.

Richmond, Wendy (computer graphic designer) Column on computer graphics. " Multimedia Macmillan Dictionary for Children": Vol. 34, #1 (Mar/Apr), p. 121; " Don't Look for a Job": Vol. 34, #2 (May/Jun), p. 150; "Computers R Us?": Vol. 34, #3 (July) , p. 170; "It Needs De ign" : Vol. 34, #4 (Aug), p. 194; "Tangible Reality" : Vol. 34, #5 (Sep/Oct), p. 166; "Beyond the Video Screen" : Vol. 34, #6 (Nov), p. 229; " Look for Inspiration" : Vol. 34, #7 (Dec) , p. 216.

Robbs, Brett (advertising columnist) "Pro Bono: Charity or Self Interest?": Vol. 34, #8 (Jan/Feb), p. 166.

Sebastian, Liane (legal affair columnist) Ownership of software documents: Vol. 34, #6 (Nov), p. 271.

Spy J. Walter Thompson (ad agency).

Transit posters (Exhibit): Vol. 34, #8 (Jan/Feb), p. 114.

Stein Robaire Helm (ad agency) Article/portfolio: Vol. 34, #2 (May/Jun), p. 66.

Steyer, Stephanie (opinion commentary) "Designer Mom ":Vol. 34, #1 (Mar/ Apr), p. 28 .

Tarzana Regional Medical Center Salvati Montgomery Sakoda (ad agency).

Outdoor campaign (Exhibit): Vol. 34, #8 (Jan/Feb), p. 114.

Texas Department of Commerce GSD&M (ad agency). Tourism commercial, :30 TV (Exhibit): Vol. 34, #2 (May/Jun), p. 122.

Tharp, Rick (designer/writer) Humor "Grooming the Printer": Vol. 34, #8 (Jan/Feb), p. 152.

U.S. Bancorp Leasing and Financial Sand trom De ign (design firm).

Brochure (Exhibit): Vol. 34, #I (Mar/ Apr) , p. 113.

US West Campbell Mithun Esty (ad agency). :60 TV for call waiting (Exhibit): Vol. 34, #2 (May/Jun) , p. 123.

Visiting Nurse Association Frankenberry, Laughlin & Constable (ad agency). Poster to recruit a mall-walk fund raiser (Exhibit): Vol. 34, #2 (May/Jun),p.121.

Wadsworth Atheneum (Hartford Art Mu eum) Peter Good/Patrick McCaughey, long term designer/client relationships; Vol. 34, #2 (May/Jun) , p. 58.

Walker, Cummings (opinion commentary) "After School, a Discussion of Design Education: Part One": Vol. 34, #4 (Aug), p. 184; "Design Education: Part Two": Vol. 34, #7 (Dec), p. 242.

Weaver/Steadman David Mellen (design firm). Brochure (Exhibit): Vol. 34, #8 (Jan/Feb), p. 113 .

Why Not Associates (London design firm) Article/portfolio: Vol. 34, #5 (Sep/Oct), p. 118.

Williamson Printing Joe Duffy Design (design firm). Poster (Exhibit): Vol. 34, #5 (Sep/Oct) , p. 114.

Win Tools Michael Osborne Design (design firm).

Packaging (Exhibit): Vol. 34, #5 (Sep/Oct), p. 114.

World Tour Quarterly Review Dun & Bradstreet Software. Corporate communications (Exhibit): Vol. 34, #I (Mar/ Apr), p. 110.

Zoo Rigsby Design (design firm). 25th Anniversary book of the Zoological Society of Houston (Exhibit): Vol. 34, #8 (Jan/Feb), p. 122.

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CA BACK ISSUES Some of the back issues are still available. They ' re all fairly recent because time has always managed to deplete our inventory.

There are several hundred extra copies of some of the issues in this recent period (1985 on), a hundred or less of others, and none of a few . That's why we must reserve the right to refund your money on any that have sold out on a first-come, first-served basis. All orders must be accompanied with payment.

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SEP/OCT 1988

NOV 1988

DEC 1988

$2 1

JUL 1987

MAY/JUN 1989

Michae l Pe te rs ; Sey mo ur Ch was t/ Le ft - Ha nded Des igne r; Howard Ra ine r; Leo na rd Monahan Saabye; Hinsc he + Assoc iates ; Ll oyd Zi ff; Po lt roo n Pre s Pos tcard s; A IGA Co nfe re nce; Index to Vo lume 27

AUG 1987

7

$7

CS U Pos te r Co mpe titi on; United Way Ca mpa ig n; C arb one Smo lan Associates ; Willia m Co ne; Willi e Moy ; Armand o Testa; Aspe n; Crea ti ve Greetin g Card s; Roge r Blac k o n Stay ing A li ve ; Ed McCa be and Bac kwater Ad ve rt is ing

