janfeb2001

January/February 2001 Volume 42, Number 8

~ommuni~ation Art~ Grant Design Collaborative This Canton, Georgia, firm puts heartfe lt design on the map.

By Matthew Porter

50

Nanette Biers A Northern Ca lifornia illustrator with a passion fo r the ni neteenth centu ry.

By Rebecca Bedrossian

60

Singapore Advertising You can't sell gum there, but creative expressio n gets a free rein.

By Michael Mazza

72

Kwaku Alston A Los Angeles photographer with a ce lebri ty flair.

By Julie Prendiv ille Rou x

82

Album Cover Design Past influences, present struggles & future predictions .

By Angelynn Grant

94

Pioneers A look at the career of legendary Doyle Dane Bernbach art director, Helmut Krone .

By Jean A. Coyne

98

Color Predictions A report from New York's Fash ion Week : color warms up and pastels are in.

By Anne Telford

103

Eco Daniel Imhoff and Darlene Trew Crist examine advocacy advertising .

Designed and edited by Eva An derson

107

Exhibit The latest and brightest work from here and abroad .

By Jean A. Coyne

Cover: Kwa ku Alsto n's photograph of Lauryn Hill wa s originally pub lished in TimeOut mag azin e for th eir New Yo rk summ er mu sic prev iew. Ron de Ia Pena, art director; Shana Sobel, photography editor.

Editor and Designer Patrick Coyne

126

Executive Editor Jean A . Coyne

Technology Feature Sam McMillan profiles San Francisco-based THUNKdesign.

134

Design Technology David Williamson Shaffer on thinking forward by thinking back.

138

Associate Editor Rebecca Bedrossian Associate Designer Mark Eastman

Technology Review Gary W. Priester road tests Macromedia Flash 5.

146

Managing Editor Anne Telford

Technology Resources Books, tools, resources and educational opportunities.

Production Manager Scott Perry Production Ron Niewald Technology Director Jeff Stafford

16

Interactive Media Art Director Bonnie Smetts

Design Issues Cecelia Holland discusses the staying power of design and its impact on culture.

22

Freelance Public relations in the age of image by Barbara Gordon .

28

Legal Affairs Part two of a two-part series on making and managing agreements by Lee Wilson .

36

Trendwatch James R. Whittington and Dr. Joseph Webb examine how we work, based on information gleaned from our Web site .

150

Advertising An iceberg didn't sink the Titanic by Carl Warner.

152

Conference Review Mark Eastman reports on the ATypl conference in Germany.

Interactive Media Associate Designer Tricia Seibold Interactive Media Editor Sue Garibaldi Interactive Media Programmer Duncan Brown Interactive Media Developer Gary Wium Interactive Media Production Assistants Becky Fong Khader Yanni Information Systems Manager Michael Hoyt Web Administrator Nancy Hagemann

12

Editor's Column

General Manager Advertising/Circulation Michael Krigel

Contributors

Circulation Director Perry Fotos

Letters

Retail Sales Manager Gloria Rosario

156

Book Reviews

162

Materials, Available Literature

166

Clubs, Conferences, Seminars

Office Manager Nina Kitching

168

Index to Volume 42

Administration Darcie Niewald

172

Directory

Controller Ron Auger, CPA

Subscriptions Priscilla Brooks

Assistant Controller Gayle Gregorius Volume 42. Number 8 www.commarts .com COMM UNI CATION ARTS, (ISSN 00 10-3519) is published eight times a year (January/ February, March/Apnl, May/June, July Illustration Annual , August Photog raphy Annual, September/ October, November Des1gn Annual and December Advertising Annual) by Coyne & Blanchard.

Inc., 110 Const1tut1on Dnve, Me nlo Park , CA 94025-1107

Periodicals postage pa id at Me nlo Park, CA and at additional mailing offices .

Copyright 2001 by Coyne & Blanchard, Inc. All p1eces reproduced 1n this 1ssue are under pnor copyright by the creators or by the contractual arrangements w1th the1r clients . Noth1ng shown may be reproduced 1n any form without obtaming the permiSSIOn of the creators and any ot her person or company who may have copyright ownership .

SU BSCRI BER SERVICES : Subscri ption : 1 year, $53; in Ca nada. $70; All other cou nt ries, $110 . All payments in U.S. dollars, Ca nadian GST: 127848620 . D1rect all inquines. address changes, subscription orde rs, etc ., to : COMMUNICATION A RTS P.O. Box 51785, Boulder. CO. 80322 -1785. Via phone : 800-6881971, 303-678-847 5; fax : 303-66 11181 or e-ma1l : subscription@ com marts com . Please allow six weeks for changes. For back issues, please contact the editorial and busmess office .

EDITOR IAL A ND BUSINESS OFFICE : 110 Constitution Drive, Menlo Park, CA 94025-11 07 .

Phone : 650-32 6-6040 Fax : 650-326- 1648 E-mail : ca@comma rts .com POSTMASTE R: Send changes of address to : COMMUNICATION ARTS PO . Box 51785 Boulde r. CO 80328-1785

.t)ABC

Contributing Editors Tad Crawford, Legal Affairs; Barbara Gordon/Maria Piscopo, Freelance; OK Holland, Design Issues; Sam McMillan, Technology Resources; Wendy Richmond, Design Technology Founder Richard Coyne (1926- 1990)

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Editor's Column

BY PATRICK CoYNE

0

nly a few years ago, if you said you were a graphic designer, it was assumed you created identity programs, brochures, maybe some packaging and an occasional tradeshow exhibit. If you said you were an advertising art director, it was understood that you created print ads, posters, television and radio commercials. Design firms were the protectors of their client's identities . Advertising agencies were the nurturers of their client's brands.

But the media spectrum has broadened, causing easily definable audiences to splinter into ever smaller groups of pecial interests and shared experiences, blurring the lines of responsibility between design and advertising.

The Web has caused a lot of this confusion. Web sites and Web banner ads are being created by design firms, ad agencies and new media firms. According to the results of our online and reader surveys, design firms claim that more than a third of their work is not traditional print projects; ad agencies claim that just under a quarter of their work is outside traditional media. And on the flip side, Web design freelancers say that a third of their jobs are solely print-based.

ment in-house. This will mean bringing new skills and personnel into the creative office.

While visual communication firms in the new millennium may be structured and staffed very differently than their twentieth century predecessors, the bottom line to success will still be the ability to connect a client with an audience by using the creative mind to present a unique solution.

And we are committed to nurturing that creative mind by being a source of inspiration and information regardless of one's job title.

Web Site Update To further our efforts to inspire and inform, we are in the process of building a three-site network that will be quite different from our existing Web site. Why are we doing this? We have 8o,ooo online viewers, only some of whom are CA subscribers. This means we've attracted a significant audience that may be interested in product and services other than CA magazine. The jobs and interactive media content on our site attract much of this audience and we think there is growth and income potential by expanding these areas away from CA.

Before we even get a chance to catch our breath and define what the Web does best as a medium, we're now hearing that wireless Web delivered on hand-held devices is just over the horizon. Like album cover designers who saw their canvas

Creative Hotlist: This site will be a dedicated career/com-

shrink from LPs to CDs, Web designers are cringing at the idea of having to present some sort of corporate identity combined with meaningful content in a two-inch square.

addition to listings of jobs like our existing career section, individuals and firms will be able to post portfolios, resumes,

That scenario will become a reality shortly. According to International Data Corp., a provider of industry analysis and market data on information technology, the number of wireless application protocol (WAP) users is expected to soar from just over 500 , 000 at the end of 2000 to more than 19 million in 2004. Analysys Consulting, advisors in telecom and new media, forecast that by 2005 more than half of the predicted 1.1 billion mobile subscribers will be accessing Internet services from their handsets , with mobile portals earning more than $1 billion from advertising and

8

Here's a brief description of the three sites:

munity site for the visual communications industry. In

company profiles and capability information. Individuals will be able to search for talent and firms by type , specialty and location and then save these searches for future reference.

Design Interact: This site will be dedicated to inspiring

creative excellence in interactive media. In addition to our Web Site of the Week feature, it will contain profiles of designers and developers of interactive media, detailed project overviews that highlight the creative/production process for Web and disk-based projects, opinions from industry leaders and current news. We see this site as a research and development tool to determine if we should launch a new

commiSSIOnS.

magazine covering interactive media.

And who is going to be creating content for this ever-expand-

Communication Arts: The magazine's Web site will be

ing media landscape? In an industry already known for its vague job descriptions, we're seeing tides like creative integrator, information architect and experience designer cropping up.

streamlined and focused on being a better informational resource for our readers and to encourage more customer service online.

Firms choosing to stay out of new media work are facing radical changes in traditional print production as increasing

Our projected launch date is sometime in January 2001. We are planning an in-depth article on our new network for the

adoption of direct-to-plate heralds the elimination of film

March/April issue so we can share with yo u what we learned

and the added responsibility of proofing and color manage-

from the production process. •

JANUARY /

FEBRUARY

2001

Contributors Features

Simmons College and

new technology. He wrote the

Massachusetts Institute of

Design Technology column,

Julie Prendiville Roux is

Technology. Her freelance work

edited by Wendy Richmond.

owner and creative director of

ranges from CDs to Web sire

Radioville, a creative and pro-

design. You can view her work

duction services company

on her own sire at www.shore.

located in L.A. Julie has spent

net/,...agrant. Angelynn wrote

her career in advertising in San

two book reviews and examined

Francisco and then Los Angeles as a writer at agencies including Ketchum Communications,

the design of album covers in her first feature article for CA.

James R. Whittington is a Sam McMillan is associate

founding partner ofTrend-

creative director for marchFIRST

Warch and a business strategist

in San Francisco. McMillan

and marketer. With his 25 years

writes frequently about topics

of experience, he has been rhe

concerning interactive multimedia design. He wrote the Technology Resources column

driving force behind the TrendWatch brand and their reports on the creative and Internet markers.

Chiar/Day and Foote, Cone &

Eva Anderson is principal

and profiled San Franisco-based

Belding. She has contributed to

of Providence, Rhode Island-

THUNKdesign for the

Barbara Gordon, an artist

Technology Feature.

and photographer representative

CA since 1987. For this issue, she interviewed photographer Kwaku Alston.

based Eva Anderson Design, which specializes in ecologicallyconscious design. She is also

since 1969, is a past president of Gary W. Priester is a graphic

rhe Society of Photographers

designer, journalist and author

and Artists Representatives and

of Looking Good in Color (Ventana Press) and co-author

a member of the Society of Illustrators and the Graphic

Michael Mazza's advertising

editor of Eco newsletter, which

career has spanned nearly

addresses environmental issues

twenty years. Along with a

faced by graphic designers and

stint as a designer at Graphic

of Core!DRA W Studio Tech-

Artists Guild, and is also the

their clients.

niques (Osborne/McGraw Hill).

author of two books. She heads

Kong, he has held posts at The

Dan Imhoff is a Northern

He worked for 25 years as an

her own firm , Barbara Gordon

Richards Group, Chiar/Day,

California-based writer who pri-

advertising art director before

Associates, in New York City.

Team One Advertising and

marily concentrates on issues of

making the transitions to graphic

Goodby, Silverstein & Partners.

design, the environment and agri-

design , where he is a principal

He is currently senior vice

culture. He and Darlene Trew

in The Black Point Group, and

Carl Warner is a group cre-

Crist wrote this issue's Eco news-

then to writing. Priester and his

ative director ar DDB/Dallas.

letter on advocacy in advertising.

wife, Mary Carter, recently

Previously, he worked at The

moved to Placitas, New Mexico.

Richards Group, Team One

Burlingame, California, with his

Darlene Trew Crist left the

H e reviewed Macromedia Flash

Advertising and at DDB 's

wife Christina and his two boys.

rat race of her own public rela-

5 in this issue.

For this issue, Michael traveled

tions firm in 1992. Since then,

Communications Ltd. in Hong

president, group creative director for Publicis & Hal Riney in San Francisco. He resides in

to Asia to report on advertising in Singapore.

she's evolved into an awardwinning writer. One of her lat-

Columns Cecelia Holland is a North-

est projects is a series of books

Atlantan, opened PorterWrire

on the environment for children.

ern California-based professional

Design Consulting in 1997 after

In this issue's Eco, she reports

spending ten years with such

on advocacy advertising.

writer with 30 years of published work, including fiction,

Rod D yer, Keith Bright, Larry Klein and Bob Wages. A con-

Technology

tributor to CA since 1992, he

David Williamson Shaffer

traveled 40 miles north of his

is a lecturer at the Harvard

home town to profile Canton-

Graduate School of Education.

based Grant Design Collab-

He has worked as a reacher,

orative. He can be reached at

curriculum developer, reacher-

She has wri rren on freelance iss ues for CA since 1982.

Chicago office. He wrote this issue's Advertising column.

Matthew Porter, a native

notable design professionals as

non-fiction, reviews and reaching experience. She has been awarded a Guggenheim Fellowship, the Irving Stone Prize and the Connecticut College Medal of Honor. She wrote the Design Issues column, edited by her sister, DK Holland.

Lee Wilson is a Nashville

intellectual-property lawyer and writer. She is the author of The

Copyright Guide and The Trademark Guide (Allworrh Press). Thi article, parr two in a two-part series, is adapted from a chapter of Wilson's new book The Advertising Law Guide The Legal Affairs column is edited by Tad Crawford.

Book Reviews

Dr. Joseph Webb is a

Byron Ferris, a former Art

for students in fourth grade

twenty-year veteran of the

College instructor, now writes

Angelynn Grant is a Boston-

through graduate school, in

graphic arts industries. A

from his design office, RFI

based graphic designer, writer

the U.S. and abroad. He is cur-

and educator. She has taught at

rently working on developing

recognized marketing expert and leading industry figure, he

Portland, Oregon, about design,

Rhode Island School of Design,

tools to help students under-

founded the TrendWarch reports

illustration , photography and

the Art Institute of Boston,

stand rhe ethical implications of

and established TrendWarch as

design history.

porterwrire@mindspring.com.

10

a new business in 1997 wi th partner James Whittington.

JA N U A RY /

trainer and technology specialist

F E B R U A R Y

2 0 0 I

(Redoubtable Ferri ', Inc.) in

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Letters to the Editor New Trends in Trade Dress

easily reduced to a simple drawing.

However, more complex forms of trade

know what this term meant. In addition, that the Wal-Mart holding will likely be

focusing on intellectual property law for

dress, such as packaging designs or Web sires are nor. Nor is registration gen-

applied to other trade dress in the future.

9 years . I am concerned that Mr.

erally necessary for such trade dress.

Prudent lawyers will, therefore, counsel

DuBoff's article [September/October,

The courts have protected trade dress

their graphic designer clients to adopt the

I have been a graphic designer/ illustrator for 25 years and a lawyer

page 34] will mislead graphic designers

rights in packaging, greeting cards, book

more conservative approach by assuming

in at least three important respects.

jackets and restaurant designs, all with-

that proofofsecondary meaning will be

out federal registration.

required. In addition, a competent attor-

Wal-Mart Stores, Inc. v. Samara Brothers,

Finally, and perhaps most importantly,

ney representing the plaintiffin an

Inc. established new law with respect

trade dress is a form of legal protection

infringement action should allege sec-

to trade dress rights claimed for pro-

generally avai lable only to the clients

ondary meaning so that, in the event the

duct configuration only (i.e., that "sec-

of graphic designers, not the designers

trade dress is not found to be inherently

ondary meaning" must be proven to

themselves. Unlike copyright, trade

distinctive by the judge or jury, the plain-

establish trade dress protection for pro-

dress does not protect an author's rights

tiff may still prove lack of mere descriptive-

duct configurations). Product config-

ness by establishing secondary meaning.

uration means the actual shape or

to an original creative work. Rather, like a trademark, trade dress, and the

My article did not state, as Ms. Kattwinkel

visual appearance of a product itself,

concepts of "inherently distinctive"

suggests, that registration of trade dress is

in other words, industrial design. The

and "secondary meaning," refer to con-

an alternative to proving secondary mean-

Wal-Mart case does not effect trade

sumers' association of the trade dress

ing. While the Patent and Trademark

dress created by graphic designers, e.g.,

with a particular source of the products

Office does not require proofofsecondary

labels, packaging, advertising, publi-

or services which the trade dress pro-

meaning, expensive surveys are generally

cation designs, Web site designs, exhibit

motes. Only the source of those

not necessary and secondary meaning can

designs, etc. These forms of trade

products or services, nor the source of

be established very inexpensively. The cost

First, the Supreme Court's decision in

dress are still protecrible when they

the graphic design , may assert (and

of registration-even with complex design

are inherently "distinctive."

register) trade dress rights and allege

drawings- is a mere fraction of the cost of

Second, federal registration of trade dress is not an alternative to proving secondary meaning. The trademark office applies the same legal standards

trade dress infringement against an

a survey, which is generally more than

imitator. Except in cases of a designer's

$JO,OOO.

self-promotional works, the owner of the trade dress rights is the client.

Ms. Kattwinkel implies that since trade dress is protectable without registration,

for trade dress as the courts. Thus, fol-

In short, the "new trends" discussed

there is no need to seek registration. However, in a lawsuit involving registered

lowing Wal-Mart, the trademark office

by Mr. DuBoff are largely irrelevant to

will require proof of secondary mean-

graphic designers. His article would

trade dress, the registration is deemed

ing before registering a product design.

have been more appropriate for a trade

strong prima facie evidence that secondary

For other forms of trade dress (i.e.,

journal for industrial designers.

meaning exists. Once a trademark or

packaging, label designs, etc.), the

LINDA ]oY KATTWINKEL, EsQ.

trademark office will first determine

OwEN, WICKERSHAM &

whether the alleged trade dress is inherently distinctive. If not, the office will

ERICKSON' PC SAN FRANCISCO, CALIFORNIA

trade dress registration has become incontestable through five years' use after the date of registration and compliance with certain formalities, then secondary meaning is conclusively presumed.

require proof of secondary meaning.

12

many knowledgeable commentators fiel

Moreover, the forms of trade dress typ-

Leonard D. DuBoff responds:

Ms. Kattwinkel is incorrect in her char-

ically created by graphic designers are

I agree with Ms. Kattwinkel's statement

acterization oftrade dress protection

generally more difficult to register. The trademark office requires a "drawing"

that the Wal-Mart case applies only to

as not being available to graphic designers.

product configuration cases, as my article

As I am sure Ms. Kattwinkel knows, a

of the claimed trade dress which defines

noted (see the nth and I2th paragraphs).

graphic designer's market consists ofthe

the design to be protected. Some forms

While my article did not contain a defini-

businesses who may use the graphic design-

of trade dress created by graphic design-

tion of the term ''product configuration, "

er's services, not the ultimate purchaser of

ers, such as labels and mastheads, are

it was my assumption that readers would

that business's products or services. Thus,

J A N U A R Y /

F E B R U A R Y

2 0 0 I

Letters to the Editor

if one graphic designer copies another

I was just wondering if there was a

why the actual contents of my design

graphic designer's trade dress, there may be

mix up and the other components

were altered?

a claim for trade dress infringement based

were deleted by accident or was that

on the confusion ofthe graphic designers'

the intent. Again, we are very pleased

DAVID DRUMMOND ATHELSTAN, QuEBEC , CANADA

customers and potential customers.

to be included, but we feel the entire

I do appreciate Ms. Kattwinkel's interest

stationery system is much stronger

Editor's Note: In our attempt to make

in intellectual property and hope that I

together than apart. With that said,

the type easy to read, we screwed up. The

have been able to help her better under-

the magazine looks great and we can't

background (originally a beige, not white

stand the Wal-Mart case and the way

wait for the next opportunity to grace

as it appeared in the annual) was dropped

skilled intellectual property practitioners

the pages of Communication Arts.

out and the text elements were incorrectly

are dealing with it.

positioned by our separator. Our apologies

]ARRETT HAGY

to everyone. Sometimes in the e./fort to

LODGE DESIGN

Roberto Parada

INDIANAPOLIS, I

DIANA

make things readable we overdo.

Michael Kaplan's article (page 6o) on Roberto Parada in the September/

Editor's Note: Our mistake. We didn't

Errata

October issue of Communication Arts is

turn over your business card to see the

On page 73 of the Design Annual, we

a real stunner. Parada's art is fabulous

UFO on the other side, but the judges did.

listed the design office of Tom Cheevers

and it's a wonderful showcase. But

The editorial department followed you

as being in Chicago. He is located in

what I find even more stunning are

right out the window and printed your

Portland, Oregon 97204 at 408 SW

Kaplan's statements about illustration:

remark about the UFO, which doesn't

2nd, Suite 411. Our apologies to Mr.

"Parada was given the kind of freedom

make any sense at all to the readers because

Cheevers.

that rarely exists in magazine illus-

there isn't any UFO on the letterhead. Our

tration. In most cases, illustrators are

apologies to Lodge Design Co. and Brian

On page 74 of the Design Annual,

provided with rigidly conceived con-

Epstein and to our readers who were

we misspelled photographer Eric

cepts that they need to translate into

probably mystified about the reference to a

Poggenpohl's name. Our apologies

ink or paint or pixels. " And "It helped

UFO. Rod Serling, where are you?

to Mr. Poggenpohl.

him grow from a clever illustrator to an artist with a point of view." Of

Book Jacket Rearrangement

On page 126 of the Design Annual, we

course! It's eluded me all these years.

My name is David Drummond and

were provided with incomplete credits

We're just a pair of hired hands execut-

my work is included in the Design

for "The Wonder of Science." Sung

ing ideas and visions authored by others.

Annual4I (page I37, #2). My first

Choi should have been included as the

If this amazingly contemptuous miscon-

reaction was to be disappointed with

associate designer.

ception is held by our so-called friends ,

the quality of reproduction, but I was

it's no wonder American culture places

willing to let this go because I can see

On page 137 of the Design Annual, we

so little value in illustration.

the enormity of the task involved in

listed the design firm of Red Canoe as

faithfully reproducing all this work.

being in Deer Creek, Tennessee. It is

RoBERT NEUBECKER

However, when I compared the repro-

located in Deer Lodge, Tennessee. Our

duced piece to the original, I realized

apologies to Deb Koch, Caroline

Missing Business Card

to my amazement that the layout of

Kavanagh and Red Canoe.

I would like to begin by saying how

the cover had actually been rearranged.

SALT LAKE CITY, UTAH

14

thrilled we are at Lodge to be included

Note the subtitle has actually been

Address correspondence to: Letters to the

in your latest Design Annual. We are,

placed higher vis-a-vis paintbrush. This

Editor, no Constitution Drive, Menlo

however, wondering why only the

I could live with, but the position of

Park, California 94025-II07 or e-mail

letterhead for Urban Space was shown

the paintbrush is not properly centered

letters@commarts. com. We reserve the

[page 93]. Part of the quote is even

between the title, which really bugs me,

right to publish letters and to edit for

directed to the back of the business

as it would any self-respecting designer.

clarity and length. Please include a

card. It doesn't make sense without

Accepting that quality of reproduction

signature, address and phone number.

being shown.

can vary, can you please explain to me

Anonymous letters will not be published.

J A

U A R Y /

F E B R U A R Y

2 0 0 I

You Eat the Soup

BY CEcELIA HoLLAND

Y

with their own hands. What d es ign from this era survives

The technology of the humble can, the rolled metal, the

The great Frankish king, conqueror of half of Europe, had

paper label , the pull tab , reveals an interdependent, special-

seen and admired the cathedral of San Vitale in Ravenna in

ized market economy whose resources are devoted largely to

Italy, and returning to his favorite home of Aachen he under-

serving the mass of people, rather than an elite-which in

took to replicate that building. Finished in 80 2 C. E ., the

ou eat the soup and throw the can away. Yet the

soup is just a meal, while the can, like a fractal of a

reveals a far different focus-s uch as Charlem agn e's

Mandelbrot set, recapitulates our culture in little.

cathedral at Aachen.

turn implies a stable, peaceful culture . The size of the can

cathedral is made of dark stone, its dome supported by m as -

hints at small families. The bright colors of the label and

sive marble columns dragged up over the Alps from Italy;

the cheery graphics, not to mention the staggering variety

fortress-like, its octagonal structure is so closed that I once

of flavors , demonstrate the soup company's need to compete

walked all the way around it without being able to find the

for consumers' attention-hence an affluent society, where

way in. Its most striking interior feature, bes ides the dark

nearly everybody has a wide range of choices. The down

veined marble columns, is Charlemagne's sarcophagus.

side is that the can is one of identical millions, a clue to the

This d esign, clearly, springs from a culture focused on the

relentless conformity and underlying angst of American life.

power at the top, where God and monarchy conjoined, a

Compare this with an artifact from , say, Europe in the

conservative society trying desperately to defend and protect

eighth century C.E. There are no soup cans from this era,

the legacy of a grander past, even if it had to borrow some

although certainly people ate a lot of soup; but they made it

of that legacy from another country. The dark, squat bulk

themselves, from ingredients they found or killed or dug up

of the building, hugging the ground, accessible only through

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narrow openings, projects the society's fear of a grim and

columns outside the walls of the cathedral, extending the

uncertain present and a grimmer and nastier future. The

force lines of the vaulted roof out through the walls; on

building is consecrated to death, the Crucifixion of Christ,

these flying buttresses they raised the vaulted roof up to a

the burial of the great Emperor, who was the human linchpin

dizzying height, and between that roof and the walls they

of the whole society. Once Charlemagne was gone, that

inserted a row of windows, the clerestory, where rows of

society began to come apart at the seams. Although Aachen's

stained glass windows let in the sunshine and cast brilliant

cathedral remained, and still remains, the design of the

blades of color down through the whole vast open interior.

Romanesque was failing.

The result was a building that seemed all air and light, almost

This is, of course, the broadest definition of design: not just

weightless, soaring upward toward heaven-a structure that

the arrangement of elements on a page, but the construction

reflected eleventh century Europe's new-found hope and

of human lives. Still, the idea of design is at the core of all

confidence. Where the Romanesque reflected a grim deter-

human creativity. We construct the world around us to suit

mination to hang on to the past, the Gothic spoke of opti-

ourselves, and the designs we make reflect the way we see

mism and the limitless power of God's grace.

ourselves. To know us, know what we design , and why.

The new style gave concrete shape and impetus to the explosive period of creativity of the High Middle Ages, when the foundations for our modern life were laid down. The new

The urge to design doesn't merely reflect social values; it also drives social change. Some 300 years after Charlemagne's death in 8q, a new design ushered in a sea change in the European world-view.

This was the design we call Gothic. The masons and stoneknappers of the twelfth century basically took the old Romanesque plan for a cathedral and turned it inside out.

To open up the interior space, they pulled the supporting

style spread throughout Europe, from Paris and Coventry to Prague. Nameless masons , traveling from site to site, spread and refined the techniques, working out the formulas by which the tremendous walls could be made to stand almost in defiance of gravity. Ordinary people, from serfs to noblemen and women, flung themselves into the work, hauling and laying stone and spreading mortar to raise the glories of Chartres and Durham and York.

These huge monuments took scores, even hundreds of years to build; their sheer size and weight seem to obliterate the average men and women creeping around their feet. Their builders remain mostly anonymous. Each cathedral was different, and ye t the same in their imposing, almost arrogant reach toward God. If any design was oblivious to the mass of the people, surely it was the Gothic. Nothing could be more different than the soup can.

Walking around the York Minster recently, I marveled at the soaring height of the building, its harmonies of proportion, and its teeming ornamentation, the gargoyles and dragons and angels, bosses and plaques, the statues and chiseled stone heads of people that encrust the whole vast flamboyant edifice. There are hundreds of human faces ornamenting the outside and inside, and close inspection with binoculars revealed a startling fact: every face is unique.

The nameless and forgotten stone workers covered the inside and outside of this building, dedicated to an omnipotent God, with individual images, putting them up where no living man could ever see them , clothing the monolithic harmony of the thrust toward God with an endless human variety, a thousand ordinary souls hitching a ride to heaven. By contrast, the soup can looks suddenly indifferent, inhuman and stupid.

Life in the twelfth century was desperate and cruel; people died early, of OVerwork and (CONTINUED ON PAGE 21]

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underfeeding, of brutal violence, of horrible diseases long since rendered harmless. In the last year of the twen rierh century we live on average twice as long. We have in fact roo much to eat. It's getting so hard to die that we're starting to talk about the right to do so. And yet we share with that earlier rime a sense of helplessness, of powerlessness and despair. And the soup can is one reason why.

purveyors of stuff work desperately to make us happy so we will keep on buying. And everybody wonders why the quality of all that stuff keeps going down, and why things don't make us happy anymore.

We need to redesign ourselves. Somehow in the stultifying sameness and ordinariness that surrounds us, we have to find that which is unique to each of us, and build on it. Fortu-

Marching off the assembly line in irs dizzying millions, the

nately there are excellent examples of this, and some of the

soup can treats us all alike. And it isn't merely a matter of

best are skimming along the great wave of modern com-

soup. Buying clothes now is like selling yourself as a billboard.