CA-87 Design Annu al

JUL 1986

DEC 1987

$ 14

$2 1

$7

Smart Ye llow Page ; Willi a m e ill ; A rt Chantry ; " Des ig n Jobs: Fac t a nd Ficti on"; Kuni o Hag io; He ll e r Bree ne ; Ge ne Hoffm a n; AIG A Confere nce II ; Index to Vo lume 29

$2 1

CA-86 Design Annu al $2 1

CA-86 Ad verti sing A nnual $7

He in z Ce ntenni al Annu al Repo rt; Ri chard Hamilto n Smith ; D yer/Kahn ; Wieden & Ke nned y; Charl een Kin ser Des ig ns; T wenty-seven Chi cago Des igne rs; Magazine on Wheels; " Ho ld th e Red Ink, M erge r o n th e Ri g ht" ; Index to Vo lume 28 $7

Museum Desig n Co mpe ti tio n; Levi ne, Huntley, Sc hmi d t and Beaver; Jeffrey J . S mith ; Barbara Bordni ck ; Sibley/Pe teet; C ar Emble ms

$7

MAR/APR 1988

$7

Ro be rt Appleto n; Vint Lawre nce; Mu e um of Flig ht, Seattle; Ma rtin/ W illi a ms; Simpso n' s " An American Reader" ; Yuri Doj c; Jac k Robe rts; Ex hibit; Marget Larse n

MAY/JUN 1988

$7

$ 14

Illustratio n A nnu al

AUG 1988 Pho togra ph y Annu al

AUG 1989

$ 14

Photography Annu al

SEP/OCT 1989

NOV 1989

$2 1

DEC 1989

$2 1

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JAN/FEB 1990

$7

Inte rn atio na l Pos te rs ; De utsc h ; Joyce Kitc he ll ; T im Bi e be r; S ko los, W ede ll + Ray no r; A IG A Co nfere nce Ill (San Anto ni o) ; Earthqu ake; Exhibit; Index to Volume 3 1 $7

Michae l Broc k; Ro b Day; Great M o me nts in Desig n T oo ls; The Ba ll W C RS Partn ership ; Geof Ke rn ; Madse n & Kuester; C hiat/ Day: The Boo k; Ex hibit ; Farewell to the Opul e nt Eig ht ies

MAY/JUN 1990

$7

Tim Girvin ; Paga no, Sche nc k & Kay; Aaro n Jones; Wine Labe ls G et Bo lder; T erre lo nge Desig n; " Des ign-Speak Vs. Co mmunicatin g fo r Success"; Ri chard M antel; T ED 2; deG raf/W ahrm an ; Ex hibit

$ 14

JUL 1990

14

lllustration A nnu al

AUG 1990

21

C A-90 Ad ve rti ing A nn ua l $7

C raig F razier; Bill Vu ksanovich ; Victo r Papa nek; Raymond Me ier; Bartl e Bogel Hega rt y ; Sa lary Survey Res ult ; Co lor Pred ic tions; Elli I land Immigrati o n Museum; Ex hibit; Index to Vo lume 32

MAR/APR 1991

$7

Sov iet Graphic Design; Bill W estbrook; C. F. Pay ne; Gra phi c De mogra phi cs ; Miche le Cle me nt; Vaug hn/Wedee n Creative; C rea ting an Eco-Safe O ffice ; A me ri can Pac kage Desig n; Ex hibit

MAY/JUN 1991 Muse um Desig n Co mpe titio n; M ande lbaum M ooney Ashley; James M arsh ; Clie nts and Desig ners: Jo eph Abboud Appare l and des igner Tyler Smith ; Johns + Go rm an Films; Rick Ru sing; Eme ry Vincent Assoc iates; Pric ing & Ethi cal G uide lines; Ex hibit

JUL 1991 $7

Lewi s Mobe rl y; Willi a m Co upo n; Dre ntte l Doy le Partne rs; A nth o ny Ru sso ; Mc Kinn ey & S il ve r; Mic hae l Cro na n; Ha ns Rudi Erdt; Ex hibit

MAR/APR 1990

T ay lo r & Brow nin g; Tho mas Blac kshear; Li vingsto n & Co mpany; Omni Magaz ine ; Sex in Ad verti sing ; Mic hae l Go ing; Ex hibit ; Heathe r Coo per's Carn ava l Pe rpetu el; ine W ay to Imp rove an Ad