Every T-shirt, every jacket, every pair of jeans comes blazoned

mercialism that seems so all-powerful and so depressingly mediocre, surfing like angels along the edge of the money

with a brand name , be it that discreet little polo player or a huge OLD NAVY. Our clothes don't express us anymore.

and power.

Some distant corporation uses our bodies to advertise themselves. We're being branded, like herds of cattle, trudging on to nowhere. We don't even get paid for carrying the advertising.

There was Tibor Kalman, for instance, the master designer who had no formal training and yet who was behind so much extraordinary design. Who else is so loud, so brash, so fascinated by the ugly, the weird and the unmentionable?

The soup can culture works toward simplicity, continuity, a

Like the Gothic cathedral, we've been turned inside out.

sense of eternal sameness. Tibor went-with glee-for mess

The resources of imagination and initiative and identity we

and transience, drawing on living bodies, jumping words all

can only find in ourselves we look for in externals-so beer

over a page or a piece of film, using pictures as text, and

commercials can tell us to "go for the gusto" and shoe sellers

text as pictures, blood as ink, razors as drawing pencils. Best

want us to "be like Mike" or Dennis or Venus or anybody

of all, he never seemed to repeat himself. Everything he did

bur our poor mediocre worthless selves. The real people are

was straight from him to the moment.

those on TV or the big screen, leaving the rest of us in the audience, spectators of life. Yet all we have is who we are.

Some of this is an inevitable response to the bland and boring stuff of the soup can culture. In each of us there is some

We tend to blame the corporations for all this alienation,

deep urge, when the storm rages outside and everybody

displacing the guilt, bur it's certainly our own fault. We have

else is huddling around the warmth of the fire, to open the

it easy, and so we've come to think that having it easy is the

door and let in the dark. More important is the invitation

purpose of life. We sir back in our chairs and demand that

in Tibor's work to escape the boundaries and see things

more entertainment, more titillation, more excitement be

new again. A buoyant optimism underlies his work: he knew

brought before us for our delectation, nor noticing that such

there was new stuff out there to see, and he knew that learn-

a pose shrinks us down from real human beings to mere con-

ing to see new is the way to freedom.

sumers, who know nothing, believe nothing, create nothing, only buy.

Even interesting ideas, like the Absolur®ads, Alien I, or the

No professional creatives can teach us all to see better than graphic designers. The very need to seize and hold the everrestless eye requires a constant reinvention of the ideas of

righteous indignation of Seattle, get done to death by repe-

text and image. That can't happen by following the rules

tition. One of the most horrible feelings of modern life is the knowledge that any interesting or successful New Thing

and obeying the law. Design of this sort could derive a sense of itself from Zen Buddhism. Zen and design may seem

will be seized on by the commercial media and repeated and

opposing concepts, but just as Zen aims to annihilate expec-

repeated until it puts your teeth on edge: a sort of pre-

tation and anticipation, bringing alive the moment, great

partum depression. Yet the soup can culture cannot escape

graphic design wants to trick the viewer into seeing as if for

from this wheel. It only values what can be replicated in an

the first time. Tibor Kalman delighted in doing this, and in

endless series. The whole notion of choice has become problematical. What' the choice when everything is the same?

so doing, invited us into a new world, the best of the soup can and the cathedral, a culture designed for everybody, in

All books and movies have sequels, even though the originals

which every face is unique. •

worked precisely because they were original. Somewhere, even now, some movie studio is trying desperately to come up with a way of making Titanic Il In the void left behind by the abdication of ourselves, the

Editor's Note: How many designers do you know have saved that soup can, enshrined it on a shelf? The good ones are very hard to toss.

-OK HoLLAND C 0 M M U

I C AT I 0 N

A R T S

21

The Age of Image

BY BARBARA GoRDON

I

have always been a great believer in public relations,

and promoting their own accomplishments and talents as

especially for people in the freelance field. Public rela-

well, and should be doing this, even on a limited basis.

tions , "the marketing fist in a velvet glove" as some

How does one start?

would call it, is the ability to bring positive attention to one's

First of all, every freelancer should always take time, at least

achievements. Today it is often called "image" building, and

once a month, to ponder and record what they are doing

companies are very aware of image and how important it

and see if there is anything newsworthy in their current pro-

can be as a sales or marketing tool. And freelancers in today's

jects. Stop and ask yourself-did you solve a particular prob-

market need all of the selling tools they can command.

lem? Use a new technique? Combine

When I read in the press that the presidential candidates

different media? Come up with a

were so concerned about image that one candidate had to have his lectern lowered to compensate for his shorter height, and one candidate refused to be photographed from certain angles to avoid showing his bald spot and propensity to perspire, I realized that image has really arrived. It's time to discuss this important marketing tool as it pertains to freelancers.

I know that public figures and corporations are able to employ some of the best and most brilliant individuals and firms to construct, produce and promote their image. In my experi-

There are thousands of stories in our field that are of interest to readers and all are image building.

ence, however, every creative freelancer is capable of selling

new direction? Sell your talents to a different market? Discover a new marketing technique? Write a book?

An article? Donate work to a charity? Travel to an unusual place to coll ect photos or reference?

Overcome a physical or professional adversity? Try a selling approach unique to another industry? Win an award? Make a major life or career change? Take a stand

on an industry issue? Start an organization? I could go on indefinitely, but I think you get the idea.

Everyone who freelances will, with a certain amount of predictability do or accomplish something that is press worthy and of interest to the field that he/she is in. The success of many of the Internet companies we read about today often started with an individual bringing attention to, or starting a company on, an event that was of interest to a broad audience. This is what public relations or image building is all about.

When freelancers find a newsworthy event, they should bring it to the attention of the press. It doesn't have to be in the form of a press release. A one-page, double-spaced , simple explanation with visuals (where appropriate) is all that is needed. And you don't have to aim for "Oprah" (although that would be nice). Mentions or publicity in trade association newsletters, alumni and local newspapers, trade press

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are all good targets for your mailings.

A lot of your releases will probably be ignored or thrown out, but if you are persistent and do your research, you will

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one with the creativity to be in our field has the creativity to start determining what is newsworthy about their work and go about promoting themselves.

You'll notice that I mentioned a lot of publications that

22

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probably don't sound big enough . Never, however, underes-

sib ilities, i.e., problems you've solved artistically, technically

timate anyone's audience. You don't know who is reading

or sometimes just commenting on the experiences one has

the publication and, in fact, I've had freelancers tell me that

had working on a particular publication or campaign, copy-

some of their best connections came from so-call ed obscure

right, fees, negotiations, etc. The professional organizations

publications. I personally have experienced that same phe-

are also interested in all of the above, in addition to local

nomena myself, where a prospective client read something

issues that may not be of interest to a national audience.

about me or someone I represent that was so pertinent and timely to a project they were doing that I got a big job out of what initially appeared to be a "small" publication.

The beautiful thing about published materials is that it all goes along very well with and can enhance your advertising and promotion, since you can annotate pieces and say, "as appeared in ... magazine" or "first prize winner in ... competition," etc. That's part of the reason they call publicity "the marketing fist in a velvet glove"-it looks subtle, but packs a powerful punch.

If you don't think you're good at recognizing what is publicity worthy about yourself, get together with some other freelancers and discuss each other's accomplishments . Often it is easier to recognize someone else's successes than one's own. As an active member of professional organizations, I've found that the interaction with some of my fellow freelancers has given me invaluable insights into my own business goals and objectives, as well as ideas on how to do things differently.

Some organizations have "brainstorming" sessions among their membership just for this purpose, but you don't need formal sessions to have them be effective. It can also be

And while we're at it, don't

Anyone with the creativity to be in our field has the creativity to start determining what is newsworthy about their work and go about promoting themselves.

overlook the consumer magazines and national newspapers where human interest stories can be of great appeal to their readers, e.g., the engineer who gave up a six-figure job to become a freelance photographer; the mother who is returning to art as a freelance illustrator after a decade at home raising children (or conversely how she deals with children and a career); the

car salesman who combined his selling skills with his art skills to set up a design firm catering to the automobile industry. There are thousands of stories in our field that are of interest to readers and all are image building.

The purpose of this article is to help freelancers become aware of another selling tool-their "image" and to start thinking about building that image.

helpful to get together with freelancers from other disci-

When you keep records on your assignments, in every job

plines (i.e., artists with photographers or set designers or

folder, take an extra twenty minutes to jot down the goals

sculptors or stockbrokers, etc.) an d start interacting and

and challenges of the job. Use stream of consciousness and

discussing each other's professional accomplishments.

write one or two paragraphs about what happened. You

Once you determine what is newsworthy, write it up. You can hire a freelance writer to do this, but you don't have to.

You are articulate enough to write a one-page outline yourself that can be sent to a publication. One succinct page will do it. Magazines and newspapers have good editors and writers who can build on your information, or they may be

might also make note of something in the field that was of interest to you at the time-just write from instinct. At the end of every month, go through your notes and job folders and see if anything is newsworthy. If there is, write it up and send it out. Some months will be routine, but if you do this on a regular basis, you will come up with something that is of interest to a wider audience.

interested in a different aspect of your piece than the one you originally presented. They know their audiences and are happy to work with good sources of information .

This is the start of your image building. In today's imageconscious society, one can't afford to ignore this powerful marketing tool. •

You should be aware of the publication you're writing to and tailor your mailings accordingly. Your alumni journal will probably be interested in awards, shows you've been in, or the articles and books you've written, illustrated, designed or photographed. The trade press might also be interested in some of these items as well, but I'd add to the list of pos24

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Making and Managing Agreements

BY LEE WILSON This article is part two in a two-part series adapted.from a chapter ofLee Wilson's new book The Advertising Law Guide, published by Allworth Press ofNew York.

S

ometimes businesspeople think that if they can write an ad or a business letter or the text for an annual report, writing a contract can't be too hard. They will

write, and sign, a homemade agreement in the mistaken belief that if both parties to the agreement are honest, they don't need to hire a lawyer to draft the agreement. A contract of this sort is like an airplane you build in your basementyou may not know whether you omitted some important step in building it until it crashes and burns .

The main problem is that these agreements are usually not

from half-baked, amateurishly drafted contracts than you? If you intend to enter an agreement, get a lawyer to negotiate the best terms or draft the agreement for you.

The Roles of Lawyers The easiest and most economical way to use the services of a lawyer when you are contemplating a contract is to conduct preliminary discussions with the person who will be the other party to the agreement and settle on the basic terms to the agreement. Then, write a file memo for your lawyer, briefing him or her about the proposed agreement and your goals in entering it. Your memo to your lawyer isn't a contract or other legal document and doesn't have to be written with any particular care, past informing your lawyer what it

only binding but also probably ambiguous. If you sign one

is you plan to do and what terms you have reached with the

of these you can end up being bound by the terms of an

other person who will sign the final agreement. Your memo

agreement that no one can figure out without a lawsuit.

is, rather, an informational document and so long as it is

Owning a typewriter and a dictionary is not qualification

organized well enough that your lawyer can figure out what

enough to practice law, even if you're only writing an agree-

you mean , you should include in it as much information as

ment for yourself. In fact, who is more important to protect

you think might be useful, including some background information. This is where smart businesspeople exercise their writing skills-in communicating with their lawyers.

Such a memo will enable your lawyer to begin writing the agreement. When the draft agreement satisfies you, submit it to the other party as a formal offer. The other party may then ask for various provisions to be modified or for some to be added to reflect his or her interests. After a little more negotiation, you will-or won't-be able to create the final draft of the contract, the one that you and the other party to the agreement will be happy to sign because it embodies the terms that you have previously discussed.

Lawyers handle this sort of negotiation for their clients all the time, but there is no rule that requires your lawyer to negotiate for you. You can review the other party's requests for changes in the agreement, discuss your feelings about them with your lawyer, and get back to the other party yo urself. When you and the other party to the agreement have settled on mutually satisfactory terms, you can sign the agreement. This both preserves your relationship with your client and gives you the benefit of legal advice. Although this exercise may seem like a lot of work that could be bypassed, in the case of most agreements of any duration or import, it is not. The more important an agreement is to you or yo ur business, the more important it is to document it accurately.

Some short form agreements (such as the form agreements given in the appendix to The Advertising Law Guide) are

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*

simple enough that you should be able to use them without

encounter a situation that requires special language. But

the advice of a lawyer in most situations. However, you

don't vary from your basic agreement unless there is defi-

should really hire a lawyer to draft more complicated agree-

nitely enough money involved to make special handling of

ments, especially if they involve somebody's services over a

the client or supplier desirable. Otherwise, you end up with

long period of time or any significant amount of money.

as many different agreements as you have clients and your

Usually, businesspeople are able to work with only a few

office manager (maybe that's you) will have to remember all

standard form agreements that they use to document the

the variations from standard procedure.

recurring business relationships that they enter. An agency agreement, in the case of an advertising agency, is an example of this sort of primary agreement.

Many creative people assume that a written contract between people who know and trust each other is unnecessary and

If you hire a lawyer to draft the agreements you regularly

that having a lawyer prepare a written agreement in such a case is an avoidable expense. Neither of these assumptions

use, you should be able to negotiate and use those basic

is true. Even if you enter an agreement with another ethical

agreements whenever you enter a new business relationship

person, a written contract is a necessity, for precision and

without incurring any legal fees. Further, the initial cost of

for documentation. Even honest and knowledgeable busi-

the form agreements is amortized over the life of their use and, invisibly, will probably be recouped more than once by

nesspeople sometimes fail to communicate to each other all the terms of their agreement. Putting an agreement in writ-

the legal fees you don't have to pay to extricate yourself from

ing lets both parties "see" their agreement and provides an

misunderstandings and to collect what is due you. Ask your

opportunity for them to negotiate points of the agreement they have previously omitted from their discussions. Further,

lawyer to leave an ''Additional Provisions" space in your form agreements or pay for a little instruction from your lawyer in drafting addendums to the agreements whenever you

a written agreement serves to document the terms of the agreement throughout the life of the business arrangement.

Human memory is fallible; even honest people can forget the precise terms of their agreements if they're not written down. And a written agreement can be crucial to proving the existence of the agreement if one of the parties dies or

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is fired or moves away.

And remember that no lawyer can include any provision in any written agreement that will compel ethical conduct

I

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from a dishonest person. The best any lawyer can do is to include provisions in a written agreement that prescribe penalties for failure to abide by the terms of the contract, and even this will not ensure that a dishonest person does not act dishonestly. Your best protection against truly dishonest people is to avoid entering agreements with them, since a true renegade has little fear of lawsuits, and in any event, having to go to court to obtain what you were due under the terms of the agreement you made is expensive, time-consuming, and frustrating.

Generally, the more complex the terms of the agreement and the longer its duration, the more it needs to be documented in writing. The very fact that an agreement is in writing can eliminate or lessen the likelihood of disputes.

Further, while it may be good business practice to reduce most agreements to writing, some sorts of agreements are

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not valid or enforceable unless they're in writing. For example, almost universally in English-speaking countries, contracts that may not be performed within a year must be in writing as well as contracts for the sale of goods worth more

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than $500. And the copyright statute requires transfers and

memorialize it is important enough to examine carefully

exclusive licenses of copyrights to be in writing. It also pro-

before signing. And this probably means having a lawyer

vides that nothing an independent contractor creates can be

review it for you. You should remember that in any business

a work-for-hire unless there is a written agreement to that

agreement there are actually two sorts of possible written

effect signed by both the independent contractor and the

contracts documenting the relationship-their version and

person who employed him or her.

your version. This is especially true when the contracting

All of these are good reasons for consulting a lawyer when

parties are not equal in power, such as when a free-lancer is

you enter into an agreement of any importance. A good

presented with an agreement drafted by lawyers for a large

lawyer who is familiar with your business can not only help

agency. Having your own lawyer in a situation like this can

you define and document your agreement, but can advise

help you feel less like David confronting Goliath. People

you concerning the law that governs your business relation-

tend to get very excited about the money terms of an agree-

ship and suggest contract provisions that can help you reach

ment-who gets paid what and when-and not excited

your goals and avoid disputes.

enough about other provisions of the same agreement. Terms

And need we discuss the importance of care in signing documents other people offer you? Consulting a lawyer can be just as important, or even more important, when the contract was drafted by lawyers for the other party. The old saw about never signing an agreement you haven't read is as true as ever, but what you really want to avoid is ever signing an agreement that you haven't read and don't understand Almost any agreement that requires a written document to

in one part of an agreement can modify those in another part of the same agreement. This means that the whole story of who gets paid what and when can be controlled by paragraphs remote from the one that promises you a fifteen percent (15%) royalty. A skillful lawyer who knows your business can often tweak several paragraphs in an offered agreement to allow you advantages that you didn't know you needed and wanted. These advantages can be just as important-or more important, especially in an agreement involving your creative work-than the paragraphs outlining the payments due you. Your lawyer can explain complex contract provisions to you and, by negotiating on your behalf, turn the offered agreement into one that allows you more control, gets you paid more quickly, and is generally more favorable than the un-negotiated contract you were originally offered.

But your lawyer must be familiar with your business before he or she can do the job you need. If you take your contract to a lawyer who says, "Just how long is a copyright these days , anyway?," it's time to consult another lawyer.

Copyrights and trademarks and the personal services of writers and illustrators and photographers are intangible, but they are valuable. This means that the business arrangements surrounding them must be in writing, on paper, in contracts.

Breaking an Agreement Sometimes creative people figure that signing agreements is no big deal-that they can simply sue to get out of the contracts they sign if they become unhappy with the people on the other end of them. This is a very dangerous notion.

First of all, you can't sue someone just because you feel like it. If you try, your lawyer will tell you to sit down, quit waving your contract, and say slowly and clearly what exactly it is that the other party to the contract has done to breach that contract.

Then your lawyer will give you the third degree. "Has the 32

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other person failed to do something promised in the con-

If you approach any contract with care and patience, you

tract? Has that person done something that is prohibited by the contract? Which provision of your contract leads you to

should avoid most of the tangles that contracts can cause.

believe that you have grounds to sue? Are you aware that your failure to live up to the promises you made in para-

Remember, if a business arrangement involves your being paid for your work or paying someone else, it's worth a written contract. •

graphs 7 through 9 would allow the other party to your contract to retaliate with a countersuit against you if you file suit? Have you considered the implications of paragraph 12 of the agreement, which requires you to give written

notice of any claimed breach and allow the other party to

Advertising Agency Agreements

the agreement to try to 'cure' the default that you claim has

The book let A Client's Guide To Agency/Client Contracts,

occurred? Do you understand that paragraph 13 of the agree-

avai lab le from the A merican Association of Adve rtising

ment requires that you bring your suit in the courts of Peoria,

Age ncies (t he AAAA) for $35, is an annotated compen-

Illinois, where the other contracting party maintains irs home office? Do you realize that you could become liable

and clients may adapt for use in their individual contracts.

dium of various samp le contract prov isions that agencies

for the attorney fees of the person you want to sue if you

Explanatory notes accompa ny each contract provision .

bring suit and lose? " Your lawyer will end this distressing discussion with the question all lawyers ask all clients before

compensatio n, bi lling practices, exclusivity, indemnifi-

they lift their expensive fountain pens to begin work: "How do you expect to pay my fees? "

Provisions cover such areas as agency services, agency cation, term and te rmi nation, general provisions, and sig nat ures. The AAAA also publishes Various Provisions

In Agency-Client Agreements, which contains an assort-

Get the picture? Not a pretty picture, is it? But it is realistic.

It may be that the first lawyer you hate if you decide to bring suit is your own, because he or she may have to tell you some home truths about the agreement you signed so cavalierly

ment of provisions take n from contracts provided by AAAA mem bers and covers such topics as mutually exclusive ar rangements , confidentia lity, se q uential liabi lity, compe nsation, terminations , and more . Available

last year when you still thought you were bulletproof.

on ly to AAAA members, this publ ication is $10 . Order

Even if you can find a reason to sue and can afford it, and even if you win your suit, you may not get what you want.

Advertising Agencies In c. , 40 5 Lexing t on Avenue, New

Judges don't give plaintiffs what they ask for just because

eit her pu blicatio n from: A merican A ssociation of York, NY 10 174-1801; (2 12) 682 -2500; Web site : www.aaaa .org

they ask. And there are many more likely results of a lawsuit involving a contract than that the contract is declared null and void. One of the most common remedies judges use when someone is unhappy with a contract is "reformation"; this means the judge orders the contract to be altered in some way to cure the inequity the plaintiff complains about.

Another result is that the defendant is ordered to pay the plaintiff money damages to compensate the plaintiff for whatever the defendant did wrong. A third remedy is "specific performance, " which is the name for what a court orders when it requires the defendant to do what he or she promised to do in the contract. Each of these remedies can give plainriffs some relief in situations that have become uncomfortable , but none of them gives a plaintiff what he may really want, which is never to have to lay eyes on the defendant again. The law respects the right of adults to enter contracts, presumes that people mean what they agree to in contracts, and hesitates to allow one party to a contract to change her mind and back out of an enforceable agreement. If the law takes seriously your power to enter binding agreements , shouldn't you?

34

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A nother good discussion of an advertising agency agreement (with comprehensive commentary on its provisions) called the Sample Agreement for Advertising Services, appears in a booklet ca ll ed Guidelines for

Advertiser/Agency Contracts, by Elhanan C. Stone .

Publis hed by and avai lable from the Association of National Advertisers, for $22 .50, it includes discussions of agency services, compensation for different services , billing and estimating procedu res, auditing and accounting, termi nating an agreement, ownership of ma terials, relations hips with independent contractors and conflicts of interest. Order this publication from : Assoc iatio n of National Advertisers, Inc ., 708 Third Avenue, New York, NY 100 17-4270; (212) 697-5950 ; Web site: www.ana .net These short booklets can teach you, and/or your lawyer, w hat standard provis ions are customary in agency ag reements, what those provisions do, and what provisions are desirab le from the viewpoint of the client and from that of the agency.

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Comb ine and coo rdinate the three as you see fit. Log onto www.pete mcarthur.com to learn more about these stock options or cruise on over to the phone and we'll talk stock. (310) 815-1951.

That Voodoo That You Do BY ]AMES W HITTINGTON AND DR. JosEPH WEBB, TRENDWATCH PARTNERS

A

s you may know, we've been conducting a series of

under ten percent. This is consistent with our TrendWatch

informal weekly surveys on the Communication Arts

report research-the .corn companies continue to re-engineer

Web site; creative pros have also been invited to

sound off in related discussion forums. In this article, we'll

their business models and have not yet connected with much of their target audiences. We've measured awareness of the

review what you told us over this past summer.

.corns among creative firms and it is still quite low-around

In our TrendWatch research, we've been seeing more Web-

30% or less, except for iPrint, which was 42%. On average,

related projects in creative shops. We were curious to ask you, "What percentage of your firm's projects are Web-based?"

The two biggest responses-88% and 90%, respectively-

however, only one to two percent of creative shops actually use any of the .corn companies-except for creativepro.com which nine percent of creative shops say they use.

were from Web design freelancers and Web-only design/

From the TrendWarch Forum on the Communication Arts

development firms. Except for photographers who said

Web sire, one contributor gave a .corn story we've heard

5iYo of their projects were Web-based, everyone else said

countless times before:

their projects were half or less. This tells us two things, first

"While I might be interested in using online printing

that most of you are with firms that have their roots in print

reso urces, my clients most certainly are nor. .. (they) have

and broadcast rather than in the Web and new media, and

long-term relationships with local printers not offering

second that Web and new media shops also do print. While

many online services-other than file transfers-and would

shops may specialize in one or the other, the reality of

not go with another printer for any reason ."

today's marketplace is that clients want one-stop shopping.

We've been both amazed and amused at the apparent

We also asked, "What percentage of your firm's projects are

"disconnect" between .corn companies' marketing efforts

solely print-based?" Agencies said 73% and design firms

and creative shops, publishers and printers. Awareness is one

answered 6r%. Web design may be the butter-or margarine,

thing, branding is quite another-yeah, we know, we're

if you prefer-but print is still the bread for many of you.

preaching to the choir here.

Interestingly, Web design freelancers said that 35% of their jobs are solely print-based.

With all of the new applications emerging, we asked, "What percentage of your skills do you actually use to perform

Next we asked, "What percentage of your firm's projects

your job?" We learned that most of you do use your skills-

include multiple media where you must consider the cross-

in fact, about 70-80% of the time. Next we wondered, "How

media applications of images and other elements?" Here,

often do you use your formal training vs. on-the-job experi-

almost nine out of ten projects for Web design freelancers

ence when doing your job?" Design firms, Web design/devel-

include multiple media. Everyone said that at least half or

opers and Web design freelancers were at the high end of

more of their projects involved cross-media applications.

the scale-about 50%. All other shops were in the 35%-45% range. This tells us that on-the-job training is alive and well

Clients today increasingly want their marketing to work across all media (searnlessly, of course) and creative pros

(no big surprise to you!) and is one of the principle ways

want cross-media solutions that really work. Add a few vendors to this idea and we have a fair amount of confusion in

that designers learn new skills. Often new job challenges translate into new skills-isn't that where the juice really is!

the markets and we still see a gap (which adds to the con-

As we have discussed, there are some interesting differences

fusion) between the need for scaleable seamless cross-media

in how you view questions depending on what type of shop

solutions and available applications that actually work in

you're in. Your answers about cross media and .corns cer-

shops of all sizes.

tainly tell us to stay tuned-there is a lor happening. •

From our presentations at Seybold and Graph Expo, we're often asked what we think about the .corn companies. We asked you, "What percentage of the time do your clients require you to use their .corn print service provider (like iPrint.com, lmageX.com, Noosh, Collabria, etc)?" Most of you said not much! The highest answer was from Web design freelancers at twenty percent. Everyone else was very low36

JA N U A R Y

/

F E B R U A R Y

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Trend Watch

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Grant Design Collaborative Success in a Small North Georgia Town

BY MATTHEW PoRTER

C

anton, Georgia, is an easy, quiet

place. Some 35 miles north of Atlanta, it has an active, small downtown built around the county courthouse, typical of most North Georgia towns built at the end of the nineteenth century. While Atlanta's northern suburbs seem to devour every town or village within 150 square miles, Canton remains a place apart.

her client relations: "Stand in line and pay when served .'' We should all have such client rapport.

After earning his B.A. in 1984 at Berry College in North Georgia, Grant began his career as an in-house copywriter for Shaw Industries, the world's largest maker of broadloom carpet. In 1989, he and a partner started "DESIGN! " It lasted until

Off the square in a turn-of-the-century, three-story brick building at the intersection of East Marietta Street and Main sits the office of a Canton visual artist. On the wall outside the building, affixed to the brick in clean stainless steel letters a sign reads, simply: 'grant.'

1996 when the same partner decided to move to Chicago and go to work for the firm's largest client.

If home is where the heart is, then

and me as the 'writer.' I guess they had

among the people that make up small North Georgia towns like Canton, the gracious, soft-spoken Bill Grant, owner and creative director of Grant Design Collaborative, is at home. One rainy day in September, I surveyed Canton's Main

their doubts about me running a design

Street beneath an umbrella held aloft by Grant as we splashed towards the "best" lunch spot in Canton, R&M Sandwich Shop. Commanded by Kim, master sandwich maker and shrewd judge of local character, over a tres continental "French Dip, " we discussed his life, his work and the influence his family and small towns had on both.

R&M Sandwich Shop seemed a perfect place to entertain important issues.

Longer than wide, subdivided by orange banquettes possibly salvaged from a Hardee's, R&M caters to Canton's shop mechanics, the town jeweler, assembly of hairdressers and mayor-everyone.

While Kim slathers bread with Blue Plate mayonnaise, taking and giving orders, a plastic letter board above the toaster, behind the Crackpot, sums up 40

J A N U A R Y

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F E B R U A R Y

Recalls Grant, "After DESIGN!, I took every penny I had to open this company.

I had one small client. At that time, most knew my former partner as the 'designer'

firm. Me, too. But I gained confidence.

I once heard someone say that perspective makes ideas successful, not a design degree."

Whatever he lacked, Bill did not lack in perspective. Or instinct. Nor did he lack a sense of color, form or typography. Most significantly, he had something few designers do: a command of the English language, his co-major at Berry College. This talent would set him apart from his peers.

"Designers and writers often think that their duty is to add to the thing. I dis-

always dressed elegantly. The third of five siblings, he was raised in the bluecollar hamlet of Dalton, Georgia, known best for its carpet mills.

In 1996, Grant began "i.e. design, " subsequently renamed "Grant Design Collaborative. " After looking for office space around midtown Atlanta, driving north toward his Dalton home one evening he turned off the interstate and followed signs to Canton. He turned into the town's square and saw a man washing a building's window. The building had a "For Rent" sign in the second floor window. Grant asked the man if he knew the landlord. "Yes," the window washer replied, "me. " Bill Grant got his new office, equidistant between Atlanta and Dalton. He then got more involved in Atlanta creative circles and was elected president of AlGA Atlanta in 1997. After that, he was elected to the AlGA national board. One client became five; five became ten . Two years later, he bought the building from the window washer.

In demand, Grant Design Collaborative is no fad. Their approach ensures that it will be around for as long as its rooyear-old brick building can bear its weight. Nearly every client has been with them for an average of two years.

agree. We shouldn't add; we should extract. We shouldn't layer; we should

Captions provided by Bill Grant.

distill. " He concludes, "We should find

Right: "This corporate 'tabloid' was created to

the essence of the story, we should

promote a high-end commercial carpet manu-

discover what makes it memorable. "

facturer to architects and interior designers.

The piece was designed as a disposable capa-

Grant's success has been the subject of curiosity among Atlanta-area creative professionals for years. Many have met him, but few knew much about his philosophy, approach or business model.

A youthful man, he is articulate and 2 0 0 I

bilities brochure. Twenty-thousand copies were printed on a limited budget for direct mail and distribution at tradeshows. The product photography included existing advertising images by Maria Robledo." Grant Design Collaborative, art direction/design/copy; Maria Robledo, photographer; The Harbinger Company, client.

Forerunner

Design

Collections

Custom

C 0 M M U N I C AT I 0 N

A R T S

41

Grant Design Collaborative More than 75% of its business is out-ofstate. The longevity is owed to the fact that Grant Design Collaborative convinces clients that brand building takes timeand money.

"Creating a brand, a sense of corporate 'self,' is not accomplished with a logo," says Grant. "It is accomplished with careful planning, construction and implementation of all elements of a company's identity. This includes the way you answer the phone, the type of art yo u h ang in the lobby, the character of your employee

hymnbook from which nearly everyone

myth, " says designer Erica Elrod. "Here

now wails at Corporate Church.

we learn, we contribute and we are treated

and the quality of the paper you use for

Grant tells the story: "I took a video

as professionals who can manage our

your business cards. Anything visible,

camera around Canton interviewing

business. The better we know our clients,

people. I stopped by a restaurant called

the better the results."

audible or otherwise perceptible can shape 'brand. "'

the Basket Shack and asked a waitress

break room, their uniforms, your advertising, the lollipops in the candy dish

there what she thought about the 'power Grant Design asks clients for a brand development retainer that gives them ample time to examine the company's image among employees, managers, customers and other publics. It is a longterm commitment that Grant seeks, one

left to right: Bill Grant, seated; Jodi Tiberio/

onnaise. Folks here want their chicken

Elizabeth Peterson/Debra Bryant/Jim Wilson/

salad bound with Blue Plate mayonnaise.

solutions that meet their needs and cultures. They keep coming back.

Grant Design's work is not limited to

Erica Elrod (front)/Matt DeFrain (back)/Beverley Thomson (front)/Beverly Mosteller (back)/

Who am I to question what they like? '

Jason Moody (front)/Eddie Smith (back).

She did not need a consultant to explain ' branding' to her. "

Right: Beaulieu Commercial tradeshow exhibit.

that not every client wants or can afford.

Those that do have been rewarded with

This page: Grant Design Collaborative, from

of the brand.' She replied, 'It's like may-

"This modular 20' X 20 ' traveling showroom was designed to launch Beaulieu Commercial

While many design studios include staff designers in the account management process, few do to the degree that Grant Design Collaborative does. Every designer there is expected to source new business

graphic design. They have designed

leads, write new business proposals and

interiors of an employee break room

manage account details. Every twelve

(featured in Interior Design magazine).

months client teams prepare a detailed,

They have created two carpet showrooms

hand-bound "annual brand review book"

that won the coveted IIDA Creative

that details every project goal and any-

Excellence Award at NEoCoN, the pri-

thing designed to meet those goals. It

mary contract furnishing tradeshow

also contains sales and marketing results

held every June in Chicago. They have

quantified by designers through their

designed uniforms and business cards

personal and extensive contact with client

at NeoCon '97 in Chicago. The exhibit components are constructed of natural maple and sand-blasted aluminum with interchangeable graphic, product and signage panels. Beaulieu 's new carpet introductions were featured as hanging 18" vertical panels with industrial weights to hold them in position. The interior of the corner panels served as a museum-quality presentation of Beaulieu Commercial's capabilities. The center kiosk was created from four hinged-panel units to create work surfaces and on-site sample storage . All inside panels featured sand-blasted aluminum sheets with removable rivets. When removed, the rivets accommodate individual aluminum rods to hold shelving, sample bags, chain sets or other promotional items . This system allowed for an infinite variety of internal configurations. Grant Design Collaborative converted Beaulieu Com-

for janitors, line workers and secretaries .

sales staff, marketing personnel and cus-

They have created paper hats, books, Web

tomers. The books are impressive .

ping-mailer into a shopping bag by die-cutting

Does the phone and paperwork bother

new identity program onto the outside . The

"It bothers me when companies design

the design staff? Does it distract them

graphics also demonstrated the correct pho-

down to people," says Grant. To illus-

from their genius, their creative process?

sites and hundreds of ads and print pieces.

mercial's standard brown paper sample shiphandles and screen printing elements of the

netic pronunciation of the brand name." Grant Design Collaborative, art direction/design/

trate the point, he prepared a presenta-

No. "I think the idea that designers are

copy; Greg Slater (product), photographer;

tion on the 'Value of the Brand, ' the

repelled by the ' business' of design is a

EDE Corporation, fabrication .

42

JA N U A R Y /

F E B R U A R Y

2 0 0 I

Ol

c

·~ Q)

iii .r: ()

{5 Q)

I I

"' ~

Q)

ci) 0 0 0 N

©

COMMUNICATION

ARTS

43

This page: "The brand positioning brochure for Blue Ridge Commercial Carpet was designed to introduce architects and designers to the com pany's unique culture and vision. The brochure is intended to promote Blue Ridge's emotional integrity and encourage personal relationships between the company and its customers. The inside front cover features every employee's name, and the front cover tip-ons are individually numbered to signify a personal copy of the brochure. The photography was shot by Jerry Burns on location at the Blue Ridge manufacturing facility and surrounding areas in Ellijay, Georgia ." Grant Design Collaborative, art direction/design/copy.

Right: "Grant Design Collaborative won our second IIDA Creative Excellence Award for showroom design for our 2.400 sq. ft. showroom for Blue Ridge Commercial Carpet in the Chicago Merchan dise Mart. The space was designed to create an effective presence for Blue Ridge at NeoCon 2000.

It will also be used as a working showroom for sample service and product presentations to the Chicago design community. In addition to creating an impressive image for the brand, the space was also designed to accommodate new product introductions and special events. The showroom was designed with the company's unique personality in mind. As a small and efficient manufacturer of commercial carpet, the space reflects Blue Ridge's 'human ' approach. The space was designed to be open and casual in feel. A poured neutral epoxy floor features inset areas for new product introductions which can be changed on a frequent basis.

The right-hand side of the showroom also features modular product displays with large feature swatches and complete color lines. These display panels rotate 360° and utilize a Velcro® metal panel which allows for easy product installation and removal. This system presents a total of eighteen new products in a small amount of space, and the linear installation allows for efficient and personal product presentations by Blue Ridge representa tives . The entrance features playful insets of Blue Ridge's standard color bank, and the unique colors and textures are used to entice people into the space. The showroom design includes two group meeting areas for presentations to project teams at custom-designed bar-height 'communal' tables.

These areas are divided by large storage cabinets which are used for samples and promotional materials. Three smaller 'coffee tables' were designed to facilitate casual conversations and presentations.

Materials were limited to bleached ash wood and sandblasted aluminum . Therefore, all of the warmth, texture, color and emotion is created by the product insets and displays. Since Blue Ridge's products are the epitome of 'form follows function, ' a unique combination of vintage Eames chairs, Nelson bubble lamps and Smith & Hawken metal 'milking' stools were selected for thematic reasons. " Grant Design Collaborative, interior and environmental design ; Douglas Fogelson/Todd Roberts, architectural photographers.

From Where We Sit

All c.arpet IS not created equal . Blue Rldee Commerct~l <:Mpet IS ~ spec~ttym<tnufxtutlotofuniquetydts'lf'edandf!fJIIf'IHf.cf

commerc'* carptt . far OW:! thirty years . Blue R1dp his productd durableandstytlshQrPetfora'lf\denrrietyof~tnS&al~­

tlons. Our produc:ts ~ uuted by 011 highly mobw.ted tNm of Nbsb and cr~. ltM Ruby who hu open.~ ow tuftq macNna lor Olfef 17 years.lnfac:t.m~ny ofOIA auocYtesNve. been WDf'lon& tot Blue Ridet UU It ber;¥1 oper'ltions an 1968. _... olheftMent:ed •nct.Vtdu.als~rustbftunthentenure . ThCspoupwouldinctodt

M1ke ~llrNn. our new P'rMKtenl and CEO; Grea: Ha)"tS, SenKit Vice Prestdent Sates and Stl!w: SMrJtt. Uecudve Vice Prestdent of ()pef~Collectr.orty, these+ndustry~NYeCMt7SJHI'S

of er.peneoce in the c.omme«:._. urpet tndustry. Out nrw ~ me:nt has a lot alf uncorMF\I:IonM ldNs about c:orpcnte culture ~ CuslomerSM'iet. Mel most of themwt pretty e:xxt. SodyotJ ~ looklne tot a rtfres.hina: penpecthoe on c~~ c.arpet. Uohe a klok at Blue Alctp. We think you wtll be p5enlntt,. wrpnsed

4

A Product of Our Environment

Blue Rtdp;apprecates the powtt of duetn. 0wfOSC)Ir.tlon t.OIT'If!S in a Qflety of tonm. from our ~llltfut k>c~bon 1n the fool'tNih of lhe Blue Rtdp mounUir'K to ttw arts lnd cr~s Mnt.lct: of ow c:omnuvty.ln bet. BkleRtdp t1 becomq • wtu.C ptleJJ of descn trtent. We Ublae 1n ecJecbc: m1xttnof ~~ tftdependent procktc:t desicnen to crute ortetn.t.l comb•MboPs of colcw. \uhft ~~«ntnafMtetpolformt. Jl3tut..ealoolt.M~olour '*-stproduttcotlec.Uons,~you·n~ac~. ~ stytetMtdCstl~~Rtdctc.petfromtht""me--IOo · ~

rnMtabty Whtn rt Cl'.lfMi to custom products. we must .-.drrut tNit CM'rNAUt-=tunfti~W)'comftanMldy. for~. JIWIJolour

proOOcbCM t»custamcoklred for a klw muwnumof45 fetl Btue RJdce .also produces CUllom ~os. t.xtutn otnd we.ctrts on • roubntbuls..Whtle~fNt'c:onliderS.Ridpto~•bclutJcpA

n\llt, w s:nter toth..nk ot ourwtfts in men modest tvn\5_ Ow l)fOducts•edesacnedtopetfonnbMutdullyirl.awte»w..-.etyof ~~ - Weh.Joweno~lft~PC'!O"t-hoted

If you need rt. we·u m.Me t.t.and we prefer to keep 11 tNt time*

7

44

JANUARY /

FEBRUARY

2001

Grant Design Collaborative Grant Design's Bat hierarchy lends freedom.

Everyone creates. Everyone participates. Everyone shares recognition. Bill has never entered a design competition with notes that single out one designer or writer. Awards are the fruit of collaboration.

One designer is assigned the task of design project coordinator. Every designer, every project manager, every administrator is asked to collect ideas for group presentation . They then meet in the War Room to tack on foam board sketches, clippings, fonts, colors and pictures of their dogs, if relevant. The boards become the principal designer's idea book from which he or she draws ideas and inspiration that become the design solution.

Planning is tracked through a detailed process model accessible to all via the company's servers. The model, created by Grant's vice president of operations, Jim Wilson, is three and a half-feet long when printed and stretched out on a table. It looks like a Bow chart for General Motors. But the model is written in a language that executives understand, and it has helped Grant Design Collaborative win sizable retainers .

"Jim brought a whole new level of business skill to us when he joined the business in 1996. His financial , computer systems and cultural development experience have been employed to make us more efficient, better organized and a more professional design company," says Grant.

Anyone who works at Grant Design Collaborative contributes above and beyond their job description. "Our office manager, Debra, walked in off the street one day and told me she wanted to work here because it looked like a cool place, " recalls Grant. "We hired her. Not only would anyone die to have her for her organizational skills, she also lends a valuable perspective to our work."

Grant Design Collaborative needed an idea that conveyed Blue Ridge Carpet's character and craft while reassuring long-time employees shaken over the company's recent sale by its original family owner. Thumbing through a C 0 M M U N I C A T I 0 N

A R T S

45

DES I GNED

BY

P ATTY

Pni1e Block, Bkd &. Grand Bkldt. Three n~ rinyl walk:oYcrinp by JM lynne. 1.800. 64S.504~ . -

fashion magazine, Debra found the idea in some hair or makeup ad: "The New Blue. " The idea became a celebration of the mill's character and tradition, especially the people who worked there. Current ads now feature Ruby, an employee of twenty years. Colorful, honest, hardworking, Ruby is a woman who claims five husbands and is looking for a sixth. In the ads, we see Ruby "knitting" carpet on her porch while chatting with a neighbor. In another, we see her sitting in a rocker looking over an apple orchard, her knees warmed by a fine piece of broadloom.

Quirky and marbled with wry humor, the campaign typifies Grant's work. The concept was tradition. The execution was real people who personified the brand message.

Models and processes, account management and collaboration. These are but a part of Grant Design's successful formula.

The essential ingredient that ties all this together is an innate and intuitive understanding of the people and places in which the work is created. Grant Design Collaborative is, like its home town, a 46

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local place with a view of the world all its own. It is Bill Grant's place.

This page: "These two national trade adver-

"I think being a middle child in a family of five children contributed to a pattern of independent thinking," explains Grant.

"My aptitude for simple creative solutions was inspired by my grandmother who lived a simple, no-nonsense life.

companies. These ads featured still-life pro-

"Because I had a large family, to get more attention I spent a lot of time with my grandmother, who lived alone. She would let me 'act' the part of an only child. She gave me the freedom to make my own decisions and create my own little world.

She encouraged my essential love of craft.

"And my parents, especially my mother, taught me to 'sell' my ideas at an early age," he adds. "I sketched a lot as a boy, and my parents would ask me to show my drawings to guests at their cocktail parties. If I worried that my sketch of a blue bird looked more like a chicken, they would reinforce me anyway. " Presumably, that chicken-butted blue bird was the most beautiful bird those folks had ever seen because Bill kept right on sketching.

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tisements were created for JM Lynne, one of the world's leading commercial wallcovering duct photography of The Block Series and Fossil Leaf and are part of a national trade advertising campaign designed to promote the brand to architects, interior designers and corporate end-users." Grant Design Collaborative, art direction/design/copy; Maria Robledo, photography.

Right: "This paper hat kit was created by Grant Design Collaborative for Georgia-Pacific Premium Papers as a tradeshow promotion for the 1997 AlGA National Design Conference in New Orleans." Grant Design Collaborative, art direction/design/copy; Geof Kern, photographer.

"The 'You Can't Take It With You' and 'Leave It At The Office' direct mail postcards were created for Lotus Carpets as a follow-up to a national trade advertising campaign which incorporated sophisticated humor and blackand-white product images. The original image in the series featured a business man with a roll of carpet on his head and the accompanying headline: 'Nice Rug!' These postcards featured the 'Lotus guy' who loved his office carpeting so much that he could not part with it after hours." Grant Design Collaborative, art direction/design/ copy; Geof Kern, photographer.

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A Different Class of Commercial Carpet. Monterey Carpets u:o founded m 1988 by a Jew entrepreneurs who believed there was a better way to design and manufacture commercial carpet. With a little luck and a steadfast commitment to becoming the design community's preferred supplier.

Monterey is now one of the fastest growing companies in the mdttstry Con-Sistently rated a the product design leader.

Monterey"s sttccess is achieved by a talented and ambitiou-S tea m of designers and engineers who are passionate abo til innovation. quality and sen,tce. Monterey's misston is really qutte simple: to destgn the industry "s best commercial carpets

and to create la.sting relation hip with the professionaLs who speci!J· them. Monterey's approach involves strategic and thoughtful collaboration with designer . architects and end users to create stylish com mercia! carpet that endures beautifully in demandwg environments. When you specify Monterey Carpets. _Your carpet wtll be destgned. manufact.ured and processed wtth exceptional attention to detail.

From elegant solids and te:rtttres to intricate patterns. custom creations and wo1 ·ens. .Monterey delivers an evolutionary range of inventwe products. Consider Montereyforyour next

s

interior project, and di_scover a u mque company that ta kwg o dtfferent course in commercial co 1pet.

monterey

Next on the honzon for Monterey Carpets: reinventmg wo1•en carpet for the modern comrnercial

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mterior with an enduring collection of elegant soltd textures and oph• ttcated patterns.

Grant Design Collaborative Today, the work at Grant Design Collaborative still reflects the values of the places and people that surrounded young Grant.

This place, its people, are candid, but kind. They are anomalies, but real. They are neither self-reverential nor overly selfexamined. Here, Grant grew up, opened a creative agency and bought a house where he now lives. Like them, Bill Grant is a person who prefers a window to a mirror. He is as gifted a writer as he is a designer and a man who believes that small towns are restorative because they offer perspective.

But do not be fooled. The work and approach of this company is anything but down home country cooking. The work is as sophisticated, witty, evocative, clear and current as any you'll see coming out of Gotham, Metropolisco or Sophistigeles.

Canton. If you can make it there, you can make it anywhere. It's up to you. • Left: " Grant Design Collaborative created this product brochure as an integral component i n the rebranding of Monterey Carpets, a highend commercial broadloom manufacturer in Santa Ana, California. The brochure included an overview of the company's innovative design philosophy and still-life photography of their latest product introductions . The piece initially ran as an eight-page tabloid advertising insert. Grant Design Collaborative overprinted the piece and inserted it into a translucent sleeve for distribution to architects and designers. The brochure also introduced Monterey's new corporate identity, also created by Grant Design Collaborative." Grant Design Collaborative, art direction/design/ copy; Geof Kern , photographer.

This page: "Grant Design Collaborative coordinated the design and production of 24 posters for the AlGA/Atlanta Poetry in Motion project.

The posters were designed by various Atlanta design firms and were featured in a year-long program on MARTA (the Metropolitan Atlanta Rapid Transit Authority) trains and buses. Grant Design Collaborative designed the ' 24 Poems' poster invitation for the program 's opening exhibition at the Woodruff Arts Center and two of the program 's 24 poetry posters, including ' Night from a railroad car window' by Carl Sandburg ." Grant Design Collaborative, art direction/design/copy/ illu stration ; AlGAl Atlanta , client.

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Nanette Biers

BY REBECCA BEDROSSIAN

I

t's not surprising that in order to get to the studio of Nanette Biers in

Marin County, California, you must first walk past a white picket fence, through a canopy of foliage and up to the front porch of her pale yellow, white trimmed, Victorian home.

Perched above an English garden, it is a most appropriate setting for an illustrator whose work harks back to Impressionism and the Romantics. Inside, her paintings adorn the crowded walls reminiscent of salon des artistes from the late nineteenth century.

On the way up to her studio, Nanette stopped off in her son's room to show me two pieces she did as a child. One, a beautiful blue-green watercolor with an ink drawing on top, shows a maturity well beyond the seventh grade . "I don't know where this gift came from," Nanette admits honestly. Then we enter

loved dance and had talent. "I would've been a corps member, definitely, " she says. The ballet conservatory in Miami wanted her to attend four days a week. But her family decided against it because she was so driven as a student. The demand at the private school Nanette attended had her staying up late doing homework and taking hour-long bus rides to and from school.

"So I didn't have a lot of time to do artwork, but I just had this desire, this urge and this ability. "

the natural light-filled room of her studio, packed with twenty

As she says that, she unties a ribbon that holds an over-sized,

years of work.

aged, brocade patterned folder together. Inside is a realistic penand-ink portrait of a man. Nanette recalls that in the seventh or eighth grade, she started to take up drawing portraits. "I would never have the guts to draw in ink now. But I did it then. " H er father was so impressed with this particular portrait that he had it printed for her.

Looking at her oil paintings-the landscapes, seascapes, garden scenes, architecture, period pieces-the Impressionists, Monet, Degas, Cassatt come to mind, not only due to Nanette's painterly style, but her use of light. "People have always commented about the light in my work, and I always want it there .. . Strong light source, late afternoon sun, somehow light coming from one side is repeated over and over again. " Nanette's passion for the late nineteenth century goes beyond her painting. She grew up steeped in the arts. Born in New Haven, Connecticut, her family moved to Palm Beach, Florida, when she was still a baby. Her father was a real estate developer and her mother a pianist. Nanette remembers curling up under

She didn't work hard at this talent, she wasn't studying art and doesn't claim to know the origin. And while Nanette doesn't have any set beliefs in past lives, she says, "I certainly have an open mind due to the feelings I have about that time period, the 1850s to the '90s. Arts, dance, the music, the literature, the painting and costume. It all being connected. I can see myself having lived then and having created art then. " This strong

the baby grand while her mother played Chopin. She also took her to symphonies, ballets and bought her beautifully-illustrated fairy-tale books. Nanette saw Snow White, Fantasia, Sleeping Beauty and Cinderella when they opened at the movies. "The wonderful thing about film is that you experience it viscerally.

I love being affected deeply, being taken out of your own life and placed somewhere you could never go without experiencing it through that medium. " And there was ballet. She admits she had thoughts of becoming a professional ballerina, even though she had problems with shin splints and her turnout wasn't quite good enough. Nanette 50

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This page: The Red Umbrellas, 1989. "This piece was used for the 1990 advertising rate card for New York Magazine. The client supplied me with the photos of the street and Grand Central Station. I took two friends of mine to a local San Francisco street with shoppers and wide sidewalks, had the guy in a suit and the woman in a trenchcoat, and above them on a small step-ladder I'd brought with me, I shot slides of them as they strolled away and back with their umbrellas. It was a warm , sunny day. We got lots of quizzical stares. I loved it. Street theater. I really enjoy the opportunity for a little looniness on the job."

Laurie Berger, art director. 31 X 14, oil on canvas.

Right: Palace of Fine Arts, 1988. " This is a later piece done at Larry Morace's studio at Hunter's Point Shipyard. I like its lack of detail and darkness in the foreground, and its focus on the last remaining daylight still glowing on the architecture." 20 X 24, oil on canvas .

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case. "I wanted to go in this loose direction," Nanette says, "I really felt lucky ...

My style, at that time, was ~ not recognized as some~ thing typical to illustration. "

familiarity with everything from this period in history resonates for Nanette, in her art and in her life.

But it wasn't always this way. After three years of studying music, Nanette realized she couldn't make a career of it, so she transferred to U.C. Berkeley where she earned her B.F.A. After graduating, plane ticket in hand, Nanette was well on her way

.~

~ That first year with Vicki,

to the master's program in costume design at UCLA. At the very last moment, she got cold feet realizing that after graduation, she'd have to live in Los Angeles to work. It was during this time of working a variety of jobs that her illustrator boyfriend, Alan May, showed her CA magazine. "I didn't even know it existed, because I hadn't paid attention to the world of illustration. " A whole new world opened up.

"When I began getting into illustration," Nanette recalls, "I was told this [loose style] would never sell. And it wasn't going to sell in the fine art galleries. You had to be a dead artist to be considered for that kind of work at that time. All I saw were rope sculptures and concep tual work. I didn't feel like I had a place in the world. I often said, 'I wish I'd lived a hundred years ago."'

And due to the advice of art directors and local reps early in her career, Nanette began painting in a very tight style. "I hated it. It was like paint by number, it was just too constraining," she

~ Nanette had four pieces in the Society of Illustrators show in New York- in her loose style-and people started noticing. "It was so amazing. I felt I'd been discovered. Then I didn't get in for years after that," she says, laughing. Yet her client list now includes Conde Nast Traveler, John Deere, Modern Maturity, the M.H. de Young Museum, Celestial Seasonings, Gallo, Sony, the Washington Post, American Express and Land's End, just to name a few.

Nanette speaks of Vicki and Gayle in glowing terms , "Even though it's a professional relationship, we've become friends."

She adds, "All I have to do is say yes to a job, do a good job and meet the deadline. They take care of all the rest. .. if I had to take care of that on top of everything else in my life, I would never have gotten so far."

says. "I was trying to make it look photo-realistic." During this trying time of producing tightly-rendered black-and-white product illustrations, she met James Stagg who deserves a lot of credit for the change in her career. She and a frien d, illustrator

This page: "This photograph was taken on October 31, 2000 at a Halloween party. I have a very elaborate costume made of layered skirts and a corset waist, complete with a genuine hoop skirt inherited from my mother."

Michele Manning, began going over to the studio he shared with Larry Morace in Hunter's Point [Naval Shipyard in San Francisco]. "Jim was the one who got me back into painting

one of my all-time favorite paintings. I was asked by the client to depict the heroine of the novel Washington Square by Henry James with the

loosely, " she admits. "When I would see his work, it was just so

in shadow or turned away from the viewer. A made-to-order subject.

inspiring-the colors, the drawing, the energy that would come into the canvas. And his way of stretching perspective, exaggerating, distorting, getting the mood-you can't get that when you

Right: Washington Square , 2000. "This is my latest painting and, happily,

New York City landmark arch in the background, and the heroine's face With classical music flowing around me, I literally dissolved into the scene in front of me. I projected myself into that time and place and her character. It's a tragic love story with an uplifting ending ." Brigid Pearson, art director; Pocket Books, a division of Simon & Schuster, client. 18 X 24, oil on canvas.

do something that looks photographic."

Rebecca- The Heroine In Happy Valley, 1994. " Eight full -color, full-page

While she learned to be spontaneous and painterly again from

illustrations were commissioned for this version of Daphne du Maurier's

Stagg, Nanette began watching the careers of Francis Livingston and Skip Liepke. They were painting in a similar loose style

famous novel, Rebecca. I used my best friend, whose beautiful face has

and getting attention for it, paving the way since "there aren't that many people like us. " At this same time, in the late '8os,

book and seen the film about six times, so I really enjoyed bringing

all the Bay Area illustrators were getting New York reps. "So, I did that myself and was thrilled when Vicki Morgan took me on because she was still repping Bruce Wolfe. "

shown up in many of my paintings over the years, and a tall, dark, handsome married neighbor as the main characters . I'd already read the my own version of this great story to life." George Calas, art director; Reader's Digest/World's Best Reader, clients. 161f2 X 23112, oil on canvas.

Teaching Tolerance Magazine, 1994. "This piece was done for a story

titled 'Calling All Colors.' To quote Rodney Diaz: 'The purpose of the magazine is to promote cultural diversity by providing a forum for teachers to share ideas as well as develop new resources .' It' s important for

In 1988, Nanette began her professional relationship with rep Vicki (now partnered with Gayle Gaynin creating Morgan Gaynin Inc.), who originally took her on under the assumption that she would handle Wolfe's overflow. This was not to be the 52

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me to mention here that the image I turned in did not contain this upscale white woman . I added her after they returned the painting to me.

If the image seems a little contradictory to its earlier intended use, I hope the magazine staff will excuse my 'artistic license."' Rodney Diaz, art director; Southern Poverty Law Center, client. 23112 X 16, oil on canvas .

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At the time of our meeting, Nanette's sketch for the book cover of Henry James's Washington Square had just been approved by Simon & Schuster. Still in the black-and-white stage, it's a beautiful composition. "I can't wait to paint it," she says enthusiastically. Even though it carne at such a busy time when she wasn't going to take any more assignments, she had to accept the challenge. "This is my favorite fantasy, being able to do a romantic picture of a woman in a period dress like that."

It defines the idealized world of Nanette Biers. •

Left: Red Sports Car, 1987. " This piece was part of the beginning of my real career as a painter. I'd been churning out mostly tightly-rendered black-and-white or color product shots, for the previous eight years .

All that changed when I met James Stagg in late ' 86 and began painting at night with him at Larry Morace's studio in an old, converted shipyard in San Francisco. James's work is brilliant and painterly, and Larry did large, loosely-painted canvases with a dark palette, strong contrast and wonderfully eerie visual distortions . We'd set up at six o'clock, turn up the boom box and just send paint flying until we ended between midnight and one a.m. It unlocked a long-ago shut door, and my love of painting flooded out." 24 X 18, oil on canvas.

Dhow Sailboats, 1995. "This was the second of two images I was asked to do for APL Shipping Line's annual promotional calendar. ' Dhow' sailboats, ancient in design, have been used for centuries to transport goods along the coast of the Arabian Sea. They are still in use today.

I found limited visual reference in the two libraries I visited . The best source ended up being my slide collection of the paintings of a lesserknown Spanish Impressionist, Joaquin Sarolla. " Andy Dreyfus, art director; CKS Partners, ad agency. 18 X 20, oil on canvas.