JUL 1988

14

Illustrati o n A nnu al

CA-89 Des ig n Annu al

JAN/FEB 1988

Statue of Libe rt y Ex hibit ; Douglas Smith ; Co lossa l Pictures; Lo uise Fili ; James Se bas ti a n; Fra nke nbe rry, Laughlin & Co nstable; The A me ri can Adve rtisi ng Museum ; Nex t

MAR/APR 1987

$2 1

$ 14

Photograph y Annual

JAN/FEB 1987

NOV 1987

CA-87 Ad ve rti si ng A nnu al

Illustrati o n A nnual

DEC 1986

$7

$7

Amm irati & Puri s; C o mpute rs in th e Studio; Scott M organ ; Ric hard son o r Ri c ha rdso n; Ex hibit ; Yes te rday in CA

JUL 1989

SEP/OCT 1987

Ko ppe l & Sche r; Skip Liepke ; WPA Pos te r ; Ru sty Kay; Jea n Moss ; The Co ll ege Marketin g Ga me

NOV 1986

$ 14

Pho tograph y A nnu al

Stei nhilber & De ut c h; Per Arn o ldi ' s Poste rs; The C aliforni as; Sue Crolic k; Casa Lupita Menu ; Burson-Ma rstell e r Des ig n G ro up ; Ed Soy ka ; ASMP

SEP/OCT 1986

$ 14

Illustra ti o n A nnu al

MAR/APR 1986

AUG 1986

$7

John Va n Dyke; GSD&M ; Kathryn Kl e inman; A lan Cober Sends Hi s Bes t; Esprit Bed & Bath ; Co lo r Predi ctions; Michae l Mabry; San Fra ncisco Des ig n Di sc uss ion ; Ardes hir Mo hasses

JAN/FEB 1986

C A-90 Des ign A nnu al

JAN/FEB 1991

Edelstei n Associ ates; M yro n ; Joy Radi o ; Mull er+ C o mpany ; Po laro id Poste r Co llecti o n; Matth ew Carte r; John He rsey; The Partne r ; Ex hibit ; Index to Vo lume 30

T o m Hughe ; Jim Arndt ; Me li ssa Grimes; Goodb y, Be rlin & Sil verste in ; Ex hibit; Des ign in Chi cago; Je ff Ba rnes ; Ky m Ab ra ms; Ri c k Va licenti ; Robe rt Petri c k; Steven Li ska; Japanese Des ign Ad venture

$7

Harry De Zitter; Me rcede Mc Do na ld; Clarity C ove rdale Ru eff; Aspen ; Ja mes McM ull an' M ura l for Lincoln Cente r; Ex hibit; Recycled Paper; Vi gne lli Associates

DEC 1990 $7

MAY/JUN 1987

CA-85 Ad verti s ing A nnu al

MAY/JUN 1986

$2 1

CA-88 Ad verti sing A nnu al

JAN/FEB 1989

SEP/OCT 1990

NOV 1990._ _ _ _ _ _ _ _$_2 l

$2 1

CA-85 Design Annu al

DEC 1985

$2 1

CA-88 Des ig n Annu a l

MAR/APR 1989 NOV 1985

$7

T o ny Sc hwa rt z; Juli e Liebe rm an; F ra n ~o i s Ro be rt ; FL P ro pe rt ies; ev ille Brody; Ex hibit ; Crea ti ve Gree tin g C a rd s; He rbe rt Baye r

$ 14

Illustrati o n A nnu al

AUG 1991

$14

Photogra ph y Annu a l

SEP/OCT 1991

$7

Frank furt G ip Ba lkind; A nnual Report ; Ja mes Stagg; C li e nts and Designe rs: The Nature Co mp any a nd des igner K it Hinrichs; O ffice Ergo no m ics ; Brian Lanke r; C ri pin & Po rte r Adverti si ng ; A lan C han Des ig n Com pa ny; Ex hibit

MAR/APR 1992

7

Conc re te Des ig n C o mmun icati o n ; Mullen Advert is ing; Cathleen T oelke; E migre; Bruce Hands; S laughterHanson ; The C hanging De mographics of Des ign ; Color Pred ic tions; T he C ity of Phoenix Logo Co mpetiti o n; Ex hib it

JUL 1992

$14

Illustrat io n A nnu al

AUG 1992

$14

Pho tog raph y Annu al

SEP/OCT 1992

$7

Graphic Design in China; Ph ilip Burke ; Fallon McEll igott; Clients and Designers: G ra nd Union a nd M ilto n Gia er, Inc .; Lonn ie Duka ; O rio le Park at Camden Yard ; The ex t Ge neration of London Desig ners; Ex hi bit

NOV 1992

$2 1

CA-92 Design A nnu al $ 14

DEC 1992

Photograph y Annu al CA-92 Adve rti sing A nnu al

$21