The Colony Hotel, 1991. "This image was the second of fourteen paintings done for Conde Nast Traveler magazine's monthly 'Weekend Getaway' feature. They would send me a slide or two each month of a beautiful inn somewhere in the U.S. or Europe, and let me do what I love best-go directly to the painting without having to submit a sketch .

With the stained, empty canvas in front of me, I'd just start sketching in my composition with my brush and some raw umber. Interestingly, this hotel is in (the now-infamous) Palm Beach, Florida. I used to go to The Colony as a young child with my sister and my parents and drink Shirley Temples." Mike Powers, art director. 16 X 20, oil on canvas .

This page: Red Covered Bridge, 1993. "This image was commissioned by the Washington Post for the cover of 'The Weekend Section.'

Essentially, they wanted me to depict a covered bridge that existed in Vermont (or possibly New Hampshire). Again, they happily allowed me to forego the preliminary sketch. This is one of those paintings that literally flowed effortlessly from start to finish.'' Jo Ellen Murphy, art director. 161f2 X 20, oil on canvas.

Winter, 1990. "Carter Wallace wanted a series of holiday greeting cards to use internally. This is the only night-time snow scene I have ever painted. If it hadn ' t been commissioned, I doubt I would ever have approached such a subject on my own. My favorite aspect of this image is the atmosphere in the distance, and its stillness. It looks cold .'' Mike Robby, art director; Orion Associates, ad agency. 17 X 24, oil on canvas.

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left: Stage Angel, 1993. " This was an unusual personal piece that I wound up entering in the auction 'Of Art and Angels' sponsored by the AlGA in Wichita, Kansas. The event drew entries from artists such as Mark English, Douglas Fraser, Eugene Hoffman, Gary Kelley and C.F. Payne. I simply added the little wings to the dancer's arms and sent the painting off, after having a good 4 X 5 shot at Iris. Iris is a photo lab in San Francisco where I have all my artwork shot. The strength of my portfolio is due entirely to their expertise." Wichita Chapter of AlGA/Hospice, Inc., clients. 18 X 24, oil on canvasboard .

Opus One '93 Vintage Debut, 1995. "Opus One Winery, in Oakville, California, is a joint venture between Robert Mandavi and Baron Phillippe de Rothschild . Each year, the limited production of this expensive red wine sells out in about two weeks.

This image was commissioned for a multi-use, promotional campaign to introduce the following year's vintage . A full -sized, limited-edition poster was printed, along with placards, table tents, coasters, even cufflinks. Art director Susan Pate gave me a cleanly-rendered, early 20th century poster image to work from for the two main figures, also snapshots from a well -known New York City restaurant, Smith & Wollensky, and asked me to combine them using my loose style . I was pleased with the period look I preserved in a modern setting. " Pate International, ad agency; 18 X 24, oil on canvas .

Woman in Adirondack Chair, 2000. "This is one of a series of five images, three commissioned and two reused existing pieces, done for packaging art for Celestial Seasonings' new line of 'Classic Black' teas , which include English Breakfast, Classic, Classic Decaf, Total Antioxidant and Earl Grey, which this image appears upon. This piece incorporates my favorite, oft-repeated themes-warm, late afternoon light, long shadows, open expanses of green lawn and a foreground figure to lead the viewer into the landscape. Celestial Seasonings gives the artist very visible, written credit on their packaging, and displays the original paintings in their own gallery in Boulder, Colorado.

They are a truly wonderful, artist-friendly company to work for." Judy Herzanek, art director. 26 X 10112, oil on canvas .

This page: The Boats at Luxembourg Gardens, 1993. "This may be my all-time favorite painting that I've done. The composition combined three to four slides shot on location on a still, warm September afternoon in Paris. The park was crowded, but everyone seemed very relaxed. This mother and daughter caught my eye. They, and the miniature sailboats, were an irresistible subject. I did not pose them. I love the girl's haircut and shoes. Their pose, each almost mirroring the other, reflects a quiet attunement in their relationship ." 22 X 28, oil on canvas .

Japanese Tea Garden, 1999. " Cahan & Associates was producing a large-format, elegant fund-raising book to be sent to the San Francisco Bay Area's largest donors in order to raise money for the rebuilding of the de Young Museum in Golden Gate Park.

Michael Braley chose three sites for me to depict, the Japanese Tea Garden being the most well-known. So I was sent out to roam about the park for two glorious, warm, blessedly fog -free days, and shot well over 100 slides while gabbing with friendly tourists and locals. What a way to earn money! Michael and I planned the three images from my slides, and once again I was allowed to go straight to the finished painting without first submitting a sketch . All three images were wonderfully enjoyable to paint as well as very successful, having now appeared in either the New York Society of Illustrators' Annual Show or in the Communication Arts Illustration Annual." Michael Braley, art director; Cahan & Associates, ad agency; M .H . de Young Museum, client. 22 X 28, oil on canvas.

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Nanette Biers This page: APL Windmills, 1995. "This was produced for APL Shipping 's large-format promotional calendar. The painting originally had a large semi truck coming out from behind the trees . After it was returned to me, I took out the truck to give the piece a quieter, pastoral look." Andy Dreyfus, art director; CKS Partners, ad agency. 18 X 20, oil on canvas .

Chateau Azay le Rideau, 1995. "This was one of a series of six paintings of different destinations which appeared in TV ads for Northwest Airlines. For this particular piece, I used my own reference, shot years earlier when I'd gone to Europe. This particular chateau had so many beautiful fa9ades and vistas which changed and fascinated me as the day grew later and the shadows longer. It is one of my all-time favorite architectural ' portraits. " ' Kate O'Toole, art director; Sietsema Engel, ad agency. 24 X 18, oil on canvas.

Right: West of the Golden Gate Bridge, 1994. "Several local club members were asked to paint different landmarks or famous aspects of San Francisco to be used on a poster to promote the San Francisco Society of Illustrators. I was given the Golden Gate Bridge to depict. I shot the vista strolling down the beach at sunset. Then I had my neighbor photograph me with the parasol perched on a crate in her driveway, turned to match the direction of light in the beach scene. I like to compose images this way, and have on occasion done so with as many as ten different sources for one painting. " Nanette Biers, art director. 22 X 28, oil on canvas.

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Singapore Advertising

BY MICHAEL MAZZA

O

K, let's get this our of the way: Yes, selling gum in Singapore is illegal. Chewing it is not. And, yes, a person can get caned for spray painting graffiti on a car. This sort of stuff raises hackles with most Americans and casts an oppressive shadow on Singapore, a tiny country with four million people situated on the tip of the Malay Peninsula. If your perception of the place is limited to sound bites from the likes of Rather, Brokaw and Jennings, then turn off the telly and go see for yourself. For the record, the city-state is clean, safe, modern, well-educated, has the world's ninth-richest per-capita income and is ruled by a government that fosters innovation and creative expression.

Right, let's move on. Question: How is so much great advertising coming from such a small, faraway place?

If one subscribes to the big bang theory, then it happened in the early 1980s when Neil French, an affable fellow with an acerbic wit and a penchant for living La dolce vita, came to Singapore and set a new standard for advertising in Southeast Asia. French began his winning streak with a stint at Batey Ads and later The Ball Partnership. Before he arrived in the republic, most of the ads were poor copies of those done in the States and the United Kingdom. "When I arrived, I realized that the one-eyed man is King," French explains, "and I could just see, blearily, out of one eye! I got lucky. That's all." Presently worldwide creative director at Ogilvy & Mather, the former matador, bouncer and rock-band manage; for Judas Priest created work of such daring that it introduced itself to the international advertising stage with the subtlety of a Molotov cocktail. A chain reaction began. Great talent begot great talent, and the market turned out better and better work.

Virtuosos such as writer Jim Aitchison, formerly of The Ball Partnership; Linda Locke, formerly of Saatchi and now ECD at Leo Burnett; and Michael Fromowitz, now senior creative director at BBDO New York, fueled the Singapore ad scene. Subsequently, momentum continued with a second generation of creatives, such as native Singaporeans, Tan Shen Guan and Eugene Cheong. Now the market is humming with a new generation of creatives developing work with their own perspective.

Singapore advertising is most noted for its print: Strong ideas with art direction that understands when to shut up and sit down and when to serve the idea. In a place where public parking garages are as tidy as some homes, the print is reflective of its environment-clean, pure and uncomplicated. Advertising meets Zen minimalism.

of reductio ad absurdum is one I believe in for any medium and any message. If yo u've got an idea, why hide it behind a lot of other stuff? Too often we take it as read that every ad has to have a headline, copy, picture, logo and, all too often, a bloody tagline ... " Or to put it another way: If one can pare down an idea to three elements, it's pretty good. Two, and you've cracked a great idea. One, and you've hit the mother lode.

Because ads are often exported to different countries, simplicity is the key to reaching a multicultural audience. Yet, simplicity is less a function of submi tting to the audience than it is the discipline of its creators to reduce an idea down to its essence.

Consequently, ads with few elements command considerable attention; the message is delivered faster and, one could argue, is better retained.

Of course as of late, not all print in Singapore is void of body copy. When an ad does have it, it's usually treated with reverence. It is respectful to the reader, understanding its primary function: to clearly communicate a message. The typography is not self-conscious. That is to say, a person can actually read the damn ad.

In contrast, clients in the States are quick to remind creatives of their Advertising ror pedigrees and how well they know their audience by insisting on unnecessary copy, giant product shots, dumbed-down headlines, 8oo numbers, Web addresses, legal copy and, hey, wait a minute! Don't forget that all important partner logo. By the time the average print ad hits its intended rag, it's pretty much guaranteed to get lost in a miasma of sameness. American agencies would be hard pressed to get car clients to approve ads without cars or convince package-goods advertisers that their targets actually have brains.

Because Singapore is small (a passport is required every time one leaves the city-state), print is the medium of choice. The Straits Times, Singapore's only newspaper, reaches nearly 85% of

Right: The Absolute Cirrhosis ad was designed to dissuade teenagers from drinking straight alcohol. Craig Smith, art director; Clive Morris, writer; Andy Greenaway, creative director; Ogilvy & Mather Singapore, ad agency; Alcoholics Anonymous, client.

A print ad for Panadol Menstrual, an analgesic formulated to relieve period pain. Craig Smith/Ashidiq Ghazali, art directors; Andy Greenaway/ Tham Yin May, writers; Andy Greenaway, creative director; Ogilvy & Mather Singapore, ad agency.

Print ad for the Republic of Singapore Navy. Edmund Choe, art director; Jagdish Ramakrishnan, writer; Craig Davis/David Droga, executive creative directors; stock photography; Saatchi & Saatchi Singapore,

The market has taken a few lessons from French. "The principle 60

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the population. The cost of reaching the same audience with TV, then, is tantamount to smashing a cricket with a pile driver.

When the opportunity arises, television budgets are miniscule, so creatives rely on, duh, a strong idea to deliver the message.

Production output is small as well in comparison to the States.

Regardless, spots have had good showings in international competitions such as Cannes.

One other factor that comes to bear on creating great advertising is the fact that Singapore agencies on the whole are smaller than the U.S. or British multinational mother ships. Many top out at 75 to roo people, and most are much smaller. This allows the creative director to get involved in every job, maintaining a high level of quality control. It also fosters a cohesive family culture that is often lost as an agency grows.

Add to the equation a confluence of talent from around the world. Along with many hugely talented Singaporeans, a spicy mix of Brits, Aussies, Indians, Canadians, South Africans, Malays and the occasional Yankee keeps the work fresh and interesting.

Until recently, Hong Kong gave Singapore a run for its money.

However, when it relinquished its sovereignty to mainland China in 1997, the ratio of English ad messages swung disproportionately to Chinese. "Less English advertising and English advertising opportunities are there today than there once were before China took over. This makes things less favorable to expats who wish to continue adding to their portfolios with work that would be understood in other parts of the world, if and when they seek their next jobs out of Hong Kong, " says Fromowitz, a thirteen-year veteran of Southeast Asian advertising.

Nonetheless, most people in the Singapore advertising community don't view themselves as regional players. They shouldn't.

If one accounted for the number of entries the tiny republic wins in international competitions in relation to its population, then Singapore could be considered an advertising superpower.

Singapore's advertising industry is self-regulated much like it is in the States. In case you've heard otherwise, there isn't some government official telling the art director to make the logo bigger.

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"It's a total fallacy that the Singapore government is a total control-freak. On the contrary, the authorities allow far more freedom of expression than in any major country," French insists. "Living in Singapore is a delight. Of course, if you like being shot, mugged or burgled ... if your idea of freedom is being scared off the streets at midnight, then it leaves a lot to be desired. " The year of the dragon has been an auspicious year for advertising in Singapore. The Creative Circle Awards, Singapore's local show last October, made that quite evident. If the show is any indication of what's to come, then the West can undoubtedly learn a great deal from the Far East.

Ogilvy & Mather Singapore In 1997, the Thai baht collapsed and sent the Southeast Asian economy into a tailspin. One by one, regional currencies fell like dominos. Spending dried up, loans defaulted and Federal Reserve Chairman Alan Greenspan braced the rest of the world for the impending "Asian contagion. " Described by some as This page: Ogilvy & Mather Singapore team: (left to right) Eugene Cheong/Craig Smith/Eunice Hee/Gregory Yeo/Justin Lim/Aifrem Wee/ Andy Greenaway/Ashidig Ghazali/Ng Pei Pei/Koah Bee Har; (seated left to right) Tham Yin May/Audra Tan/Claire Chan.

Saatchi & Saatchi Singapore team: 1.Song Weng Foong; 2.Tan Tian King; 3. Aoran Tan; 4. Shareen Thumboo; 5. Amy Chan; 6. Claire Parker; 7. Renee Lim; 8. Michelle Tan; 9. Li Li Tan; 10. Johnathan Choe; 11. Srinath; 12. Trefor Thomas; 13. Leong Su Yin; 14. Esther Yeo; 15. Simon Winterflood; 16. Brell Chen; 17. Maurice Wee; 18. Raji Rajalakshmi; 19. Jimmy Neo; 20. Keith Yeng; 21. Rafiq Lehmann; 22. Jagdish Ramakrishnan; 23. Esther Vue; 24. Alvin Chin; 25. Joanny Wong; 26. Robert Davies; 27. Troy lim; 28. David Day; 29. Farrokh Madon; 30. Addy Khaotong; 31. Tian It; 32. Johnnie Tey. Right: Ad for Changi Cargo. Dejan Rasic, art director; Matthew Keon, writer; Jagdish Ramakrishnan, executive creative director; Markus Summerer, photographer; Saatchi & Saatchi Singapore, ad agency; CAAS, client.

Tough Line Toothpaste poster. Gregory Yeo, art director; Justin Lim, writer; Steve Elrick, creative director; Eric Seow, photographer; Van Digital Imaging, retoucher; Ogilvy & Mather Singapore, ad agency; Ramadon Investments Pte ltd, client.

Print ad for DBS Bank. Francis Wee, art director; Calvin Soh, writer; Jagdish Ramakrishnan, executive creative director; Sandy Nicholas, photographer; Saatchi & Saatchi Singapore, ad agency.

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

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Singapore Advertising

more of a depression than a downturn, O&M felt the brunt of it. Not only did the economic situation hurt the agency financially, but morale hit rock bottom. In 1998 and 1999, the agency lost half its creative department. Countless defections to agencies in the States left the shop in peril.

If that wasn't eno ugh, Neil French had planned to leave. For-

Martel's Scrabble, Junior Scrabble and Men Are from Mars, Women Are from Venus game is first-rate. Oddly enough even armed with a shotgun, one wo uld have a hard time getting those same ads approved by Mattei in America. "It's political correctness that stops work, especially in the States, but over here they're a bit more brave," says Greenaway.

tunately, he decided to stay on as worldwide creative director giving the agency a much needed emotional boon. Word on the street was that the agency was on the skids.

When asked why multinational branches are doing better work

Meet executive creative director Andy Greenaway, a tall, determined young man with a tolerance for pain and a disposition that won't take "no" for an answer. "There was a lot of pressure

pontification. Large U.S. agencies put too many obstacles between the creative work and the client. As Marcus Aurelius said, 'Ideas are so fragi le, you have to whisper in their presence. ' They tend

to cut staff throughout the whole organization, and the environment was dire. You could cut the tension in the agency with a knife. We'd lost a lot of self-esteem," he explains.

not to survive the cacophony of large American agencies."

Greenaway found solace in partner, twelve-year O&M veteran, Eugene Cheong. Together they hunkered down and, a day at a time, managed, amid local gossip and daunting odds, to rebuild the department. "By the time I took over from Steve Elrick, all the good people in the creative department had left-and most of those that stayed on were determined to see me fail, for one reason or another. All the good suits had left, and we'd lost most of our big clients. On top of that, I had huge pressure from the powers that be to continue to churn out great work," says Greenaway. In short order, they raised the quality of the work and retooled the creative department with 8o% local talent, a near complete reversal prior to the economic crisis .

There is no division of labor in the department as both partners write and art direct. "Specialization is a relic of the industrial revolution. It's severely out of date. We encourage our writers to art direct, our art directors to photograph and our creatives to comingle with the interactive folk," says Cheong. Case in point: Greenaway was a direct marketing man for twelve years and made the transition to advertising three years ago. At the heart of it: Good ideas are good ideas.

O&M is located at the harbor in what Eugene Cheong describes as a characterless building in the World Trade Centre. Gray and red cubicles piled high with papers and teams sharing offices are a good indication that the shop has righted itself. They have plans to move into a Richard Meier building in the fashionable Orchard shopping district.

Under Greenaway's tenure, the shop has turned out a large volume of award-winning creative that has done exceedingly well in international shows. The funny and irreverent work for JA N U A R Y /

F E B R U A R Y

The .com business has shored up the region's economy giving strength to the Singapore ad marker. Now that .corns are blowing up like time bombs in the States, one wonders if the lag time will catch up to the region and throw cold water on the economy once again. In the meantime, Greenaway and Cheong maintain their focus on what matters: the work.

"Our new business record over the last six months has been astounding,"says Greenaway. "We're actually firing clients who we feel don't fit in with our ambitions."

After all the team has been through, a Chinese proverb seems befitting, "Unless there is opposing wind, a kite cannot rise."

Or, as we say in America, what doesn't kill you only makes you stronger.

Saatchi & Saatchi Singapore Saatchi & Saatchi Singapore has dominated the local awards show for the past three years. Of course.

Right: Animal Planet print ad . Addy Khaotong/Edmund Choe, art directors; Jagdish RamakrishnanfTroy lim, writers; Jagdish Ramakrishnan , executive creative director; Sandy Nicholsan, photographer; Saatchi & Saatchi Singapore, ad agency; Discovery Asia Pte Ltd, client.

"One in four Singaporeans is overweight. It's also no coincidence that one in four Singaporeans dies from a heart attack. The Healthline campaign from Ogilvy & Mather for the Singapore Heart Foundation aims to persuade Singaporeans to cut down on the consumption of saturated fats. They offer various painless but effective ways to accomplish this .

Although heart disease is omnipresent, these ads tell you that it isn't an inevitability." Craig Smith, art director; Eugene Cheong, writer; Andy Greenaway, creative director.

Print ad for the Discovery Channel. Maurice Wee, art director; Renee

The agency's main clients, whose work is increasingly exported throughout the region, include IBM, Guinness, Kodak, American Express, Mattei, Cerebos, Nestle and KFC.

64

than the mother ships back home, Eugene explains, "Very simple.

There's too much research, too much bureaucracy, too much

2 0 0 I

lim, writer; Jagdish Ramakrishnan, executive creative director; Bruce Alan, photographer; Saatchi & Saatchi Singapore, ad agency.

"This British Council ad targets people who can appreciate its humourous use of the language. The strategy calls for this target group to recommend or refer others who may be less proficient in the tongue to take English language courses that are conducted by the British Council. " Gregory Yeo, art director; Eugene Cheong, writer; Andy Greenaway, creative director; Ogilvy & Mather Singapore, ad agency.

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65

Singapore Advertising You'll rest comfortably all night at the Royal Peacock Hotel.

My, how times have changed.

Would one expect any less from an agency whose office space happens to be in a former karaoke pub? The shop is located along the riverfront amid a collection of old

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colonial buildings in the Clarke Quay (pronounced Key) section of downtown Singapore. At night, the area comes alive with restaurants, street vendors, art and antique shops, and that unfortunate blight of American marketing, er-ah-Hooter's.

The creative department is lead by ECD Juggi Ramakrishnan , a soft-spoken young man with a wry sense of humor. When he accepted the post, he had the

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dent set by former creative director Dave Droga. "To be phenomenally successful in this business, I believe you need will power, good judgment, a narrow focus and an

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Nervous is the operative word here. In the States, some of

the ads would have American brand managers popping Xanax just at the sight of them: car ads without cars,

is that the client's American counterparts would be better

The staff of the Royal Peacock Hotel.

Trained In the highest professional standards, but no longer in the oldest profession.

served with this type of advertising. The message is simple, and the product benefit comes screaming through loud and clear. "Clients have become braver and more open

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than before. There's less people covering their backsides, which makes selling ideas easier," says Ramakrishnan.

Saatchi's client list ranges from Toyota, P&G , Sony and The Discovery Channel to The Republic of Singapore

This page: Two from a series of posters for Royal Peacock Hotel.

Ted Royer, art director; Rowan Chanen, writer; David Droga, creative director; Alex Kai Keong, photographer; Grover Tham/ Esther Lim, illustrators; Saatchi & Saatchi Singapore, ad agency.

Right: Two newspaper ads for Junior Scrabble. "Big words . Little people: The strategy behind this campaign for Mattei Toys is simple: Junior Scrabble makes your kids smart. The evidence of Junior Scrabble players' enhanced intelligence comes in the forms of poison letters and obsequious notes written in an extremely bombastic fashion." Eric Yeo, art director; Eugene Cheong, writer; Andy Greenaway, creative director; Ogilvy & Mather Singapore, ad agency.

Sony Wega print ad. Addy Khaotong, art director; Troy Lim, writer; Jagdish Ramakrishnan, executive creative director; Poon Studio, photographer; Saatchi & Saatchi Singapore, ad agency; Sony Asia Pacific Pte Ltd, client.

66

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iii

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always the strongest, but the one who can get up one more

nature channel ads witho ut animals and shampoo commercials without the "schmooze the hair" shot. The irony

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open mind, " says Ramakrishnan. "The winner is not

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COMMUNICATION

ARTS

67

Singapore Advertising Navy and Singapore's Changi Airport. Like rival agency O&M, the work is disseminated throughout Southeast Asia.

The reason the shop has commanded the market for so long is, simply, brilliant work. Take, for example, the ads created for the Toyota Corolla created by Calvin Soh and his partner Francis Wee. They met the safety brief by taking a cute toddler and fashioning him with an outfit of bubble wrap.

The headline: Corolla. For overprotective parents. "What it all boils down to is the idea. It's not about visual ads or copy ads. Hell, it's not about print ads or TV ads, below-the-line or above-the-line, who shoots it or directs it, " says copywriter Soh. The same attention to detail works itself down the line to the trade ads . Good money says that if the average creative received a brief for Changi Airport to communicate the fact that it had won the top industry freight award, the bellyaching would commence in full force . Saatchi's solution: wooden freight boxes configured like a winner's platform. These are the type of assignments, and solutions, that separate the pros from the amateurs. "In developed

Corolla . For overprotective parents . o....--....--.....--...----.-..... ---------- .... _........,..,...,.. ____

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markets like the U.S. we find you can always save a weak thought by writing a funny headline, but here you can't.

Your basic proposition has to be strong, or it won't survive," explains Ramakrishnan .

Under his leadership, the agency has performed superbly.

Nevertheless, Saatchi is prone to moving up creative directors to larger posts and greater responsibilities within the network, a habit that reflects the market itself. "Singapore advertising is a traveling circus. There are no permanent acts like in the U.S. the U.K., Australia or even New Zealand. Everyone is on the way to somewhere else, even the Singaporeans. They come here, they love the pace, they get great ads in their books, have a great time at the clubs and move on. There are very few settlers," says Ramakrishnan.

Calvin Soh, for example, parlayed his recent One Show Pencils to a creative director position at Fallon, New York.

With O&M coming on strong and the perpetual turnover at Saatchi, the question becomes, how long can the shop retain its market domination? Prediction is a fool's game. As

68

J A N U A R Y

/

F E B R U A R Y

2 0 0 I

A

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.

.

,

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.

for now, Saatchi Singapore remains emperor of the realm. •

Left: Two newspaper ads promoting the safety features of the Toyota Corolla. Francis Wee, art director; Calvin Soh, writer; Craig Davis, executive creative director; Nicholas Leong, photographer; Saatchi & Saatchi Singapore, ad agency; Borneo Motors, client.

This page: Head & Shoulders TV advertisement.

"Bruce Lee" :30 (Open on Bruce Lee in a wardrobe room full of mirrors. He strikes a defensive stance, expecting to be attacked at any time. He pounces on a clothes stand, but no one is there.

As he catches his reflection in the wall of mirrors, he admires his hair for a moment, before turning his attention once again to any assailants in the room) Super: Beautiful, dandruff-free hair by Head & Shoulders.

Edmund Choe/Addy Khaotong, art directors; Jagdish Ramakrishnan, writer; Craig Davis, creative director; Clodagh Lee/Michelle Tan/Shareen Thamboo, agency producers; Michael Warr, director; Axis Films, production company; Yellow Box Studios, sound; Proctor & Gamble, client; Saatchi & Saatchi Singapore, ad agency.

Right: Scrabble television commercial.

"Sodomised" :20 (Open on a chubby man. He is very fidgety and keeps moving around in his seat in an uncomfortable manner. At the same time, his gaze keeps on breaking away from the camera and looking down at something on the table.

Eventually, he focuses on the camera and speaks) Man: I got sodomised.

(Cut to a series of Scrabble tiles which are making up the word SODOMISED. Cut to a series of tiles that spell the word SYPHILIS. Cut to a series of tiles that make up the word SCRABBLE) Super: (dissolves in) The world's favourite word game.

Eugene Cheong, art director; Andy Greenaway, writer/ creative director; Sng Tong Beng, director; Tong Bo Ming, director of photography; Tammy Hui, producer; Odeon Productions, production company; Ogilvy & Mather Singapore, ad agency.

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

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Singapore Advertising Left: Two ads from a series of newspaper ads for the world -famous Raffles Hotel. Tham Kai Meng/Gregory Yeo/Alfred Wee, art directors; Malcolm Pryce/Tham Kai Meng/Justin Lim/Eugene Cheong, writers; Tham Kai Meng, creative director; Ogilvy & Mather Singapore, ad agency. " The creative strategy here is based on the proposition of 'Guinness fuels the performance of real men.' This is demonstrated by taking something that is already good and making it even better! These ads were designed to link outrageous achievements (taken from the Guinness Book of Records) with drinking Guinness." Craig Smith/ David Sin/Sonal Debral, art directors; Sonal Debral, writer; Andy Greenaway, creative director; Ogilvy & Mather Singapore, ad agency.

This page: "A press ad for doAsia, a review of Asia's restaurants and bars that's honest for a change. " Craig Smith, art director; Andy Greenaway/Eugene Cheong/Justin Lim, writers; Andy Greenaway, creative director; Ogilvy & Mather Singapore, ad agency.

Ad for the 1998 Abortion Convention. A pro-life message from an antiabortion lobby. Gregory Yeo, art director; Eugene Cheong/Justin Lim, writers; Andy Greenaway, creative director; Ogilvy & Mather Singapore, ad agency.

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BY JuLIE PRENDIVILLE Roux

O

nce, when given a school assignment to photograph feetanyone's feet-Kwaku Alston turned in his interpretation: a pair of perfectly blue feet. "Kwaku always had lots of fun," John Retallack, assistant professor at Rochester Institute ofTechnology (RIT), remembers. "His biggest asset was his attitude-he was so bubbly. Lots of students have problems getting models, but not Kwaku."

Alston, 29, still doesn't have any problem getting models. Only now he's photographing luminaries such as Samuel Jackson, Matt Damon and Oprah Winfrey. He's shot mainly editorial, advertising and CD covers for a client list that includes the New York Times Magazine, Newsweek, Miramax Films, Code magazine, Entertainment Weekly, Nike, Columbia Tri-Star, Time and various recording labels such as Sony Music.

His first assignment came right after graduating from RIT, in June 1994. Kwaku remembers, "It was the same week O.J. had that chase. The New York Times Magazine wanted this shot of four women all putting on their makeup in the mirror at the same time. They were supposed to be going out." When he got to the location, it turned out to be a tiny apartment with a tiny bathroom and a teeny-tiny mirror. He says, "I couldn't see crowding them all together in front of that mirror, so I put them in the bathtub."

That story is typical of Kwaku's approach. While other photographers might carefully sketch out each detail, he craves spontaneity. "I like walking in and seeing what's there," he explains.

"I might discuss a theme, or how to style the shot or wardrobe, but that's about it." When he talks about his work, he's reminiscent of an athlete going out on the field. He doesn't want to over-prepare or he might lose that adrenaline rush. The only question is, if a photographer wants the flexibility to improvise, how does he pack equipment? Alston has a quick answer: "In school they taught us to always have a bag of tricks, to prepare for whatever might come up." He was still caught by surprise on that first shoot. "I had no idea you could rent equipment on a magazine's account," he says with a laugh. "There I was, with one light-the light I had used since my freshman year."

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New York Times Magazine photo editor Kathy Ryan had discovered the new talent while he was still in school. His senior year, Kwaku's work had been featured in American Photo magazine as part of a contest, "New Views." Each year, the magazine selects five students from Brooks Institute and five from RIT to compete against each other. In 1994, Kwaku was selected by portfolio review. He participated and won a silver medal. Ryan had seen that issue and later came on campus to deliver a lecture to the RIT School of Photographic Arts and Sciences.

Kwaku recalls, "I always made the lectures, but I missed that one. Later, I heard that she had talked about my work. She actually said my name in her talk."

Missing out on the opportunity to meet her, he traveled from school in Rochester, New York, to Ryan's Manhattan office. "I showed her my work and she asked if I could shoot color. She gave me an assignment right after school ended," he says.

"I figured after I shot that first New York Times Magazine piece, I'd get calls all the time," he continues. "I didn't realize what was involved. Finally, I had to get a job so I assisted a couple of photographers. There were parts I liked and learned from, bur there were parts I hated-it can be grunt work."

He's careful to pay homage to that time not so long ago that he didn't have work. Although he's developed an impressive client list, travels all over the world, photographs mega-stars and has homes in Venice, California, and Manhattan, he's more like an energetic, overgrown kid than a successful artist who lives in the rarified air of celebrity. He'll gush about his fondness for all things Asian, the city of Miami and the TV show "La Femme Nikita." He's addicted to "Sex and the City" and is currently Right: Delroy Lindo for BET Weekend magazine. "It was really hot in the San Fernando Valley and we didn't have much time, so we shot him sitting on the edge of an empty swimming pool. One reason he's wearing a white suit is to keep the heat off of him." Lance Pettiford, photography editor.

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Kwaku Alston

excited about taking salsa lessons. Also, he's grateful people hire him. He says, ''I'm surprised I've survived. So many photographers forget where they came from. After school, I moved to New York and lived in a place where I had to walk up six floors and there were mice and roaches. Every photographer who's working should be thankful for their job."

course, you have a lot of people to please: the star, the publicist, the magazine. Celebrities understand that this is their image for that moment in time so they're very careful. Normal people don't understand how powerful photography is so they're themselves."

Marie Tobias, an assistant photo editor at Time magazine, says, "Kwaku gives you 200%. When I saw his book I really liked itthere was a certain thing he brought to his photos-great energy, great fun. For a long time, I thought, how can I use this guy?"

times people have hired me because I'm African-American, " he says. ''And that's kind of hard on my soul. Entertainment Weekly, the New York Times Magazine and the New Yorker, to name a few, gave me jobs based on the work, not my ethnicity. But

Then a cover story on

~ Q)

~

recording artist Lauryn Hill came up. Tobias says, "I had seen a shot that Kwaku did of Lauryn and it was

~

great. At Time we normally try someone out 0 ~ with an inside shot before we give them a

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c;

cover. But I wanted him to do it. The magazine trusted my vision and we had him shoot it. To be a young, untried photographer and get the cover is something."

Alston often shoots large format-4 x 5 or 8 x ro. "It takes a lot of patience," he says. "A lot of subj ects don't understand what I'm trying to do and they don't have the patience to stand and wait. And then some subj ects have an energy where they're jumping around and you can't capture that on large format like you can on medium format. It all depends on whom I'm shooting. I don't believe in just one format or just one technique. " A color photo of Don Cheadle shows the actor in a deeply pensive state, his hands folded in front of his face. It's one Kwaku has chosen to display in his Venice loft. "I like to look for a feeling, a message, an image," the photographer says. The shot of Cheadle is almost voyeuristic; you feel as if you've caught him in a private moment.

Kwaku is pragmatic in his approach to shooting celebrities. He informs, "Most women, not all, want to look beautiful in a photograph. I find some men are more willing to take a chance and be a little more wild for the camera, as long as they see the Polaroid®first before we start to shoot film. The Polaroid assures them that I'm on the level and want them to look their best regardless of what situation or setting I put them in. And of 74

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His career trajectory has come with disappointments. "Some-

other times, people gave me jobs because I was ethnically inclined. I just want to photograph people-when I started out, I wanted to photograph Brad Pitt or that month's hot celebrity.

In a way, it doesn't bother me. I should be glad I'm doing this.

But I have friends from every culture, all over the place. The '9os have created a major change in my generation-the Internet." No gender, no color, no age.

Kwaku is careful to market himself. "You have to be on top of your game with yo ur clients. That's where people slip," he says.

"You have to do the simple things that got you where you are.

You have to say: now I am a name but I could be a flash in the pan. It's funny how magazines fizzle. Say you have ten clients.

Three will leave, so yo u have to fill in. It's kind of sad. It's not about the photography as much as it is about you have to keep those relationships strong. " He's come up with marketing tools he hopes will help solidify those relationships, as well as satisfy his hunkering to direct.

As part of actual shoot days, he has video shot as well. He edits the footage together, adds music and titles and sends it as a QuickTime® film to the client. He says, "It's giving them a memory of the shoot. It's saying it's not just about a high fee ; This page: Kwaku Alston.

Right: Eve for Rolling Stone. "I titled this picture Ghetto Fabulous. This photo sums up everything that is hip hop music and culture in one frame.

We've got the hottest female hip hop artist for the millennium doing her lipstick in a Mercedes coupe on 125th Street in front of Harlem 's infamous Apollo Theater. I love the air fresheners and pager hanging from the rear view mirror, the Nike logo on the driver's yellow shirt, the man on the sidewalk using his cell phone looking important." Fiona McDonah, photography editor.

Outtake of Rachael Leigh Cook for Mira max Films's She's All That, shot in Malibu, California . "We originally wanted this to be the poster. But the powers that be picked another image. I love shooting in infinity swimming pools, they create a neat effect with the horizon of the water and the sky meeting." Todd Tarhan, creative director; Holly Spink, photography editor.

"Code magazine article on the New Hollywood. Michael Clark Duncan of The Green Mile, has a massively strong, powerful presence and I wanted that to shine through ." Andre Harrel, art director; Albert Smith, photography editor.

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it's about having fun. I'm pretty sure I'm the first one doing this. " Although Kwaku has started to direct music videos , he continues to appreciate the image most. "Film captures a scene," he says, "a moment that happened. A photograph captures that one moment. It's intimate. " He counts Irving Penn, Richard Avedon and Gordon Parks among the greats he admires. "There's a simplicity, a timelessness, " he says, "these are the classic photographers. But I'm most inspired by people my own age-Alexi Hay, Martin Schoeller, Baron Claiborne and Jason Schmidt. They're right there with me in the darkroom, on jobs. They have a unique way of looking at things. As the younger photographers, we're doing what we want to do. Matthew Jordan Smith is someone I look up to as surviving in this business. He's like a big brother to me; I can ask him things.

It's almost like there's this changing of the guard. " More than anything, he intends to stay on an even keel, even among all the celebrity. "It's just photography," he says. "You're not saving peoples' lives. Besides, photojournalism is the most pure form of photography. " •

Left: Cover story for Honey magazine. " Ananda Lewis is an MTV VJ and we wanted the photos to reflect her young , hip appeal."

Joicelyn Dingle, photography editor. " Will Smith was the first big star I photographed early in my career. I grew up listening to Smith ' s music and was a little scared about meeting him. I knew I needed to do someth i ng special to stand out, but we were limited by the budget. Essence magazine rented a modern house in Beverly Hills, and the editor stressed that I needed to show off Will' s incredible sense of style and prestige as the shot was to run on the cover of the summer issue. Will, being a well-recognized music and television celebrity, was about to appear in that summer' s blockbuster hit, Independence Day. Having him jump out of the swimming pool seemed easy enough in theory until we actually tested it out. After one jump and one click of the shutter, Will decided it might not be the best thing to do over and over again, as it was strenuous and dangerous. To my surprise, that initial test shot turned out to be one of the best shots of the day."

Article to introduce John Woo, the d i rector of Mission Impossible 2, for Premiere magazine. " This photograph was taken in downtown L.A. under extreme spontaneous conditions. Rather than shooting him alone by himself, I used people walking by as props to create a staged look." Nancy lacoi, photography editor.

This page: Djimon Hansou for Code magazine. "I wanted to portray his classic beauty. Djimon has been photographed so many times that I wanted to do something different and highlight his inner spirit." Andre Harrel, art director; Albert Smith, photography editor.

Advertising for the television show " Good versus Evil. " " Shot downtown in L.A.'s famous Ambassador Hotel, it reflects the urban feel of the show.'' Elisabeth Sinsabaugh, photography editor; USA Networks, client.

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Kwaku Alston This page: Actress Robin Tunney for SonySty/e magazine. "I worked with set designer Tre to create a futuristic/Matrix set. I wanted her to have fun and to play with her environment." Julie Claire, photography editor; Terry Koppel, creative director.

"TV Guide hired me to shoot Richard Belzer. Belzer usually plays hard-edged, sarcastic cops, so we decided to shoot in New York's Chinatown . While posing him in a scene in the street, I was inspired by the old 1950's photos of James Dean walking on 42nd Street, so I motioned Richard to walk towards the camera and, as I walked with him, we got some interesting shots." Hazel Hammond, photography director.

Right: Henry Simmons of "The Practice" for Gear magazine.

"This was shot in my house. I loved his face and wanted to concentrate on that." Dora Samosi, photography editor.

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Kwaku Alston This page: Cuba Gooding, Jr. for a fashion story in Code magazine.

"The goal was to keep it clean and to show off Cuba with great clothes." Andre Harrel, art director; Albert Smith, photography editor.

"Sony Music hired me to shoot Kobe Bryant for his upcoming music CD. We all know Bryant as a premier basketball star. Sony Music wanted to change his image and portray him as the newest hip hop artist. My job was clear and simple: to reestablish Kobe's identity through styling/wardrobe, location and feel. The shoot took 14 hours in Las Vegas on a 105° day, and was shot in a 1950's hotel with no air conditioning . Kobe was a great sport and we have some incredible photographs from that day." Ron Jaramillo, art director.

Right: Jordan Knight (former New Kids on the Block singer) for IGA Records solo album . Shot on location in L.A. through a window with a 4 X 5 camera . Joe Mama Nitzberg, creative director.

Feature/fashion story on Blair Underwood . "I wanted to show Blair with a harder edge while keeping his clean boy image." Andre Harrel, art director; Albert Smith, photography editor; Code, client.

"Code hired me to photograph Chris Tucker for their Fall 2000 cover.

They wanted something showing his outrageousness and smooth style. I came up with a concept that was part Matrix, part Face Off. We shot downtown in Los Angeles; I wanted to show him portraying intense emotions contrasted with the gritty L.A. landscape."

Andre Harrel, art director; Albert Smith, photography editor.

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Albun1 Cover Design Past Influences, Present Struggles & Future Predictions

BY ANGELYNN GRANT

A

lbum cover design has over 50 years of history and, despite several format changes (78 to LP to cassette to CD), many things have stayed the same. Cover design projects bring together two artists, the designer and the musician. They offer the opportunity to create a visual to represent a non-visual art. Juliette Wolf, co-publisher of The Alternative Pick, a creative talent sourcebook, has this assessment: "I would say that the most passionate of all designers are probably those who work in the music industry. These designers, whose primary clients are the record labels, tend to be incredibly knowledgeable about the music scene, the trends, and have a real understanding about the product that they are helping to sell. " Throughout the history of album design, there have been cover auteurs: those designers or illustrators whose creations have become as famous as the labels or musicians with whom they've worked. In the ' 50s, there was Reid Miles with Blue Note, Burt Goldblatt with Savoy and Bethlehem, David Stone Martin with Norgan and Verve and William Claxton with Pacific Jazz. In the ' 6os and '7os, art director Gary Burden and photographer Henry Diltz hung out with and designed for California rock greats like Joni Mitchell, CSN, Neil Young, The Eagles and The Doors. Also in the '7os, were Roger Dean with Yes and Storm Thorgeson with Pink Floyd. In the '8os and '9os, there was Peter Saville's covers for New Wave bands like Joy Division and New Order and Vaughn Oliver's work for 4-A.D. One of the first pioneers in the field , Jim 82

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Flora (see sidebar) noted ten years ago , long after he'd left the music industry behind, "People today couldn't do what we did then. There's too much history of album covers and how they should be done. And everybody gets an oar in.

Those days, almost anything we did got accepted ... No one knew what they were doing. " What is it like to be a cover designer today? Can designers still have a freely creative experience? We asked some designers, in-house and freelancing, working with major labels and with small independents and even two who are both designer and musician , several questions about the past, present and future of album cover design.

How involved are today's musicians in the design process, and, if involved, is this a good thing or a bad thing? Tommy Steele, vice president of creative services for Capitol, with years of experience and hundreds of covers under his belt, says, "More and more we find [musicians] are very involved and it takes a while to gain their trust. And when we are really trusted is the time we get to play and discover and invent. " On the other hand, he notes, "Most of them have a 'friend' who's a designer or has a Mac, which always pricks up my ears. " Jeri Heiden of L.A. studio SMOG, former head at A&M Records and Warner Brothers and designer of over 200 album packages for artists like k. d. lang and Beck, finds it's best to work with artists who know who they are and what they want to say. "Most of the labels allow the artists the ' rights to create and/or approve' the artwork for their covers.

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seriously than others. This is a sweeping generalization, but singer/songwriters seem to care the most, followed closely by young rock bands-and young 'pop star hopefuls' seem to be mostly concerned with clothing, hair and make-up. " Carla Leighton of Gloo Design in New York, puts it another way, "My experience is that most musicians like to verbally express how they think the album should look, rather than the actual design , to create a certain mood. Other musicians may want to see what you can come up with after listening to their music. One thing they are especially involved with is choosing photographs of them to be used on the cover and in the package design.

On occasion the musician is too involved in the cover design; this creates a difficult working relationship, and you end up inevitably compromising your design, so it would be up to you to decide whether or not to continue with the project. " Although the free-spirited atmosphere of some genres might make one expect the musician to tell the designer, "Hey man, I do my thing; you do yours ," usually, creating a record cover allows no more artistic freedom than any other part of design. Jason Gnewikow, who has designed covers for his own band, The Promise Ring, as well as for other bands, says, "Sometimes it allows a designer more freedom because you are dealing with other artistic minds. But in other cases, because the designer is being added to the mix of someone else's art, the musician may be reluctant to let another person into the creative process. " Josh Brown, founder of Capacitor Design Network, a design studio with a lot of clients in the

Above: Thelonious Monk, "Genius of Modern Music Volume 1." Reid Miles, designer; Francis Wolff, photographer; Blue Note, record label.

Left: Finding inspiration in a local bar that has walls covered with old records, Klaetke points to his design for Roosevelt "The Honeydripper" Sykes as clearly styled after Reid Miles's design for Thelonious Monk's "Genius of Modern Music." Fritz Klaetke, art director/designer; Valerie Wilmer, photographer; Visual Dialogue, design firm; Smithsonian Folkways Recordings, record label. " Lead Belly's Last Sessions ." Fritz Klaetke, art director/designer; Tiny Robinson (slipcase/booklet cover)/James Chapelle (CD case cover), photographers; Visual Dialogue, design firm; Smithsonian Folkways Recordings, record label.

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Album Cover Design rave community, says, "'Freedom' is somewhere in between a three-way rug of war and a three- legged race between the

who's last on the list of people 'needing

direct communication. Comments and desires are often filtered thro ugh labels, managers, fax machines and time zones.

Pop, rock and jazz musicians tend to be very involved; as is everyone else from managers to friends . Pop and rock are marketing-driven genres . Budgets are higher and, along with that, the drama.

Spending three weeks on 'rh ank-yous' is not uncommon ." Partner Karen Green berg adds, "The level and degree of hand holding varies greatly. Artists at the beginning of their careers tend to

to keep happy."' Burden, still designing

need a little more. More seasoned artists

covers today, points out that the musical artist is the most important party in the relationship. "I always attempt to bring

have a confidence about themselves and th eir music."

designer, record label an d m usician.

Depending on the popularity of the musician(s) and the potential size of the release, everybody involved is going to want a piece of the creative pie, so if it's a success they can say 'Yeah, I did that! ' So it's a matter of finding the right balance and keeping everybody happy.

Unfortunately, it's usually the des igner

the artists into the process of making their album cover art because it is theirs .. .I try to engage the company and make them our allies in realizing a package, but in the end I serve the artist and the music. " Mark Kingsley of Greenberg Kingsley, a design/illustration partnership in New York that designs covers for labels like Blue Note, Atlantic and Geffen, points out that different genres can yield different designer/musician relationships. "World music tends not to seek the input of the musician. Many times it is because of language and distances. Other times it has to do with the perception in the United States of either the music or country of origin. An American audience will sometimes buy the myth over the reality ... Classical music performers are constantly traveling between performances and are virtually impossible to contact. Many times a label will compensate by scheduling a long, grueling photo shoot and try to squeeze two or three album packages out of it. Since classical music is driven by personality (biographies of the composer, the virtuoso performer, genius conductor, ere.), there is a strong pressure to put the featured musician on the cover. Those factors combine to create a situation where there is nor much 84

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When asked if there's a battle between what a musician wants on the cover versus what the marketing department wants, Steele replied, "Quite often I'm seeing that. The more clout an artist has (read that as platinum sales or a powerful manager), the more likely their cover goes through. You'd be amazed at the dialogues taking place though-it's all one big episode of Spinal Tap." Kingsley adds, "So much work goes into the planning, logistics and budgets of a package. There is so much more face-to-face 'therapy' ...

It's the musician's image and you're there, trying to p ush them further than they want to go (sometimes the other way around) . There's a lor of behindthe-scenes diplomacy. I've had discussions describing why eyeliner is not such a good idea on a 40+ male bass player, why flat-front pants are not 'gay,' and the difference between the fabric on a Calvin Klein jacket versus a J. Crew $50 special (it lays better). I recen rly had to go on 'tit check' with an artist who was a new mother and n ursing. The situations are priceless and I always come away with an appreciation of the humanity of the musicians we work with. It is a hard life and they have a lot to deal with just so they can do their art."

Asked which albums of the past made 2 0 0 I

Jim Flora: An Appreciation Jim Flora created distinctive album covers in the 1940s for Columbia and in the ' 50s for RCA Victor-covers that jump out of the record bins with their energetic translation of the excitement and improvisation of '20s jazz, swing and bebop. A generous artist who loved the music and never lost touch with the childlike ability to visually express the fun in every note and tone, his achievements also included seventeen children's books , artwork for United Productions of America (the creators of Mr. Magoo), illustrations for Life, Look and Fortune magazines and hundreds of wildly imaginative paintings. His work, on view on the Web at The Jim Flora Gallery (www.inhi-fi.com/flora/), still inspires artists today. He died in 1998 at age 84.

This page: Jim Flora's "This is Benny Goodman and his Orchestra" and Jon Bernhardt's design for The Lothars.

Right: Four album covers designed and illustrated by Jim Flora.

A "New Orthophonic" High Fidelity Recording

COLTJMB I~ eD RECORD$

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This page: "For the Decca album cover designed for Elvis Costello, Burt Bacharach and Bill Frisell, ' The Sweetest Punch,' I was influenced by 'Some Other Stuff' for artist

THE SWEETEST PUNCH

Grachan Moncur Ill, designed by Reid Miles in 1964," said designer Carla Leighton. "I chose a photograph of the Brooklyn bridge, blurred it slightly and printed it over a solid light blue color. I chose the Brooklyn bridge to keep a vintage yet modern look similar to the photo by Esmond Edwards for the album 'All Day Long ', also designed by Reid Miles and the photo on 'All Mornin' Long ', also

by Esmond Edwards." Carla Leighton , art director; Penny Bennett, creative director; Christine Williams, photographer; Gloo Design, design firm; Polygram, record label.

Grachan Moncur Ill, " Some Other Stuff." Reid Miles, designer/photographer; Blue Note, record label.

The Red Garland Quintet, " All Mornin' Long ."

Esmond Edwards, designer/photographer; Prestige, record label.

"I did this for the packages I designed for Astor Place Recordings, such as ' Bleecker Street' where I asked the photographer Kaysh Shinn, to photograph all four corners of Bleecker and MacDougal Streets in Manhattan, and I then created a collage in Photoshop that would wrap around a four-panel digipack," said Carla Leighton, art director/designer. Kaysh Shinn, photographer; Gloo Design, design firm.

Right : Arthur Prysock, " Morning, Noon, & Night." Giulio Turturro, art director; Carla Leighton, designer; Chuck Stewart, photographer; Polygram, record label.

ALL MORNIN' LONG THE RED GARLAND QUINTET

"For the Stanley Jordan cover 'Live In New York' designed for Blue Note, I wanted to

GA llAND

maintain the feel of the old Blue Note covers of the ' 50s where most of the photographs were duotones or just black-and-white photos printed over a solid color. I then gave it a modern touch by repeating his name softly in front like smoke in a nightclub," said designer Carla Leighton. Gordon Jee, art director; Carol Friedman, photographer.

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Album Cover Design him want to try his hand at designing, Steele cites "Are You Experienced?" by Jimi Hendrix and "Let It Bleed" by The Rolling Stones. "Great album covers from the past usually started with a great idea followed by a great execution. I wish more artists took advantage of Art with a capital A on their covers and throughout their packages. It is a place to show something, to say something, and few look at it this way." Knowing the history of cover design is helpful when designing today. "I try to know the past in order to reinvent the present. " Other designers have found more direct inspiration from the past. Fritz Klaetke of the Boston-based studio Visual Dialogue has designed several CD packages for Smithsonian Folkways, trying to reestablish an identity for the label that references the look of their great LP covers of the '50s. Gnewikow and Leighton both credit the classic Blue Note covers for inspiring their work. "In retrospect they tend to be more modern than many covers done today. The use of typography and the use of colors is courageous and bold, " remarks Leighton.

Like Gnewikow, Jon Bernhardt acted as both musician and designer on the latest CD for his theremin band, The Lothars. Reaching into the past, he drew inspiration from Jim Flora's design for "This is Benny Goodman and His Orchestra. " "We try to make our artwork reflect the spirit of our music: otherworldly soundscapes that can be beautiful, but also have a sense of humor ... It does seem that today's era of retro-everything has trickled into the area of CD cover design. It's pretty easy to use certain styles that will obviously evoke a past era. If you're going to use one of these styles, you had better do it well, or do it with an obvious sense of irony, because you're competing against a large existing body of work."

In the '50s, it was possible for a label and a designer to create a consistent look. Gnewikow believes such relationships are still possible today but only for smaller labels. "I think as far as major labels, it's much more difficult to maintain a look because there are just too C 0 M M U N I C A T I 0 N

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SONNY CLARK /SUTCH WARREN /BILLY HIGGINS

DEXTER

GORDON

· intiillimani

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Album Cover Design many records being made and by several, very different artists; the main problem, though, is just quality control. On the other hand, with independent labels, it's much easier because you have fewer artists and it's possible to find a few designers that can actually handle the entire workload. I think Sub Pop and V23 are great examples of that. They

only work with a few different artists and as a result have a reputation for having great-looking records." Kingsley, whose studio has worked closely with Green Linnet Records and their subsidiary Xenophile, setting the visual style and creating logos , agrees. "If a label does develop a look, chances are they are small, have tiny art budgets and release music within a focused genre or two. They tend not to buy advertising, so their design identity plays a greater role in their marketing. " In addition to the majors, Heiden and SMOG also work with smaller labels.

"We have a relationship with Nonesuch Left: Blue Note 60th Anniversary logo. A new riff on an old standard. " Another case of letting your clients do the work for you;' said Kingsley. " The joke was meant for only the most loyal Blue Note Fan." Karen L. Greenberg/ D. Mark Kingsley, art directors/designers; Gordon H . Jee, creative director; Greenberg Kingsley/ NYC, design firm .

Dexter Gordon , "Go." Reid Miles, designer; Francis Wolff, photographer; Blue Note, record label. lnti-lllimani, "Amar de Nuevo." "Instead of marginalizing them to the South American volkmusik bin," said Kingsley, "we opted to pursue the sensuality." Karen L. Greenberg/ D. Mark Kingsley, art directors/designers; Michel Delsol, photographer; Greenberg Kingsley/ NYC, design firm; Green Linnet/ Xenophile Records, client. lnti-lllimani, "Lejania." " This is what happens when you package for the American market without resorting to the cliches of Chilean music: pan pipes, serapes, seafood, etc .... " said Karen L. Greenberg and D. Mark Kingsley, art directors/designers. Stock photography; Greenberg Kingsley/NYC, design firm; Green Linnet/Xenophile Records, client.

Ravi Coltrane, "From the Round Box." "Ravi did and did not want his picture on the cover." Karen L. Greenberg/D . Mark Kingsley, art directors/designers; Robert Lewis, photographer; Greenberg Kingsley/NYC, design firm; BMG Classics and Jazz, client.

Don Sebesky, " A Tribute to Bill Evans." Alas, unpublished . Karen L. Greenberg, art director/ designer/illustrator; Greenberg Kingsley/NYC, design firm; BMG Classics and Jazz, client.

This page: "Most of our campaigns begin with graphics from the cover and/or the package. Radiohead has broken ranks on their recent release, and I followed much of what was to follow on their Web site and experimental video blips," said Tommy Steele of Capitol Records . Stanley & Tchock, landscapes/knives/glue.

Records and, although they don't apply a standard ' look' to their releases, they do maintain a significant level of design sophistication that sets them apart from their competitors (mainly modern classical). They also utilize a printed 0-card on all of their CDs, creating more viewable surface area on the front of the package. The 0-card offers 'added value' to their releases. " The 0-card is just one of the many surfaces open for design that is possible with the CD format, an advantage over LPS that compensates for the smaller

cover dimensions. Comments Leighton, "I enjoy designing for a CD because for me it is a more complete package ... The booklet which goes on the inside, the back of the jewel box, the image or type that can be placed under the CD in a clear tray, and the CD itself can be its own piece of artwork." She goes on to add, "I enjoy very much working with C 0 M M U N I C A T I 0 N

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••••• ••••• ••••• ••••• ••••

Album Cover Design digipacks. They allow me to create a design as a three-dimensional piece of art and still have a booklet inside. The image can be one long piece of artwork or photograph that wraps around continuously, creating a circular effect."

In the end, the CD package is not only the musicians' or the designer's "baby"the music lover/consumer is often a lover of the object too. "We really feel like we're contributing to something totally unique, where somebody is going to be paying money for it, taking it home, unwrapping it, opening it, picking it up and studying every nook and cranny of the liner notes, lyrics and artwork as they listen to the music," says Brown.

"Many listeners (speaking from experience) will try to find hints or clues into the music or musicians from the album artwork. " If, as some predict, all music in the future will be purchased online and downloaded, this tactile experience will change, although buying the music without any accompanying graphics is unlikely to work. Klaetke puts it this way, "There is something about the fetishistic pleasure of holding a designed object in one's hand and, until that experience can be replicated, the perceived value of the music will not be the same. When I was very young, I had a Willy Wonka Chocolate Factory kit. Basically you melted down some chocolate bits, poured the chocolate into variously-shaped molds, and wrapped the bars in Willy Wonka labels. All the kids wanted the 'packaged,' 'designed' chocolate barsno one wanted the plain chocolate, even though the contents were the same. " There will be ways to keep the album of the future from being just another plain chocolate, Heiden says, "I don't see the role of the visual artist being eliminated, just changing and adapting to different media. " Burden is already designing in the new frontier, "Web sites are the pack90

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Left: The Promise Ring, " Nothing Feels Good."

J . Gnewikow, art director/designer; Tim Owen, photographer; Jade Tree, record label.

Cap ' n Jazz, "Analphabetapolothology." J .

Gnewikow, art director/designer; Shawn Scallen/Kevin Frank/Jenny Tabor/Donna Kinsella/Cap'n Jazz, photographers; Jade Tree, record label.

This page: Sting, " mercury falling ." Art director/designer Jeri Heiden has worked on several projects with veteran photographer William Claxton after admiring his earlier jazz covers . " He is a real pleasure to work with and a great talent, still working hard in his 70s," said Heiden. A&M Records, record label.

The Gorecki cover illustrates the consistent aesthetic that can be found in Nonesuch Records packaging. John Heiden, art director/ designer; William Clift, photographer.

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aging for music in the future, especially since your images can be downloaded as needed ... [This] offers the opportunity to link our to related sires, and the world, while talking in depth, including film and video, about the music. I hope and feel confident there will always be books and print art to enjoy one-on-one, hands on, but I love the fact that the world keeps on turning and new opportunities to solve problems and create continue to

present themselves. Right now I am working on packaging for a Neil Young album that will be a CD, DVD, VHS, DVD-A, vinyl, laser disc, DVD single, CD single and a cassette."

In addition to Web sites devoted to one musician or band, Brown sees the potential for custom MP3 (or similar format) "player" consoles specific to one band.

"In other words, in addition to just being able to download raw music, eventually you will be able to download the equivalent of the contents that would be found in traditional packaging plus more, such as videos and biographies. Those covers in pure digital format could then include moving picture and animation and possible direct interaction with the band or other fans. " Kingsley faces this future with equanimity. "If a time does come where all music is delivered over the Internet, I suggest taking a Zen approach. While the sensuality of opening and poring over every square inch of an album will disappear, so will the environmental impact. Such nostalgia will be the burden of our generation. Keep in mind there are people in college who have never put a record on a turntable and gently placed the needle on the first track. They don't miss the LP. Their children won't miss the CD. Do you have fond memories of piano rolls?" •

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Left: Neil Young, "Silver & Gold ." Art director/designer Gary Burden notes that, on a CD, close-ups work better than group photos, since "faces in a wider shot are unrecognizably small. .. l make more large shapes exploding the edges or some component that unfolds to become a much larger piece:' Amber Young shot this photograph of her father with a Gameboy camera .

"CSNY's ' Deja vu' was my attempt to create a tribute to books and particularly hymnals from the Civil War period .

Textured leather cover, tipped on picture, embossed gold-leaf lettering," said art director/designer Gary Burden . Tom Gundelfinger, photographer.

This page: Josh Brown worked with a collage of photographs for Dave Ralph's "Love Parade." Love Parade is the world's largest rave, held each summer in Berlin.

"The U.S. kids buying the CD want to feel like they are part of the international rave scene even if they didn't attend the event," said Brown. "At the last minute, a rep at the label tracked down a photographer in Berlin who had great images we secured rights to." Capacitor Design Network, design; P. Adenis/Gaff Foto Archive (cover)/G. Reasner (tray card), photographers.

Marcus Wyatt, "Sound Design v.1."

Capacitor Design Network, design; Kristen Deleo, photographer.

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Helmut Krone n ad for an ugly little car from Germany forever changed the look of advertising. And the art director who did it was Helmut Krone.

A

~ ::: : : : : : ::~

~i i IIIIIIIII ~Ii IiI 1

"I got on Volkswagen because I was th e only one

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who'd ever heard of the car. I had one of the first

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hundred, long before I ever worked [at D oyle Dane

......... ............. ............ ........ ······ ........................ .......................... ... . . . . . ........................................................................... ....................... .... ....•!::: ............:::::::::::::::: ................. ................... ... .....

Bernbach] there. And just to show you how wrong a

··:m~·

person can be, I was dead set against the Volkswagen campaign as we did it. I felt that the thing to do with this ugly little car was to make it as American as possible, as fast as possible. Like, let's get D inah

~,

Shore. What's that thing she used to sing? 'See the USA in your Chevrolet.' I wanted 'See the USA in your Volkswagen' with models aro und the car and extravaganzas. I felt strongly that we were doing the wrong thing. I finished up three ads, went on vacation to St. Thomas, depressed, came back two weeks later and I was a star.

"The whole concept of speaking simply, clearly and with charm belongs to Bill Bernbach. There was nothing new about the Volkswagen idea, the only

Doyle Dane Bernbach is the advertising agency for each project shown .

This page: Photograph of Helmut Krone at CA's 1970 annual judging .

Sylvania television commercial, 1973.

(Man is composed of halftone dots) Man: You can take great shots with Sylvania Blue Dots.

That's why more people buy them than all other flashbulbs combined . Now we've come out with a double-tested light bulb good enough to carry the Blue Dot. Sylvania Blue Dots. Use ' em on your yachts . Over your flower pots. If you read lots, or write plots, use Dots. To save watts, turn out Dots. Why buy one of the have nots. Buy one of the have dots ... Sylvania Blue Dots. Dot's our flashcube . Dot's our light bulb. Dot's it folks.

Helmut Krone, art director; Jim Lawson, writer; Bob Levenson , creative director; Frank DiSalvo, producer; Richard Kuhn , director; Independent Artists, production

Swift Fox to go 0 to 50 mph on an effort-

Clever Fox to hold 5 adults and their luggage. yet handle as though there were only two seats and a roll bar. The Sports Sedan does exist .

A t.&liter.4-<:ytinder on-line. overhead cam engine spurs the Fox to easy acceleration.

F

0

Roch Fox to have two tully-rectoning bucket seats. velour upholste<y. and cut· pile carpetong on an onteroor which equals exterior for styte

Sly Fox gets 37 mpg hwy. 23 city, std. shill.

(EPA Est Actual mileage may vary based on how and where you dnve . cars condo loon. Oj)llonal equop )

less 8.1 seconds.

Alert Fox to respond QUICkly to demands ol driver. Rack-andpin tan steering and ondependent front StJSpellSIOn are

b<ed onto every Fox

company.

Porsche-Audi magazine ad, 1979. Helmut Krone, art director; Diane Till , writer; Manny Gonzalez, photographer.

Right: New Haven Railroad newspaper ad, 1956. Helmut Krone, art director; Wingate Paine, photographer.

Magazine ad for Scotts lawn-care products, 1974. Helmut Krone, art director; Jack Dillon, writer; Jerry Cosgrove, illustrator, O.M . Scott & Sons, cl ient.

Avis ad, 1965. Helmut Krone, art director; Paula Green, writer.

Polaroid Corporation magazine ad, 1960. Helmut Krone, art director/designer; Bert Stern, photographer.

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'V

~ Agile Fox.The engone over the dove wheelsgoves ol the tracttan to gel out and away. It s hoghly vtSible at your local Porsche -Audo dealet

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gra". )ou L.m >!l't ,, )1.round h.1~-:ol aqur<.k·rcle.r · krnlr:cr f~•r Jll'>t ,1 k11 Juli,ll'». AnJ m .1 ,, ~.·ek urtwn, 1ou'll <oec .1 A.t h of green 111 th ·) ,,r,lth.n will look prctt} ~;, ... J.

Rut rhc,c l.:rtih:cr 1clc.1 •

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A tcr th.tt }uuq..rrd' )tiS! h1 c. on llhat· e,·cr h m the"""'· .md ou'll he nt.:ht h. (J,; 11here ou r.trt<.'t!.

That' wh\ 11c do '"nwrhm~: 'f'C<.:I,tl

wtth thenttrogen lll<•urliuf"-" Twj /lw/.1,~ . )ur patented "rnl ·f< •m1" 1 roCl'" rclc<l'<'' rh1>h"-J J,,wl\ "'\"urturi lt;l l'knl) to lil'cnnfurul tot11omonrh. (.And,ol lllll~">e, wt:\cg<•t plcnt1· <>I m>n, f'<lt,..,h

an I ph<"plwn,,.)

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NE WHAVEN

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r,, ., \\ l'<lnt•:i(l.t~ '' uhout fall , IH' l!l'l a lot of kf.pli<·,tl IH>tnl'n askirw ... Is it n·all~ trut' that I ·~n bu~ a round-u·ip i kro u • • •11 York toda~ for th<• pra·t· of a oru•-11ay far •?''

I mu. t ,;;>Und likt· on • of tho. P rumors thal'. just too )!'ood to In• true, hut it i .) Tha makh your round-trip f;m-' frum . \•w Jl awn-ll't'. '<'l only .. :!.70 madam. ta inrludNl.

Tilt:l'll'>ll't en·n IIHilh \\nrk r.o lt.Ju't • 1h.>111 10mmutc"llth \ollf'l rc,td~r.

"l<•u dun'r han· ,, ll ,lll'r 11 111. , 111 •r Turt Butkkr Wnll't hmt \our gr. I'<. lnl,llt,lf \nu'IIJII'>t ~.:n.trnwkl w11h \Pllf'>l r,·.,lcr1Purnrh\Ctll11<.''"'·"h'c,lr,

Avis is only No.2 • In rent a cars.

So why go with us?

We try damned hard.

(When you're not the biggest, ) 'OU have to.)

We just can't afford dirty ashtrays. Or half-empty gas tanks. Or worn ·w ipers. Or unwashed cars.

Or low tires. Or anything less than scat-adjusters th.lt adjust. Heaters that heat. Defrosters that defrost.

Obviou s ly, the thing we try hardest for is just to be nice. To start )'OU out right with a new car, like a lively, super-torque Ford, and a pll-asant smile. To know, say, 'vhe rt• you get a good pastr.1mi sandwkh in Duluth.

Why? Bet:ause we <:an't all<>rd to take you for granted.

Go with us ne x t time.

The line at our t·ounter is shorter.

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

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Helmut Krone

thing different about it was its application to cars and that's different enough. I took traditional layout A, which had always existed: 2h picture, 113 copy. T hree blocks with a headline in between. But I changed the picture. The picture was nakedlooking, not full and lush. The other small change was the copy, which was sans serif rather than serif."

Krone studied industrial design at the New School for Social Research. His first step toward advertising was working with designer Robert Greenwell doing freelance ads for magazines.

He also worked on the news side at Esquire and Collier's before joining Doyle Dane Bernbach in 1954. Although he left in 1969 to form his own agency with Gene Case, he returned to DDB after three years and retired as executive vice president-creative director in 1988. During his career Krone received numerous awards and was elected to both the Art Directors Club Hall of Fame and The One Club for Art and Copy's Creative Hall of Fame. In April 1996, Helmut Krone died of lung cancer.

How much longer can we hand you this line?

Featured in "Krone Alone," from the Wall Street journal's Forever, we hope.

long running Advertising Age series created by Jim Johnston, Helmut discussed his methodology.

Becousewedon'teverintendtochonge

theVolkswogen'sshape.

We play by our own set of rules.

The only reason we change theVWis to mokeitworkevenbeller.

The money we don't spend o n outside

chongeswe dospendinsidethecor.

Thlssystemgivesuson immense odvon· toge:Time.

We hove time to improve parts and still keep most of them interchangeable.

!Which Is why it's so easy to get VW ports, and why VW mechanics don't woke up screomingJ W e hove time to put on immense amount

of hand work into eoch VW, and to fin ish each one like a S6,000mochine.

And this systemhasolso kept the price almost the some over the years.

Some con keep chong ing ondstoythesome.

Volk:swogens stay the some andkeepchong ing .

"Some people begin by drawing layouts, " he said. "I can't work that way. I begin by thinking. I don't want to be influenced by that first scribble. Scribbles can box yo u in. Think first. I don't want to design ads. That's why I've spent my life fighting logos. Logos say, 'I'm an ad, so turn the page.' I don't just leave out the logo. I give the client something better. And it doesn't look like an ad.

"Beauty and style are qualities I count as secondary. If they are in the work, they come along for the ride. The only quality I really appreciate is newness.

"New is when you've never seen before what yo u've just put on a piece of paper," Krone said. "And it's very hard to judge the value of it. You distrust it. And very often it's somebody else who has to tell yo u that that thing has merit, because you have no frame of reference, and you can't relate it to anything that you or anybody else has ever done before." •

This page: Magazine ad, 1964. Helmut Krone, art director/illustrator; Bob Levenson, writer.

We've gone places!

Magazine ad, 1960. Helmut Krone, art director; Julian Koenig, writer; Wingate Paine, photographer.

Ten.,..arsogo, lhel'ntV~.,.,.

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Right: Billboard, 1973. Jeff Roll, art director; Jeff Roll/Helmut Krone, designers; Stan Lee, writer.

Two ads from 1960. Helmut Krone, art director/designer; Julian Koenig, writer; Wingate Paine, photographer.

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Color Predictions Report from N ew Yo rk s Fashion Week

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ashionistas (and designers) take note: Pastels are in, and they have a lighter, brighter look. (This sounds like an oxymoron, but isn't. Read on.) Think mango, sun-kissed orange, pale lime green, sunny yellow in bold punches of color often combined pattern upon pattern. And, designers get out your hankies-bye-bye head-to-toe black.

F

The twice-yearly circus that is 7th on Sixth, convened in New York City's Bryant Park September 14-22, 2000. The Spring 2001 fashions were shown to an assemblage of fashion editors and designers, those who can actually afford the clothes shown, models, actresses like Sarah Jessica Parker of "Sex and the City" (very short, very blonde and much prettier than she appears on TV), drag queens ... the list goes on!

How does what we see on the runways translate to graphic design? According to Lisa Herbert, senior vice president, PANTONE Textile, Home and Fashion division, "The translucency of sheers will be interpreted as vellum overlays. The prevalence of shimmering gold will inspire an increase in metallic inks and glossy finishes. Overall, color will be warming up and there will be a return of neutrals and mid-tones now being combined with brights. These new color effects will be used to create texture. " As the official color authority of Fashion Week, Pan tone surveys all participating designers to find the most directional colors of the season. The consensus for Spring 2001 is shown above. Noted author and color psychologist Leatrice Eiseman, executive director of the Pantone Color Institute~ proclaimed, "It's going to be a spectacular year for color.

98

She ll Coral

that predominated, at ear-shattering decibels. It's almost like the music is so loud to reinforce the impact of the clothes, as if that were necessary when seeing them draped on gorgeous leggy models walking one foot in front of the other with a studied insouciance. (Although that impassive presentation was challenged when a model accidentally lost a shoe, angrily kicked the other off and completed her runway turn barefoot , to audience applause. One thing you see when a spectactor at fashion shows, is that the shoes often do not fit the models. The effort of walking a straight line in ill-fitting four-inch stiletto heels alone justifies their hourly fee.)

Kutoglu showed lots of sheer tops, and employed a gorgeous red shimmery fabric with a look of sequins, very bold and reflective, with an almost plastic quality. Fabric manufacture has taken great strides and the near-future holds a promise of fabrics that will change color under different lighting conditions or with body heat. "The physical, psychological and social attributes of color in today's environment are constantly changing and now embrace the elements of texture, pattern and special effects including pearlescents, metallics, holograms and colors that change in appearance at differing angles, " said Color Marketing Group presidentelect Jay de Sibour.

Many of the designers featured layering, which changes the color of fabric depending on light source, but also seen were reflective or mirrored surfaces, sequins, paillettes, beads and feathers (lots of feathers-there are probably a lot of naked

Just spectacular! "

turkeys out there in the Midwest!) and other fringe or hanging elements, adding to the kinetic nature of the fashions shown.

At Atil Kutoglu's show, the Turkish music he favored was a

The ladies (the ones Tom Wolfe referred to as "social x-rays"

refreshing change from the omnipresent discoid club music

in Bonfire ofthe Vanities) with their designer glasses and

J AN U AR Y

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Raspberry Rose

Orient Blue

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Quarry

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their bobs, turned out in great force for Halston's show. A

but for the most part for spring and summer we're seeing

huge phalanx of photographers clustered at the end of the

more warms. And stronger pastels, it's a boost but it's not

raised catwalk (a sign denoting an "important" showing)

neon. Turquoise was the cool color we predicted for spring

and the venue was very elegant. Instead of bleacher-style

because we felt like that would be the one that would be the

seating, the audience was treated to folding chairs covered in

appropriate color to use with the other warms." Here's a

white cotton duck slipcovers. The show opened with a quote

"Color Factoid" from Leatrice Eiseman's new book, The

from Humphrey Bogart and the fashions sported a golden

PANTONE®Guide to Communicating with Color (October

look, very clean and classic with leopard touches. Some of

2000, Grafix Press Ltd): "The human eye actually sees warm

the fabrics bore the textured look of jacquard or brocade-

colors before cool colors. Generally, warm colors advance

an emphasis on texture that was repeated throughout Fashion

and cool colors recede, however, the degrees of saturation

Week. Warm sandy pink, pale pink and beige, often with

can make a difference. Highly saturated colors appear closer

lacy textures abounded. Halston showed bright clear non-

than colors of low saturation."

blue reds, some styles with fluttery panels and the continued presence of the tube top (I had hoped that style would stay confined to the 1970s. Although the new variety seems to be made of stronger material as the tops survived the models' emphatic and bouncy strides down the runway!).

Speaking of bounce, leave it to Betsey Johnson to throw

Differing a bit was The Color Marketing Group's forecast for 2001 that claimed cool colors are hot. They anticipate consumers want ". . . softer, but more energizing products that reflect both a physical and global influence due to four major emerging trends." These trends are" ... a desire for products and colors that are authentic, possessing some degree of heri-

Fashion Week a curve. Last year Betsey invited her girlfriends

tage, originality, tradition or craft that can be linked to an

and the women who work in her shops to model her peren-

individual's cultural roots or personal interest. Water's color,

nially cool fashions. This year, she added a new twist-eschew-

texture and calming effect continues to be integrated into

ing the omnipresent reed-thin model format-by having

product colors and design. Globalization, especially the strong

Playboy Bunnies model her sexy young-spirited fashions.

Needless to say, it was standing room only, and the Bunnies

ethnic influences from Asia, Morocco and Turkey, which continue to bring spicy and earthy colors to U.S. color palettes.

quickly warmed to the runway, flashing photographers and vamping it up-all behavior rarely seen in this forum .

But the runways sported more color even than silicone-

This page: The top ten colors of the spring 2001 fashion shows

enhanced mannequins. "We're seeing a holdover of some of

as predicted by Pantone Inc.

the reds into next season and they're definitely to the warm

This palette is reflected in video still shown from the Ecko, Betsey

side, " Eiseman explained. "All the colors are more to the warm side; there are a few cool colors that are juxtaposed,

Johnson, Kenneth Cole (men's wear) , Turkish designer Atil Kutoglu , Mark Montano and Zang Toi 7th on Sixth spring fashion shows.

All images provided by B Productions, New York.

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

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The positive economy which has spurred consumer interest in personalizing living spaces in a bolder, more colorful way."

David Rodriguez's show employed music from sitcoms and a bubble machine, adding a festive note to his flowing feminine fashions in pastel tones-some of which seemed a throwback to the shirtwaist styles of the 1950s, albeit with a 21st century twist. Eiseman explained, "The cycles are speeding

Consumer Colors Current co-chairman Ricki Gardner, CMG, with Artistree in Coppell, Texas, added, "Because the world is at our fingertips and we are now living in a truly

up and there are elements from each of the decades which are being put together, that's the newness, it's not taking the look and duplicating it exactly, but blending.

global society, we are seeing new color and trends develop and gain acceptance much faster today than we did even five years ago.

"Some of the color combinations are great. And the fact

"The immediacy that the Internet, television and other media afford, brings new life-styles and design influences

that we really truly have seen colors staying in for longer periods of time. Historically it was always the hot color, it was in for a few seasons, then it was over, it was dead. And 1 00

we are not seeing that now. The yellow-green is a perfect example of that; it's been around for about three years, and each season it may veer off in a slightly different direction , but it is still present. "

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into our homes and offices on a daily basis. This rapid consumer acceptance makes it much more important for us

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as product designers and marketeers to keep abreast of developing color and design trends."

demonstrate that for the 2002 palette, "There are practically

Orange has gone from hyper-saturated and neon in past years

general absence of darks and grays, no muted color. I like

to this season's shell coral-a toned-down orange that works

to think of these washed colors as neo-classic in feel. For

beautifully with all the other seasonal picks. "Yellow disappeared for a couple of seasons, it stayed in the background, "

and coated plastics. It's all about the mix now, and texture.

said Eiseman . "In interiors it came back strong in the early

We're showing four damasks. Damask is a traditional way

'90s; people have really rediscovered yellow in the home. It's

of creating special effects (through the weave)." This type

a wonderful color to put on the outside of a home, because it's an instant welcome mat. "

of effect can be used for products and packaging, to create

At their office on 39th Street, in the midst of Manhattan's

Leatrice Eiseman has chosen 2001 forecast colors for graphic designers, a number of which are shown here, broken down into color families . Process color reproduction may not match Pantoneidentified color standards. (All trademarks used herein are the property of Pantone, Inc.)

fashion district , Margaret Walch, director of The Color Association of the United States (CAUS) pulled out several years' worth of color cards. She laid them end to end to

no darks; [colors are] soft, lighter, cleaner, clearer. There's a

the first time in maybe fifteen years, we are showing fabric

a two-tone look.

C 0 M M U N I C AT I 0 N

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101

Color Predictions

The Color Association of the United States

"We have a whole generation that is rediscovering certain

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

things-like damask. I wouldn't be surprised if some of the two-tone effects of damask are achieved in product with flat and shiny surfaces."

T he spring shows also heralded the return of gold. For Walch, the look has a certain vulgarity. But, she added, "I think it's my problem, and I'm stuffy. Because there is non-, what I call glitzy, non-Palm Beach, non-nouveau riche gold. " In referring to a CAUS fo recasting session to choose the interior colors for 200 2!2oo3, Clodagh of Clodagh International D esign commented, "A direction in m etallics is nam ed 'Thanks, Frank'-an homage to Frank Gehry and to titanium.

Five years ago m etallics were used tentatively and viewed as being perhaps a little tarry; today metallics are accepted. " Jack Lenor Larsen, C owtan & Tout/Larsen, Inc., remarked: "The future is a time for real colors, not primary but very young and bright colors. These hues resemble eighteenth cen-

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 .

CAUS members 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 .

The Color Association of the United States, 315 West 39th Street, Studio 507, New York, New York 10018; (212) 372-8600; fax (212) 594-6987 ; www.colorassociation.com

tury colors with two-tones, pearlesence and iridescence effects.

Color Marketing Group

T he paler tints will be as important as they were in the 1950s.

Color Marketing Group, based in Alexandria, Virginia , is a 38-yearold international not-for-profit association of 1,600 Color Designers who forecast Color Directions 11 one to three or more years out for all industries, manufactured products and services. These include communications/graphics, residential, commercial and consumer products, transportation, architectural/building products, fashion , recreational, retail furnishings, hospitality/entertainment, office and healthcare environments .

T h e colors I now see most and like bes t are the pink greens, i.e., mostly pale shades of green neutralized with reds."

According to CMG, here are some colors to look for in 2001 : M arrakesh Red (the earthiness of natural dyes) ; Pink Lady (a true pink); Sandy Egg-o (clean and vibrant yellow); Amaizing (a touch of red warms this pale but vib rant yellow); C opper Blush (reminiscent of a translucent cameo); Autumn O ak (orange-based weathered brown); Cocobola (neither red nor brown); Capri Blue (aquatic blue touched by yellow); Silver Strand Blue (medium gray-blue); Blue Too (saturated hue); Black Pansy (a blackened blue-based purple); Lavendare (a cross-gender pas tel purple); Pure Purple (m id-range); G lass Block (blue-green); Smudged G reen (green undertones and a trace of yellow); Astro Green (clear, clean tone);

At CMG's Spring and Fall International Conferences, members participate in cooperative color workshops where Color Directions are forecast, and new color palettes developed for consumer (residential) and contract (commercial) markets .

In the spring workshops, members forecast future color trends which will influence product design, and determine the colors sure to sell for consumer markets .

At the fall conference , various designers from the retail, hosp itality and healthcare fields take turns, giving their informal presentations, justifying their palette choices, delineating which shades are used by their industry and how they see them going forward.

(tinted terra cotta with an Asian influence); O range Spice

Color Marketing Group, 5904 Richmond Hwy., Suite 408, Alexandria, Virginia 22303 ; (703) 329 -8500; fax (703) 329 -0155; e-mail : cmg@colormarketing .org ; www.colormarketing .org

(more Asian influence at play here) .

Pantone, Inc.

Sto rm (mineral blues and greens combined); Tuscan C lay

In Pantone's newsletter for 7th on Sixth, edito r-in-chief of

Harper's Bazaar, Katherine Betts, said, "The full color palette reflects the current exuberance in our culture: the economy is good, people are happy, there is a great optimism in fashion and in the culture. New York is defi ni tely a city that comes black. But the runner up would be red: for power, ambitio n, optimism, fi re . T hat's all N ew Yo rk. " And soon, it will be all over the country as the fas hions hi t the racks, and filter down to the products we see in the mass-market sto re shelves, and on our nation's highways . • 1 02

A corporate membership of $900 per year includes the choice of one category of swatched color forecasts for interior/home, women 's, men 's or children 's wear; invitations to color seminars; a bimonthly 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 . An individual membership is $400, and offered in the interiors category only.

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Pantone, Inc ., is the developer of the globally accepted PANTONE MATCHING SYSTEM 11 and the PANTONE TEXTILE Color System ~ With more than 37 years of experience, Pantone, Inc. is recognized as the worldwide market leader in color communication and Internet color technology for the graphic design, printing, publishing, textile and plastics industries.

The Pantone Color Institute conducts color research and reports on color psychology, preferences and professional co lor applications .

Additional information about Pantone is available on the company's Web site at www.pantone.com or by calling Pantone at 888-PANTONE .

PERSO ALLY, THIS ISSUE IS WELL-TIMED. DEALI G WITH A

Advocacy Advertising

FATHER WITH FAILI G HEALTH, I HAVE BEEN SUBJECTED TO

BY DARLENE TREW CRIST & DAN IMHOFF "THE SYSTEM": P I FUL MEDS BILLS (EVERY PILL REQUIRES

2 MORE TO COU TER THE

Many of us go through our education believing we can change the world, only to

EFFECT OF THE FIRST, MAKI G A TOTAL OF 18 DAILY & A PRICE

find that becoming a creative mercenary means leaving that youthful idealism far

TAG OF $1,700 PER MONTH!),

behind. It probably comes as no surprise that graphic designers often find pro bono

A MEDICARE SYSTEM THAT EATS

projects to be some of their most satisfying work, allowing them to take on important

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issues, and forcing them to squeeze the biggest bang out of minimal budgets.

WORK & DOCTORS WI-IO INSIST 0 1 SAVI G A BODY THAT

WANTS TO QUIT. GOI G WITH GRACE

EEDS AN ADVOCATE!

BE WELL. !!. Eva Anderson, Editor

here are, however, a growing number of design firms that serve specifically as design champions of underdog social and environmental organizations. Outspent and outgunned by an increasingly singular corporate media, they make it their charge to keep under-reported, urgent issues in the public eye. The work of such pioneering individuals as Jerry Mander and Herb Chao Gunther of Public Media Center and kindred agencies Sustain and Underground Advertising is not merely valuable from an informational point of view. This rich body of work has significantly contributed to a mainstream understanding of such important concepts as economic globalization, marine mammal exploitation, global warming, rainforest destruction and many other issues unglamorous to the media.

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San Francisco, California-based Public Media Center (PMC) was founded in the late '60s on the premise that democracy should be an inclusive process, rather than a game commandeered by those who have enough money to buy access and a soap box. Three decades later, PMC continues to inject a more democratic voice into a so-called objective media world, investing 70% of its gross income in leading-edge activist clients, such as

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Rainforest Action Network, Planned Parenthood and the California Alliance with Family Farmers. (PMC continues to lend support with both foundation grants and fee-based design and communications services.)

Recent campaigns have focused on environmental issues, women's health, health care reform, homophobia, global population and family planning, to name a few. A short list of their more C 0 M M U N I C A T I 0 N

A R T S

1 03

recent wins includes securing a ban on the netting of dolphins while catching tuna, raising questions about and ultimately helping to overturn the Supreme Court nomination of staunch conservative Robert Bork and overturning the gag rule that prohibited doctors from talking with their patients about abortion as an option.

of directors, PMC functions as a fullservice ad agency, handling everything from direct mail to radio and TV ads.

Over the years, however, PMC's signature tool has become the full-page newspaper ad. Featuring pithy headlines, detailed analysis and often nerve-tweaking photographs (a laboratory mouse with a human ear growing out of its back or dolphins strangled in fishing nets, for example), the ads are designed to influence national and international policies. They are strategically placed in major dailies such as the New York Times, Washington Post and other journals of record to coincide with key votes in Congress, major international meetings and other events where major policy .... ».......,lliw issues are decided. ........., In addition to articulating a position on a particular issue, most ads contain a response mechanism, for example, a coupon that might be sent to one's congressional representative or other decisionmaker with either power THE TUR IN<;j or money to effectuate a change.

POINT PROJECT, Response rates hover around 1%, fU DED BY THE as measured by coupons mailed fOU DATIO or received, which are comparafOR DEEp ECOLO<;jY, OTHER fOU DATIO S ble to successful direct mail campaigns.

AND HU DREDS Of INDIVIDUALS, WAS "Our goal is to reach and educate LAUNCH ED I N I 999· OVER SIX MONTHS, opinion leaders about a specific issue so 2.6 WEEKLY AD COVER! q TOpiC they can influence public opinion and UCH A EXTI CTION CRI I , ECONOMIC help effect change," explains Gunther. <;jLOBALIZATIO , I DUSTRIAL A<;jRI"That's why we use newspapers and why we base our information on facts as CULTURE, BIOTECH OLO<;jY A D OTHER reported in other newspapers because ME<;jATECH OLO<;jiES AppEARED I people with the potential to change THE NB W YOR K T I MB S . THE CAMpA!<;! their minds want to see all of the facts." <;jAR ERED MORB THA 100,000 Today they represent 200 clientsRESpO SE A D WA I FLUE TIAL I a.k.a. activists, public interest groups DEVELOp! q pUBLIC Opl 10 , OfTB and nonprofit organizations-with an AT CRUCIAL MOME T . annual billing around $15 million. Over the last few years, PMC's work has Twenty-seven years ago, president and CEO Herbert Chao Gunther gone well beyond communications, including the establishment of, and fund walked through PMC's door. He never raising support for, brand-new organleft. Under Gunther's passionate and izations when issues demanded action. visionary leadership, the organization Benefactors include the better-known has developed a battle-proven set of guidelines on how to influence and Earth Island Institute and Faye Wattlechange public opinion (see sidebar). ton's Center for Gender Equality to Wtth 25 staffers and an impressive board Ozone Action to the lesser-known but

Three ways industrial food makes you sick.

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equally important Fish Forever, Community Alliance with Family Farmers and others in the U.S. Their work also extends internationally.

To view PMC's portfolio online, go to www.publicmediacenter.org.

SUSTAIN Sustain, a full-service advertising agency in Chicago, puts together dynamic multimedia campaigns for good causes and struggling nonprofits. It started with the freelance team of Jim Slamathe business guy and idea man- and John Beske-the award-winning but previously burnt-out creative guy. As volunteers, the two took on the gargantuan task of convincing the powers that be in Chicago to shut down an incinerator that was pumping 150,000 pounds of lead into the air per year.

Funded by a grant from the David J. Hardin Trust, their anti-incinerator ad campaign received so much attention that ultimately Mayor Daley chose to close the incinerator rather than face further public discussion before the opening of the Democratic National Convention in Chicago.

After their first success, Slama and Beske set up a 501(c)3 nonprofit corporation and Hardin Trust awarded

them a three-year funding commitment to launch an agency. Sustain's second campaign featured Kyle, a young basketball player, who had to play indoors because of the air pollution. This humaninterest story gained national attention, which ultimately helped secure Congressional approval for tougher air standards.

From there, Sustain has gone on to

in a way that they might not have before," explains creative director Beske.

"To do this, we study and really try to understand the opposition's point of view. Only then can we help change the way people think."

While PMC's work is often edgy and intellectual, Sustain's work embodies an eye-catching, direct style with an emotional appeal. Recently Friends of the Earth and Earthjustice have signed on to Sustain's growing client list, demonstrating that good causes can make great subjects for clever creative work. Sustain's work can be viewed at www.sustainusa.org.

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fight battles with the U.S. Department of Agriculture to tighten standards for organic foods, the U .S. Congress to challenge its lack of a recycling program, and with local government forces to halt urban sprawl.

"Our goal is to make people see things

Underground Advertising was launched when the creative team of Peter Walbridge and Chuck Cardillo agreed to become pro bono champions in the fight to save the Headwaters Forest, a stand of 2,000-year-old trees in Humboldt County, California. Concerne~ about the often all too earnest and overly technical nature of environmental activists preaching to the choir, the team put together a series of ads that used irony to get their message across.

For example, one of the headlines read: "We're not trying to save all the redwoods, 96% of them are already gone." Explains Cardillo, "We used the horrible sense of irony to our advantage. There's something about cutting down 2,000-year-old trees that makes everyone feel uncomfortable and say yeah, maybe we shouldn't be doing that."

San Francisco-based Underground Advertising is now a full-service agency that often uses humor and irony to draw attention to serious issues such as forest protection, clean air or human rights. Most of Underground's clients are working to defeat legislation or to change government policy. Underground usually develops an identity for the client or cause, then communicates the message in a way that is convincing, meaningful and gets results.

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message got attention simply because it was a good cause or the right thing to do," says Cardillo, "but that's not true today. Our clients come to us because they want to win, and we give them the best arsenal available."

As most of their clients don't have the generous budgets that the corporate world enjoys, the firm often leverages C 0 M M U N I C A T I 0 N

A R T S

1 05

limited advertising budgets with public relations. Working in concert with Communicationsworks, aPR firm that occupies the floor overhead, Underground maximizes exposure of the ads and the messages.

To see more of Underground Advertising's work, check out their Web site at www.undergroundads.com, or go to www.communicationsworks.com for the PR component of their campaigns.

ADBUSTERS

A fight to preserve native forests was also the genesis of Vancouver, Canadabased Adbusters, now a not-for-profit, reader-supported ecological magazine.

In 1989, a diverse group of volunteers led by Kalle Lasn came together

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to produce a 30-second TV spot that countered a $6 million governmentsponsored advertising campaign, touting its successes in managing forests. "To our absolute shock and dismay, none 1 06

JA N U A RY /

F E B R U A R Y

of the TV stations would sell us any air time, even though they were selling hundreds of thousands of dollars worth to the other side," says Lasn.

"This incident and the realization that there is no democracy on the airwaves has given birth to everything we've done since."

What began as a newsletter to publicize the forest issue quickly became a national magazine in Canada, which by its seventh or eighth issue had crossed the border and captured a significant number of subscribers in the U.S. Eleven years later, Adbusters has a circulation of 85,000, with subscribers in 61 countries. It has spawned two global campaigns -"Buy Nothing Day" (for the day after Thanksgiving) and "Turn Off TV Week" -aimed at decommercializing the broader culture.

Now an international bi-monthly magazine, Adbusters's primary focus is on the "mental environment," or the mass media and broadcasting systems that espouse the commercial paradigm in the name of culture.

The hip, anti-establishment style of Adbusters is based on the premise of cultural warfare, or culture jamming.

"Culture today, instead of being created by the people from the ground up is being rammed down our throats by commercial interests. It's becoming a war between the corporate culture-Planet Inc. - and radical democracy- Planet Earth," says Lasn.

Ironically, Adbusters has often turned to "slick subversion" in its advocacy for Planet Earth. Over the years, the spoof ad -employing the glossy full-page magazine ad or postcard as preferred communication forms ala Mad Magazine -has become Adbusters' forte. They have created outrageous commercial parodies such as Joe Chemo and Calvin Swine, for example, that are cleverly designed to use advertising as a means

2 0 0 I

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of questioning the value systems of our consumer-mad culture.

"Also, because we were quite broke most of the time," explains Lasn, "we decided that a very useful technique was to take the multi-million dollar power that had been invested by large corporations in various ad campaigns and use their own momentum against them."

To learn more about Adbusters, visit their Web site at www.adbusters.org and read their book Culture Jam: The Uncooling of America, Eagle Brook, 1999.

CREDITS

Editor/Designer: EvA A

DERSON

Contributing Writers: D ARLE CRIST AND DA

E TREW

IMHO FF

Recycled Paper donated by: I NTER ATIO

AL PAP ER, P URCHASE, NY.

This newsletter is printed on Regalia® Alpine White 80 lb. Vellum Text, made from 20% post-consumer fiber. The entire grade is acid-free and archival. For your nearest International Paper merchant or samples, call 800.892.5467 or visit

www. internationalpaper. com

Exhibit If you work h.ud to maintain a hish

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lew:l of rc:sp«t, there\ JOmethina wt want you to know. We do too.

Like makin& sure that Whirlpool• and KitchtnAid•bn.ndscontinue

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Sure, it'd be easier to not sweat such details . But that would hurt

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the value of our brands . It's s compromise that ultimately taints thertputationsoftheptofeuionala

WITH

EVERYTHING

The Exhibit section app ears in the j anuary/ February, March/April, May/june and September/ October issues ofCommunication Arts and features a selection of innovative work in the various fields of creative communication.

who apecify and inuall them .

We're looking for new, outstanding, high-quality, original work. Please send samples of your most recent collateral,

And that, we refuse to do.

packaging, print ads , television and radio commercials, YOU

C R E AT E.

direct mail, shopping bags, CD covers, books, trade and museum exhibits to Jean Coyne, Exhibit, Communication Arts, no Constitution, Menlo Park, California 94025. Describe the purpose, background and include creative credits.

Send TV commercials on %" videotape cassettes N TSC . Send radio commercials on individual audio cassettes. Pieces to be returned must be accompanied by a self-addressed stamped envelope or your Federal Express number.

This page: ''The philosophy behind Whirlpool

Corporation's business-to-b usiness print ad campaign was simple: to show contractors, builders and distributors that Whirlpool's attention to detail is evident at every level of their operation," said art director/designer Ed Han. "Because of the numerous audiences being targeted, the twelve-ad campaign had to be developed with enough visual and tonal flexibility to speak to each one separately while still keeping a consistent voice. Taking a more consumer advertising approach, the detailed photography replaces the expected and overused catalog-like product shots. " Rick Davis, writer; Joel Machak, creative director; Dave Jordana, photographer; Publicis in Mid America (Chicago, II), ad agency.

Howa Construction trade ad prepared by Razor, a Salt Lake City advertising and public relations agency. "With this

campaign, we are translating the personality and passion of Rick Howa into the ads," said David Morring, Razor president. "Over the past few years, a lot of companies have been caught up in the Internet and everything is either e-this or e-that. We wanted to remind business owners that when it comes to building an office tower or retail complex, they need someone physical, real and tough enough to handle any construction job, no matter how large. The ads contrast the typical Howa worker, a tough, no B.S. guy with the typical Web designer. It was a challenge with this particular ad to find a wrench that didn't look like it was a Fisher-Price® toy in comparison to this guy's arms ."

Richard Oliver, art director; David Marring/Bryan Marcum, writers; Brett Colvin, photographer.

C 0 M M U N I C AT I 0 N

A R T S

107

Exhibit This page: Two posters by Lindsay, Stone & Briggs

Advertising, Inc. in Madison, Wisconsin. "The posters were designed to give The Rep a look that rose to the level of their performances," said graphic designer Chad Bollenbach. "Given the Madison Rep is a pro bono client, the budget for the campaign was limited.

The up-side was that LSB had total freedom and was able to develop concepts that enticed illustrator David Plunkert to join the effort." Plunkert's work had been closely followed by the creatives working on the project and he was their first choice. "We're simply thrilled that the work has generated such a profound response," said Sara Young, director of institutional advancement.

"With this campaign, The Rep, in a sense, has really grown up."

Mike Kriefski, art director; Andy Wallman, writer; Harvey Briggs/Mike Kriefski, co-creative directors.

Right: FAO Schwarz brand identity system, designed by

New York-based Duffy, reflects the unique personality of this rooyear-old institution in New York and other cities around the world. ''An increasingly competitive market prompted the need to connect with a new generation of buyers," said communications director Sharon Klahr. "Duffy's challenge was to reposition this great brand to restore the core equity of play and imagination. We began with a logo evolution and evolution of key icons. The new branding is more than a logo-it's an entire brand language. It starts with core design elements combined to create a variety of applications. The language extends to the store environment and advertising. 'Wish Big' became the new tagline."

Alan Leusink/Genevieve Gorder, designers; Neil Powell, creative director; Mark Rosenthal, illustrator.

Poster from a series for Mary's City of David in Benton

Harbor, Michigan, to support the beginning of their museum's second season. They are the third-oldest Christian community in the United States and were renowned for their barnstorming baseball team which toured from 1913 through the early 1950s. Although the community has been involved in many notable endeavors, they were best known for their baseball teams which introduced the first female professional ball player, broke the color barrier and participated in the first night baseball game. These posters were designed to capitalize on the notoriety of the team to draw attention to the museum. ''Alan Schutte heard a National Public Radio broadcast concerning George Anderson Day at Mary's City of David Museum & Tours," said R. James Taylor, director of Mary's City of David. "His father had played ball against the House of David many years ago, which brought fond memories and great interest in what we were doing today. Alan called and stated his desire to do some promotional work for us and I accepted."

Alan Schutte, creative director/art director; Scott Mackey, writer; Len Rothman, background photographer; Raoust + Partners (Hampton, VA), ad agency.

1 08

JA N U A R Y /

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Your customer• won•t always tell you whet they need.

But we can . Whenever you ~nda message that misses the mark, it costs you V1.l.uablc marketing dollars . And if it occ urs often enough, u can even con you a cunomer.All the more reason to consider using Verbind .

Our solutions let you build an ongoing, personal relatiomhip with each and every one of your customers. In real time. By allowing you to trac k and analyze your customers '

activity-or inactivity-as it's happening.

Now, you can identify your customen' individual needs. And be able to respond to them instantly, with the right message, at the right time. Whether they're at your place of business.

On the phone. Or on the Web. It could make the difference between a m:uketing misfire and a meaningful rel:iltionship. For more information, con tact u.s at 1-877-VERBIND, by e-mail at sayhcllo@vcrbmd.com or vi.sit www.vcrb1nd.com .

..,~

verbind

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Sey heUo to your cunomera.

et us consider for a moment what goes into making an eBook successful. It is a combination of things. It's an

understanding of what content has the most potential in the markeL It's ct'eating new sales channels, revenue streams, and promoting your titles. It's dedicated soles IUld marketing teams that target acad mic, corporate, and public library markP.tJ;. It's strategic alliances with key distribution partners, like Blackwell's Book Services, EBSCO Publishing, Follett Library Resources, and peanutpress.com. It's netLibrary, the eBook experts with a proven businen model that has already gcncralcd more than $3 million in revenues for our publishers. hetLibrary. We arc eBooks. And we have sold more or them for publishers than anyone else. Visit www.netLibrary.com or caJ1).8()0.413·4557.

~Ltbrarr UNBOUND BooK.S. BouNou:ss PossraJUTJU.

110

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2 0 0 I

Exhibit Left: Verbind trade ad from a series.

"Verbind has this technology that allows companies to track customer behavior in real time," said art director Robert Prins and writer Jeff Spiegel. "While this may sound like Big Brother, a company can get to know each customer and thus provide more efficient customer service. It also means less marketing dollars wasted on irrelevant junk mail. The sticker is meant to be a visual representation of how Verbind technology gives the consumer a voice."

Tom Cordner, creative director; William Hawkes, photographer; Team One (EI Segundo, CA), ad agency.

netlibrary trade ad. "We wanted to

speak to publishers as a potential partner, but research showed traditional publishers are leery of eBooks; they are, at best, misunderstood, at worst, seen as an industry threat," said writer Tim Abars. "To demonstrate netLibrary's underlying passion for the written word, we decided on a campaign originating straight from the forms of an elegantly-crafted book."

Chris Beatty, art director; Chris Beatty/ Tim Abars, creative directors; Dennis Lane, photographer; Douglas Smith, illustrator; Workhorse Advertising (Boulder, CO), ad agency.

This page: City of Los Angeles gate-

way to the LAX airport. The project is the world's largest permanent lighting installation and the nighttime personality of the gateway dramatically changes from its daytime appearance through the use of computerized lighting effects. Using the colors of the rainbow, this monument symbolizes at once the unity and diversity that is the beauty of the City of Los Angeles.

Robin Perki ns/Clifford Seibert, creative directors; Nick Groh, design director; Clint Woesner, senior designer; Seibert Perkins Design (Santa Monica, CA), graphics/ illustrator/environmental design firm ; Ted Tokio Tanako Architects, architecture; IMA Design Group, Inc., landscape; Lighting Design Alliance, lighting; Ove A r up & Partners, engineering; Isenberg & Associates, Inc., public art; UCLA Urban Simulation Team , urban simulation; Paul Tzanetopoulous, lighting artist.

COMMUNICATION

ARTS

111

112

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FEBRUARY

2001

Exhibit Left: Two spreads from Summer magazine published by HiSeason in Bangkok, Thailand. "We attempted to create a publication with different perspectives about traveling and life-styles along with ourstanding layout and presentation," said editor La-or Siribunluechai. "The

project was initiated by a group of writers, photographers and graphic designers . We tried hard to express ideas that were both provocative and communicative. In other words, we expected a kind of experimentation that was accessible to a wider audience. As we explored different ways to achieve our goal, we found there was no compromise between conventional and unconventional styles. Changing people's perception was not an easy job. However, we decided to go our own way. The Postmodern design movement is getting stronger and more acceptable in Thai society.

Some of the old guard may find the magazine unacceptable and unreadable, but we've got positive feedback from young readers and we have become one ofThailand's most innovative magazines. " Kamjohn Tachavichien , publisher; Pratan Teeratada, consulting editor; Krissana Tanatanit, design director; Pranee Morusthair, life-style ed itor; Pariya Bhongvej, English editor ; Somkid Pa i mpiyachat, photography editor; Oranut Paimpiyachat/

·-

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COMMUNICATION

ARTS

113

Exhibit This page: HIV poster from a campaign consisting of

posters and mini brochures displayed at health care clinics and women's shelters. "We wanted the message to reflect health and beauty, and appeal to a positive self-image within the viewer," said Ryan Donahue, art director.

Ryan Donahue/Rob Barnes, designers/writers; Rusty Grim, creative director; John Knill/stock, photographers; Oliver, Russell & Associates (Boise, ID), ad agency; Idaho AIDS Foundation, client.

Panne Provincio packaging. The client released a line of high-quality artisan breads to be made available in major grocery stores. Initially, the bread had been sold to bakeries and packaged within the stores' packaging, but Concept 2 Bakers wanted to establish their own consumer brand. The package design needed to be more sophisticated to stand out against the bakery clutter.

Scott Thares, designer/illustrator; Scott Thares/Richard Boynton/Sue Kruskopf, creative directors; Wink (Minneapolis, MN), design firm; Kruskopf Olson, ad agency.

Right: The Scientific Center (TSC) developed by The

Kuwait Foundation for the Advancement of Sciences (KFAS) as a gift to its nation. Cambridge Seven Associates, Inc., Cambridge, Massachusetts, designed, directed and produced the architecture and exhibits for the Center. Here, TSC presents exotic creatures, a mangrove at the water's edge, large coral reef and open ocean tanks and the life of the Arabian peninsula, its trade across the sea, the cultural and natural history of the desert ... all combined into a multi-sensory experience for visitors. The $75 million project serves as a center of excellence for public environmental education of the Gulf region. "Usually in all museums, children are asked to be quiet and do not touch or make noise," explained Mijbil Almutawa, the KFAS representative for TSC, "however, at this project we invite children to touch and interact in order to learn." Located on Kuwait's waterfront at Ras AlArd, the

18,ooo square meter Scientific Center integrates an Aquarium, a Discovery Place Science Museum and a 250-seat IMAX film theater. These central components are supported by a Food Court, Museum Store and a Dhow Harbor displaying seven historic Dhows, the traditional sailing ship of Kuwait and the Gulf.

Charles Redmon, FAIA, principal in charge, overall project; John Stebbins, AlA, principal in charge, aquarium; Peter Kuttner, FAIA, principal in charge, Discovery Place Museum; Nick Forbess, AlA, project architect/building, on-site resident; Steven lmrich, AlA, project architect, exhibits; Douglas Lawton, AlA, project manager; Chris Farley, exhibit designer; David Perry, senior exhibit, habitat designer; Penny Sander, exhibit coordinator; Brad House, zoologist/biologist; Sherry Kafka Wagner & Associates, educational consultant; David L. Manwarren, artificial habitat; PICO Exhibits Ltd., exhibit fabrication; Arte Casa, tile work; David Rock, muralist.

114

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200!

COMMUNICATION

ARTS

115

116

JANUARY /

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2001

Exhibit This page: lkea TV commercials.

According to Geoffrey Roche, agency president and chief creative director, "The objective was exciting, innovative and fresh: Get more people into the store, more often. The solution? Instead of running a few traditional commercials with a short run, why not create 40 or 50 commercials that are 5 seconds long that could run throughout the entire year? Swedish Solutions launched us into a surreal world of everyday problems, each is solved through the use of an Ikea product. " " Bubblor Cutlery" :05 Super: Swedish Solutions/ lkea logo throughout.

(Open on a man with a gigantic afro picking up a carefully placed fork on his bathroom wall)

Left: Ace Asphalt billboards. The

campaign, created by advertising agency Cramer-Krasselt in Phoenix, Arizona, is a tongue-in-cheek look at the business of paving from Ace Asphalt. "Let's face it, asphalt

Music: Funky track.

(He proceeds to groom his hair with the fork) Super: Bubblor Cutlery, $35 . " Ribba Framed Picture" :05 Super: Swedish Solutions/lkea logo throughout.

(Open on a man deciding where he should

is pretty boring to most people," said John Riley, Ace's vice president of marketing and sales. "We have a strong reputation of delivering exceptional customer service, but we're also known as a company that doesn't take itself too seriously. "

SFX: Smash .

(The man decides it would be a good idea to

Scott Niemczura, art director; Travis Graham/

writer; Geoffrey Roche/Graham Lee, creative

Frank Ippolito, writers; Dave Ragar, associate

directors; Kuntz & McGwire, director; Dave

creative director; lan Barry, creative director;

Medlock, producer; Radke Films, production company; Crush, design firm; Roche

stock photography.

hang his framed picture. A masked wrestler's head crashes through the wall)

hang the picture over the hole that was made) Super: Ribba Framed Picture $45 .

Simon Tuplin , art director; Chris Taciuk,

Macaulay & Partners (Toronto, Canada); lkea

Chevrolet billboards. "The Woodward

Dream Cruise is an event in metro Detroit that celebrates the cars, music and memories of cruisin' in the 1950s and 1960s, " said writer Jason Danielewicz. "The world's largest one-day celebration of car culture attracts over I. 5 million visitors, 30,000 muscle cars, street rods, custom, collector and special interest vehicles. We wanted to salute the people who spend every second of their free time tinkering under the hood of an old Bel Air, Chevelle, Camaro, Nova or 'Vette. " Rob Dey, art director; Jim Gorman/Joe Puhy, creative directors; Bill Ludwig, executive creative director; Ken Stidwell, photographer; CampbeiiEwald (Warren, Ml), ad agency.

Germany, client.

Public service poster, part of Project

Surefire, a statewide initiative launched to com bat escalating firearm violence in Illinois . On placards and billboards, grainy images of lethal weapons are set against an orange background that matches the jumpsuits worn by federal prison inmates . The message is clear: Buy, sell or use a gun illegally and face the possibility of federal prosecution and serving a lengthy prison sentence.

Corey Ciszek, art director/creative director/ photographer; Dan Fietsam, writer/creative director; Mark Figliulo, chief creative officer; Young & Rubicam (Chicago, IL), ad agency.

COMM U NICATION

ARTS

117

Exhibit This page: Symphony Hall Centennial Exhibit for the

Boston Symphony Orchestra. Krent/Paffert Associates, Inc. of Boston, Massachusetts, collaborated with the archive and marketing department at the Boston Symphony Orchestra to produce the centennial exhibit that opened at Symphony Hall in Boston. "The Hall, recently declared a National Historic Landmark, has a rich and diverse history," said Edward Malouf, project manager and exhibit designer. "A masterpiece of the architect Charles McKim, it was the first concert hall to be built in accordance with the emerging science of architectural acoustics. As an exhibition space, however, Symphony Hall posed several challenges. Two elements of the Hall-limited space and an established style-clarified our goal: to design an exhibit that would arouse interest and be celebratory, but not intrude on the space, or detract from its quiet, classical elegance. The final exhibit panels are somewhat scholarly. There are over 24 panels, each with 5 to 6 images, a descriptive paragraph, as well as extended captions. The exhibit required more space than the two traditional intermission rooms to commemorate BSO's roo years of musical achievements and role as a community resource. By extending the exhibit throughout the building, we recast the whole facility as the gallery. The exhibit has received an excellent reception from the staff and patrons alike, and may continue beyond the centennial year."

Edward Krent, principal in charge; James Silva, graphic designer; Bridget Carr, Archivist, BSO, writer/curator; John Mirageas, Unison Color, graphics fabricator; Kurt Einstein, Mystic Scenic Studios, exhibit contractor.

Right: ProBusiness Annual Report designed by Casper Design Group in Berkeley, California. "ProBusiness has earned an outstanding reputation as an outsourcing service that manages payroll and payroll tax filing for large companies," said Jim Casper, principal. "This year they added several other significant service offerings-all inter-connected in one simple system-to become the national leader with the first fullyintegrated outsourced administrative solution for large employers.

This annual report kicked off their new promotional efforts.

Using the theme ' Bringing It All Together' and the universal language of mathematical symbols, the report communicates, at a glance, the wide array of new options available for customers and how they can add those services incrementally, if they like.

Investors are able to see how the new services add up to increased revenues and profits for the company, too. We also developed an animated Flash version of this report for the Web. The animation helped tell the story in a compelling way. Since many of the new components take advantage of the Web, this proved to be an effective way for them to launch their new services."

May Mintakhin, designer; Steve McKiernan, Web designer; Tamara Engel, writer; Bill Ribar, creative director; various photographers.

118

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A R TS

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Exhibit This page: TV spot for the Oregon

Right: Pinpoint fish finders magazine

Lottery created by Moffatt/Rosenthal in

ad. "Pinpoint is a new system of state-ofthe-art, highly-sensitive and ultra-detailed fish finders," said Kerry Graham, creative director ofThe Buntin Group in Nashville, Tennessee. "They are so advanced that some of the technologically-savvy professional fishermen now using Pinpoint competitively say they've had to relearn lakes they've fished their whole lives-courtesy of Pinpoint imaging technology that lets them 'see' fish in places they never knew existed.

To illustrate that technological advantage and to stand out in sportfishing media, we hyperbolized the idea of finding fish in bodies of water where no one would ever expect to find fish: a droplet of water on a leaf, a lava lamp, the ring of liquid from the bottom of a beer mug. "

Portland, Oregon. It appears to be a network promo for a new million-dollar game show called "Who Can Spend A Month In A Trailer With Mr. T. " "Mr. T" :60 (Open on a trailer surrounded by metal fencing.

The trailer is rocking) Anncr. (VO): It's TV's newest millionaire game show ...

(Cut to the interior of the trailer. Mr. T is doing jumping jacks waking three trailermates and making eating cereal difficult for another) Anncr. (VO): ... It's Who Can Spend a Month in a Trailer with Mr. T. SFX: Driving rock music up and under.

(Cut to shots introducing all the characters) Anncr. (VO): Levi. Otis. Crystal. Uta. And ... Mr. T! (Cut to Mr. T addressing the group) Mr. T: T needs a foot rub. Who's gonna give Mr. T a foot rub?

(Contestants exchange horrified glances) Anncr. (VO): It's unscripted.

(Cut to Mr. T pulling Levi out of the bathroom while he's brushing his teeth. Cut to Mr. T

Mike Weed, art director; Jeffrey Buntin, Jr., writer; stock photography.

holding a can of Mr. T chili) Mr. T: Who wants some more chili?

Levi: Oh, I pity the fool, and eat my chili.

Anncr. (VO): It's uncensored.

(Cut to trailermates in a pillow fight. Mr. T blasts Levi) Anncr. (VO): It's 30 days where just about anything can happen.

(Cut to Mr. T shaving Otis's hair into a Mohawk) Mr. T: Oh, you gonna look good, man.

(Cut to Mr. T putting Levi in a headlock. Crystal tries to break it up) Crystal: Let him go, T! Let him go!

Anncr. 2 (VO): It shouldn't be this hard to win a million bucks on TV. Title: Introducing Power Ball: The Game Show.

Anncr. 2 (VO): Introducing Power Ball: The Game Show.

(Cut to product shot, scratch ticket) Anncr. 2 (VO): To get on and play for a million, all you need is an Instant Powerball Scratch-it, and a little bit of luck.

(Cut back to Mr. T putting a gold chain around Otis's neck) Mr. T: Your official Mr. T starter kit.

Super: Logo and tag.

Marc Sobier, art director; Hart Rusen, writer; Rob Rosenthal, creative director; Gina Bevilacqua, agency producer; Marc Greenfield, director; Food Chain Films, production company; Bill Morrison, title design; Kelly McClean, editor; Rick Waritz, sound.

Hyperion trade ad produced by ad agency Think New Ideas in Seattle, Washington. '"What is business analysis software and why do I need it? ' Tough questions to answer for such a complicated subject, but Hyperion needed to do so in this, their first real foray into the marketplace," said creative director Richard Kile.

"The solution we arrived at was to assume the role the product does, which is to ask a lot of right questions. No matter what the business, or how smart the people are who run it, there's always a lot of guesswork. Of trying to understand what the forces are inside and outside a company that are working for you or against you. Summed up simply in the tagline, H yperion is the ability to know 'what's going on. ' As we said, there's always a lot of guesswork, but agency and client both tried to keep overthink out of the advertising. The theme, 'what's going on,' has been adopted by all parts of the organization, not just their new advertising slogan, helping the company define all its efforts, marketing and otherwise. " Larry Burke-Weiner, art director/designer; Ron Hawkins, writer; Michael Rosenfeld, photographer.

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Exhibit This page: Stadtwerke Hannover AG cover

and spread of the Least-Cost-Planning Report from Hannover, Germany. "The company became well-known during the last years because of its macro-economic and ecological highly-efficient electricity-saving programs," said Carlo Kallen.

"The report summarizes this. Its German title ' Blick zurich nach vorn' means in English: Looking back forward (that's really a non-translatable quasi-quotation of the Hannovarian Dada artist Kurt Schwitters).

At the end of the report you can find some information about our current bids and services in the sector of efficient electricity end use. Especially because of emerging markets on 'green' electricity tariffs, this report is used to inform clients about our 'green' products. " Jonas Gonell, art director/photographer; Jan De Vries, i mug Beratungsgesellschaft, writer/consultant; Jindrich Novotny, designer; Christian Sunderdiek, creative director; Dr. Arndt Weidenhausen/Carlo Kallen , directors; Sunderdiek & Partner, design firm ; mein~ & mein~. corporate design .

Rllckbick

Mit volkswirtschaftlich und iikologisch hoch effi zienten Stromsparprograrnrnen hat sich die Stadtwerke Hannover AG in den vergangenen zehn Jahren einen besonderen Namen gemacht. Das Energiesparen so einfach wie miiglich und fiir jeden fi nanzierbar zu machen, war das Motto dieser Programme. Nach einer dreijiihrigen wissenschaftlichen Studie und ei ner Testphase in den Jahren 1996 und 1997 endeten weitere vier Umsetzungsprograrnrne am 31. Dezember 1999. Anlass genug fiir einen Riickbl ick.

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122

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Ktaftweritenundvenneidenlnvestitionskosten. OeramcriklnischeBearilndndes LCP-Oedankens., Amory Lovins, beschttibt denZu.sammenhanaso: "Wirsollten UNzunlchstandenGedankenJCW6hnen, dau wir durch den Kauf cines strom· aparcndcn CkrllJ dwclbe tun wie mit dem

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Ziele Die LCP-Proaramme dcr Stadtwerke Hannover AG sollten zeiam, ob durcb intenaive Bcratuna, Analyse, PlanunaundPrlmieruna vonEneraie-Einsp~tt«hnikendieVetbriuche

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THUNKdesign

BY SAM McMILLAN

W

ho'da rhunk it? Nor long ago, James Tucker, the founder and creative director of THUNKdesign, was one hurt puppy. Nursing a broken collar-

bone sustained in a snowboarding accident, Tucker was laid

up and without work. In a Vicodin induced haze, he thought, "I should start a design company." Looking back on those days , he says, "Why nor? I had a lor of rime on my hands and checks coming in from the state." Makes perfect sense.

l

Tucker had only just arrived in San Francisco from Germany in 1995, choosing that city because, "it was a design Mecca."

Tucker had spent the last several years in Europe, pursuing "design as a life-style. " With his portable spiral-bound portfolio tucked into his backpack, it wasn't long before h e

fire." T hat experience means she is well suited to the rigors

began getting work, bumping into new clients on trains and in cafes. For three years Tucker worked in Munich, mainly

ofWe b sire production. The pace, the deadlines all feel the

for the snowboard and skateboarding company, Vision Street

same. At THUNKdesign she looks on her projects as if each

Wear. In Munich, Tucker saw an early Mosaic Web browser.

were a feature film.

His reaction was immediate. "I need to get back to the

D avid Prock, director of interactive media, makes sure the

States now! " Tucker says, laughing.

day- to-day needs of the designers are met. Prock builds the

From Stephanie Allen (then at American Institute of Graphic

interaction models-the flow charts and the user experience

Arts), Tucker got a list of names and contacts, and began pick-

diagrams that get prototyped and eventually fleshed our as

ing up jobs, working for companies like CNET and meeting

Web sires. "A number of clients come to us with applications

the people who would later join the ream at THUNKdesign.

already built, or they may have a rough spec. Our job is to figure our how it's all going to work, " he says.

The name of the design studio plays off the teasing Tucker endured from his German friends about the inconsistencies of the English language. "They'd argue, ' If you have drink,

Thinking about THUNKdesig n

drank, drunk, why not think, thank, rhunk? "' Tucker remem-

Much of that figuring out rakes place in THUNKdesign's pre-

bers. Plus , it's a name that connotes to Tucker that, "We are

production process. According to Prock, the blueprints and

more than a what you see is what you get design firm." There

sire architecture comprise "5o% of any given project we do ."

is thought at THUNK.

During the first phase of a typical project THU Kdesign will

Today, THUNKdesign creates cutting-edge Web experiences,

identify their audience, outline deliverables and define the

as well as print promotions. Tucked away in San Francisco's

project components, derail by painstaking derail. Based on

Mission District, THUNKdesign numb ers eleven emp loyees, including Matthew Jaffe, general manager (and another CNET alumni) since July 2000. Jaffe describ es his typical day at THUNK: sign a contract to develop a Web sire, hire a new employee, clean our a clogged toiler. So much for the glamour of the Web. Jaffe brings in new business, and develops strategy for clients, aligning their business model with creative direction by THUNKdesign. The end result, he hop es, "is a stronger business as a result of going online."

Project director Heather Ford boasts a fine-arts background and two years before the mast as art director on the C BS television show "Nash Bridges," where, she says, "we jumped through hoops eve ry d ay; so m etim es th ey were set on 126

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Captions provided by THUNK creative director James Tucker.

This page: THUNKdesign: (left to right) David Prock, Heather Ford, James Tucker, Matthew Jaffe.

Right: Eddie Bauer Fall 2000, Get Curious Promotion. "This is what TH U NKdesign is known for: start to finish execution . This promotion was successful for reaching fashion editors of selected publications. The creative team at THUNKdesign came up with the idea of episodes to showcase the clothing and accessories. Eddie Bauer wanted to present a new, hip image to highlight the fall/winter products. By writing a script and casting actors, using models and a 16mm film crew, THUNKdesign was able to have the necessary imagery to create the desired promotional impact."

Tracey Lebedovich, designer; David Prock, technical designer/sound design; James Tucker, creative director; Heather Ford, project director; Jeffery Gardner, photography; Kev Robertson, director of photography; Theresa Wingert, Eddie Bauer, client.

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127

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their task list and the project scope, they w ill come up with

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and put together a video media kit. Not too long ago, video meant a VHS copy. Today that video can be run off a DVD, a CD-ROM or streamed off a site. Bandwidth issues-while not entirely transparent-are beginning to disappear.

"We are a client-based agency," Jaffe says. On any given pro-

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ject Jaffe claims, "O ur advantage is that we ask better questions geared toward our clients' goals. We work really closely wi rh our clients, creating a feedback loop constantly, through every phase of the project. Startups see our process and say, 'Whoa. We can app ly this to other parts of our business.'

We go through so much work before we design, we help our clients define themselves."

"We have a hell of a lor of brainstorming meetings," Tucker says. "We're eager to get to the design phase, but we force

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always a moment of clarity that h appens during this process when we look at each other and say, 'Now it's time to design."'

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to design and the Web, it is to, in Tucker's words, "Supply the fruit." As he explains it, the large corporate sites of the world are like sturdy tree trunks, with dozens and dozens of branches. If you want to build a megalithic Web site as a corporate presence, you go to Cambridge Technology and you get your trunk built. But there's no fruit on the branches.

And there's a lot more branches than trunks. "We want to supply the fruit," Tucker says matter of facrly.

"Because that's where the juice is!" adds Matthew Jaffe, pleased

This page: Commerce One corporate Intranet design. "Commerce One had already developed their Web site, but needed to have an Intranet design that would be fitting for their staff and corporate attitude. The need for flexibility and expansion was important to

with the implications of a metaphor he can squeeze dry.

this design. The Intranet did not have to look like the existing Web

T HUNK works

Tucker/Gareth Finucane, designers; James Tucker, creative director; Commerce One, producer; Hall Consulting, client.

site, but it did have to be more timeless of a design." James

Through a concerted 'tribal marketing' effort to reach out with messages that combine clever design and technical savvy, THUNKdesign is finding clients. With screen savers, e-mail lists, plus good old-fashioned word of mouth, clients are

Right: Katiesoft Web site, logo and identity system . "The bonus of having the same studio create the Web site and logo is that various logos can be presented with multiple interface designs. This project was a start-to-finish design solution that included a Flash tour, HTML version of site, logo design, seven-piece ID system and photogra-

buzzing their way past THUNKdesign's door in a rehabbed

phy for use in new print collateral." Matt Trego/Steffi Linder,

loft in San Francisco's Mission District.

designers; David Prock, technical designer; James Tucker, creative director; James Nagareda, photography.

THUNKdesign's first project was Homewrecker.com, a sub-

an online service that allows kids to shop safely online with allow-

designs on T-shirts from its e-commerce site on the Web.

ances that give them the ability to save, donate, invest and purchase within customized parental guidelines. THUNKdesign created the

Homewrecker may never be a household name. But Homewrecker.com attracted more than its fair share of

logo, ID system, mascot, site structure, interfaces and Web site design for their service. The challenge was creating a site that was

attention on the Web. At the time, its clever use of Flash

engaging for kids and adults-while not too childish-plus allowing

animations, community-building activities (check out the "I was a homewrecker" page for some of the most heart128

Premiere design for DoughNET product launch 1998. " DoughNET is

versive street wear clothing company that marketed its own

J A N UA RY

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both audiences to trust the service with money and financial transactions." James Tucker, information designer/creative director; Rainey Straus/James Tucker, designers; Sebastian Bell, coder.

katie soft •

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take the tour Do you want to learn more about the Katiesoft product?

Take the Flash tour now by clicking on th is button. ~

this Is who we are K.atiesoft. Inc. ns founded In 19'7 by t rian Duperroucel and An~ us Chusels. tri•n •nd An~u• conceived •nd developed the ori9inal ~tle•oft foul'"' pane brow•er. The orlgln•l K•tie•oft allow• Intemet unrs to Ylew up to four web •lmult•neoudy and to lnte~r•t• with Window• •ppllc•tion.. K•tie•oft •l•o mak .. the Internet •lmple. With Katle•oft. the wl•ltor un more eully n•vl9ate •round • slnvle website.

•It••

SJnce F•lll•st of lut ye•r, the comp•ny hu put In pl.ce •mbitlous pl•n• to lever•ge core Klltlesoft technolo~y •nd to develop new technologies •nd business solution~.

C"ET h.-s described the cu,..nt version of K•ti.. oft u •A must-h•v• surfing tool•. MS" caMed It •A Fantastic Toot• •nd PC User d•d•red It •An euentl•l tool for the l ntemet".

Andrew &rown, formerly with &aln • Company, was hired at p,.sldent and ClO in November of 1999 . In just a few short months, Mr. arown has built a man•o•m•nt team and strateolc advisory board of e x perten~d Software •nd Intemat Industry profeulonals .

Katlesoft. Inc. Ncelnd key anoel funding from WIDiam 1\, Hambrecht of the lnYestment firm Wilt. Hambrec:ht; Mike huhob:, a lono·tJme

Silicon Valley leader and entr.preneurJ and Oave Parker, a 20•year

veteran of Slllcon Valley software butlneu development.

Katietoft ,.ct~ntly announced the addition to tts st,.1t.gic advisory board of Steve Welu, a managlno partner of Grey Heron, and Madeline Kkbach, formerly • Group luslneu OeyeJopmant Manager

for Microsoft.

•••kat;esoft

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

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129

breaking, ludi crous and funny e-mail submissions anywh ere on the W eb), sticker campaigns and really cool swag won converts and garnered bookmarks.

According to Tucker, "Homewrecker was our playground. " W ith a strategically des igned link to THUNKdesign, Homewrecker h elped spread the word throughout the design community. It wasn't long before clients cam e asking for the sam e in-your-face style, en ergy and techni cal cleverness .

Soon Sonicnet was knocking on the door. One of the fi rst sites to exploit the combination of animation and music on the Web, Sonicnet launched to an enormous amount of attention.

THUNKdesign h as been creating communication materials that reach large audien ces ever since.

One client that knocked on THUNKdesign's door was Eddie Bauer and its stealth team , an in-house promotional and m arketing division . T h ey cam e to THUNKdesign with a li ne of clothes, a budge t and the instructions to "go crazy."

"Basically, the stealth team cam e to us on the las t day of a two-day visit to San Fran cisco wh ere they were interviewing bad -ass design firm s," Tucker says . "Th ey stopped in earl y that m o rnin g, and again on the way out to the airp o rt at

p rocess , but we are abou t gloss an d h ave to live by that.

the end of the d ay. T h ey told us, 'You've got the projec t.

T h e entertai n ment factor is there to suck in the editors ,

H ere is the mission. H ere's the budget. Now show us wh at

plus there's a bu ilt-in time-vacuum factor, " Tu cker says.

you've got. "'

"We want these p eo pl e to stay for a while and enjoy the

Other than the clothes, Eddie Bauer had no co n cep t and no

ride." THUNKdesign sent the U RL to 250 fash ion edi tors.

asse ts. THUNKdesign hired a director of photography, shot

"In three days we got r8, o oo un iq ue viewers, " Jaffe claims.

r6mm film , co mpo sed original music, crea ted p an oram ic

To support Wired magazine's 2nd Annual "Readers Raves

photography and bas ically sp ent h alf-a- million dollars fo r

Awards" that h onored the best technology d es ign in the

a live, th ree-day launch.

T he res ult was Get Curious, a multimedia launch d esigned

year 2000, THUNKdesign b uilt a site that enabled Wired read ers to research th e nominees in categories such as best

to commun icate Eddie Bauer's jazzy new street style for a

online service, or most wired visionary. Votes were cast

younge r demographic. Pitch ed to influential fas hion m agazine edito rs fo r the Fall 2000 kick off of Eddie Bauer's stree t wear, the prom o tional campaign in cl uded pos tcard teasers, a look book, a C D - RO M that en capsulated a 'hi-fi ' version of the Web site with better videos and sound. T h e m ain attraction: a Web site that rem ained up fo r only three days .

Showcas ing the clothes are a series of ep iso d es fi lmed thro ugh o ut the d ay. THUNKdes ign worked cl osely w ith a film crew to edit the film , then created sound effects, scored the music, des igned tid es, built the C D - ROM and launched th e Web site. As users inves tigate the episodes, they roll over hotspo ts (the clothes) which in turn link to new episodes thro ughout the d ay, and brin g up speci fi c p roduct informa tion.

"We custom ized our creative process and exam ined the possibilities. T h e inspiring process is: dream it, pitch it, make it, try to break it. O f course we have a project m anagem ent 130

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This page: Wanted poster for Study 24-7 .com. "This poster was one of the many ' bunny-promos ' that were plastered all over college campuses . After doing research on what students responded to, the design team created a psycho-bunny that would get their attention .

This combined with other promotion material and grass-roots marketing got the students to come to the site and be a part of the online study revolution ." Tracey Lebedovich, designer; James Tucker, creative director.

Right: Internet site and application for Study 24-7 Networks. "Pushing the envelope of efficient design and fluid experience, the design team worked intensively on the information design and prototypes.

Simultaneously, the logo and interface designs were presented in the context of the design layouts . This seven-month project included the Flash tour, online ad campaign, poster promotion, campus manager collateral, service naming, logo design, ID system, interface design and backend development based on a project brief that THUNKdesign developed to define the audience personas, brand, market and design goals ." Tracey Lebedovich, art director; James Tucker/ Tracey Lebedovich, information designers; Matt Trego/Steffi Linder, designers; James Tucker, creative director; Jacqueline Davey, illustrator; Vik Chaudry, technical producer; Lionel Carrasco/Salvador Cadena Roa, engineers.

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onli ne, rabulared and rhe res ults published in Wired. Tucker nores rhar parr of rhe design brief included nor overpowering rhe event while srill delivering something rhar is hip, cool and fun. " C lients typically ask for cool, hip and fun and we have ro break down rheir interpretation . We rry ro make rhar 'definition' process fun for rhe client and rhe designers."

Tucker understands whar ir means ro deliver an experience. "We call ir emotional engineering, " he says. Ir doesn't marrer ro Tucker whether a sire uses HTML, Shockwave or Flash. "We want elements of a sire ro be rhe visual equivalent of a song sruck in your head. " • This page: Twix Web site showcasing release of new wrapper and logo. " Twix needed to have a solid Web site that rewarded the visitor with a 'total Twix experience .' This Web site had to also complement the Twix brand and image that had strict guidelines along with the rules for designing for young audiences. There was a TV campaign that was airing in three weeks, so the storyboards and concepts were approved swiftly to allow ample time to develop and test." Wayne Fiddler/Miguel Leyva, designers; James Tucker, creative director; M&M/Mars/Twix, producer; Blue Marble, client.

Sonicnet homepage and navigation . "THUNKdesign was asked to create Web site interfaces and icons for the relaunch of the Sonicnet music site. Since they had three main channels that they were going to provide, they wanted to have three microbrands that didn't overpower the masterbrand. They asked for something that wasn't a logo and wasn't an icon ." James Tucker, designer.

Sonicnet media kit. " The media kit was created after the site was launched . There was a limited budget and impact was essential." Gareth Finucane/James Tucker, designers; James Tucker, creative director.

Right: Readers Raves Web site for 2000. "The live event takes place in October, but the site needed to host a variety of other things besides just the winners after the event, including the nominees, a secure voting ballot, sponsors, highlights of last year's event and a live Webcast." Matt Trego/James Tucker/Gino Nave, designers; James Tucker, creative director; Heather Ford , project director; Wired magazine, client.

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NEWS FLASH

www.readersraves.com

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Thinking Forward by Thinking Back

BY DAVID WILLIAMSON SHAFFER

L

ong before there were virtual reality goggles, as a child I looked through the eyepiece of a GAF ViewMaster~ You remember: plastic stereoscopic projectors that held a disk of tiny photographs which turned with a lever, moving from one three-dimensional scene to another of the Grand Canyon or the adventures of Winnie the Pooh.

The other day I was thinking about View-Masters because I study technology, asking questions like: Which technologies are worthy of closer examination? Which technologies make a difference? Which technologies will we still useand still care about-in a decade or a century?

photographic pictures ... will be produced double, that is, by couples, [for] stereoscopic reproduction, in all the exact truth of living nature. " But history proved the Tribune misplaced in its enthusiasm. Stereoscopic images today are the preserve of collectors, and the View-Master is a children's toy: the pictures are mostly of cartoon characters and pop stars.

In my own thinking, I contrast the story of the ViewMaster to another invention: the Gutenberg Press. Four centuries before the development of the stereoscope, the first Bible was printed with moveable type. The development of the printing press around 1450 and with it the

I was interested in View-Masters because once upon a time stereoscopes like the View-Master were a big deal. The stereoscope was first described in 1838 as a means to capture three-dimensional views by directing separate photographs of the same scene to each eye, simulating binocular vision.

Trade in stereoscopic images boomed after Queen Victoria viewed them at the Crystal Palace exhibition in 1851. By 1853, the New York Tribune proclaimed with excitement that "The day must soon come when nearly all important

creation of mass-produced and widely-available books led to the standardization of vernacular languages, the spread of literacy, the development of new literary forms (including the "novel") and ultimately the growth of a middle class and with it many of the social and economic transformations of the last few centuries.

Given these two very different stories of technologies and their impact, what are we to make of the latest, greatest

Lommunication Art~ To advertise in Communication Arts contact: Michael Krige l, General Manager 650 -815-4226 E-mail : advertising @commarts .com

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technology: the computer in all of irs various forms, big and small, wired and wireless? The words of the New York

For example, when I make an outline for a paper, it helps organize my thinking, but I am still the one who transforms

Herald Tribune in 1853 about the stereoscope sound like

rhe outline into the final text. Or am I? As I write with a

some of the talk about computers today. On the other

word processor, rhe computer tells me when words are mis-

hand, you would hare to be remembered as the person

typed or misspelled, or when sentences are poorly con-

who invested in parchment and quill pens in 1500.

structed. I could do this editing myself (at least in theory,

One way to answer questions of long-term significance is to rake a long-term view-in this case, a view over thousands of years. If we look at the evolution of human beings, there have been two clear changes in the way we think.

The first of these changes rook place sometime over a million years ago when humans developed the ability to communicare with language. The importance of language is hard to overstate, or to dispute. Language makes it possible to organize activity, to develop and pass on cultural traditions , to codify social norms, and rhus to create (for better or worse) large-scale civilizations. Bur even more fundamentally, language changed the way we think because words are abstract

as I am a notoriously terrible speller), bur the point is chat I don't have to. I can spend my time thinking about whether to use a parenthesis or a dash to set off chat last comment about my poor spelling.

A computer can also transform symbols in ways char I cannot. A computer can do statistical analyses char for all practical purposes, are impossible for me to do myselfnot because I can't do the math, bur because of the time it would rake to run the same calculations by hand. Similarly, it is possible to do ray-tracing calculations by hand , or build highly-detailed models that include lighting design, but computers let us use realistic renderings of architectural designs in new and powerful ways.

symbols. The words mother, mater, aamaa and madre (in English, Larin, Nepali and Spanish respectively) all refer to rhe same thing, bur we could just as easily use an entirely different combination of sounds for the same idea. Language was nor just a means to build cities and tell stories, it was

And that's the heart of the matter, isn't it? What counts in the end is nor what the computer is doing, but how it changes what we are doing. I write differently with a word processor than I used to with a pen and paper. Nor just more or better. Differently. I move words around more. I try our

the beginning of abstract thinking.

ideas in different places in a paragraph or in an essay. I create The second sea change in the way we think was the develop-

whole drafts and read them over starr to finish , rather than

ment of writing. Psychologist Merlin Donald argues that

composing a sentence or a paragraph at a time. I send essays to colleagues-lots of them-for comments and sugges-

writing (and the spread of literacy made possible by the printing press) is important because it allows us to record the abstract symbols of language. We make ourselves smarter, literally, by writing things down so we don't have to remember them. That makes it possible to hold on to more information for longer periods of time-which makes it possible to develop and rest theories about how rhe world works by recording data and looking for patterns. Gutenberg's invention is one of the roots of the scientific mindset that characterizes (again, for better or worse) much of the last 200 years of western history. The printing press is important because, like the development of language, rhe spread of literacy changes the way we think.

tions, and get back new text which I merge into something better than I could have written alone.

So when I look at computers ... or new software ... or personal digital organizers ... or any new technologies ... and want to know whether they will change my life, I don't look at what they do. I look at whether they change the way I think. Because, not surprisingly, the things that change the way we think are also the things that change th e world.

The View-Master is a roy nor because it shows pictures of Aladdin and Brittany pears ; the View-Master is a roy because ir doesn't fundamentall y change the way we look at the world. •

Language is important because words are abstract symbols .

Writing and printing are important because they make it possible to store symbols (words and numbers). If computers are important, it is because they make it possible not just to store symbols, but to transform them. By transforming symbols, computers free our own energy for chinking. They let us look at things in new ways , and they make the creative process more iterative.

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Editor's Note: David's article encourages a deeper understanding ofthe tools we use, and how profoundly they affect our lives.

-WE

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Macromedia Flash 5 A Little Flash-a Whole Lot ofSubstance

BY G ARY

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lash was an acquired technology. In January 1997, Macromedia purchased FutureWave Software's FutureSplash animator and renamed it Flash. Since

the beginning, Flash was a breakthrough application for Web designers providing the ability to create sophisticated, scalable, vector graphics and animations with small, easyto-manage file sizes in a relatively fami liar intuitive environment. Unlike GIF animations, which had to be simple to maintain a manageable file size, Flash animations could be elaborate and complex and still be bandwidth considerate .

Better still, designers were now free to create interactive

The new Flash 5 interface (Windows version shown here). Panels on right can be turned on and off by clicking the Launching Bar

content, such as mouse rollover effects, without the need to

buttons at the lower right of the window. Repositionable gu ide-

know how to write JavaScript. At the time, the downside

lines have been added which can be placed on separate layers .

for Flash, and many other sim ilar applications, was lack of browser support. Having to download the Flash Player

conflicting standards where non-conformity is the norm ,

and/or Shockwave Player, put off many people who were

Flash-created content can be viewed on just about any

suspicious of down loading anything from the Web as it

platform or operating system including Macintosh, Windows,

was, nevermind the fact that most people didn't know how

Solaris, Linux, Iris as well as WebTV, PocketPC, Sega

to download anyth in g from the Web, period.

Dreamcast, Symbian , NCI and Excite@Home. The Flash

In the four short years since Flash was introduced, it has grown into the industry standard software solution for scalable vector Web graphics and animations . According to NPD Online, an independent research company, 92% of all Web browsers currently in use support Flash . This exceeds the number of browsers that can view Java-based content (84%). Flash is no longer a novelty, reserved for the brave or the avant garde techno-elite, it is the state-of-the-art tool for today's Web site designers. No serious Web designer or content developer can stay in business long without a good

138

Player is being distributed by companies such as Microsoft, Netscape, America Online , Apple, WebTV, Prodigy, Earthlink, Network Computer, Compaq, Gateway, Disney and others, making the ability to view Fla h content available to just about anybody, anytime, anywhere. Current figures rate this audience at over 248 million people.

Flash Substance As I mentioned, both Adobe and Corel have released their own Flash front-end products. In addition, there are Flash SWF export filters available for many more design applica-

working knowledge of Flash.

tions that permit users to export content in the scalable SWF

Macromedia's decision to make the Flash file format available

vector format. These SWF files can be uploaded directly to

to the entire Web community, collaborators and competi-

the Web or imported into Flash for further editing. On the

tors alike, ensured the widespread adoption, and ultimate

other hand, illustrators and persons coming to Flash from

success, of the Flash technology. Products such as Adobe

a traditional media background will probably be just as

LiveMotion and the recently-released Corel R.A.VE. , allow

happy with Flash's drawing tools. Once the Flash symbols

users to create Flash content using the interface and draw-

have been created, however, there is no better place to

ing tools with which they are most comfortable. Because of

assemble the images and edit the content than in Flash.

Flash's extensive supported file formats, designers working in

If you're looking for a lot of new killer features, yo u may be

almost any application can export images from their native

disappointed. Feature-wise, Flash 5 is more of a refinement

applications and bring them into Flash for further editing.

of Flash 4· What has been added is an overhauled user

A key benefit of Flash content is what Macromedia calls

interface, designed to make Flash more approachable and

"the design once view everywhere solution." In a world of

easier to use. Greater control for large multi-person team

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With the ever-increasing complexity of

years ago creating a Flash content was largely a one-person job, today creating

Web content and Web pages, keeping tabs on all the elements can be a daunting task. The New Movie Explorer makes it easy to locate and organize elements in Flash authoring documents.

Real Player.

Web-Native Printing is a cool feature that permits designers to offer printable content without the user having to print everything on the screen. A small button or banner can be programmed to output a page or several pages of devicedependent output enabling a true consumer printing experience to be created-overcoming the inconsistencies of HTML printing and professional weightiness of PDF. ActionScript Development Tools have been beefed up giving programmers and developers more programming muscle.

The ActionScript Syntax now matches the syntax and

Flash Web sites is often a team effort shared by developers, designers and programmers alike . And all these folks are working with the same files. Keeping tabs on changes has been no easy task. Shared Symbols Libraries, which can now be accessed within a work group, makes life eas ier for the teams. Modifying a symbol or sound in the Shared Symbols Library updates the symbol for the entire work group.

Because Flash-created content has become more and more complex with hundreds, and even thousands, of individual components to keep tabs on, Flash 5 has added a Movie Explorer that makes it visually possible to sort and view hierarchical document structures and edit complex projects.

Quickly finding an object, word, sound and so forth is now

structure of JavaScript. The ActionScript Editor functions on a Novice or Expert mode and can be used for simple dragging-and-dropping of elements to full-blown text entry for ActionScript. All ActionScript syntax can be exported as ASCII text for reading by external editors, then re-imported into Flash.

New support for HTML text allows browser text, complete with hyperlinks to be included in the Flash document.

Designers can now use either Flash's anti-aliased text or traditional HTML browser text. Support for HTML 1.0 tags is present during the design process. HTML-formatted files can be dynamically loaded during run-time for immediate text content updates.

possible with the Movie Explorer.

Whereas in the past Flash was used mainly to create content

Facelift

for Web sites, Flash 5 can be used to create the entire site.

Edit text fields and robust ActionScripts can be used to

While the basic feature and tool sets have changed little,

create data entry for Web site

the way you access the features and tools has. Macromedia Lrbr ar_y - Buttons fla

interfaces and e-commerce store-

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fronts. MP3 support, as well as

sistent across the Macro-

support for ADPCM, AIFF and

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of products. The main goal

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TINUEO 0

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applications such as Web jukeboxes, training voiceovers or audio Web site tours and sound

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Web designers export the neces-

single project, organizing and updating common elements is a necessity. The Shared Symbols library can reside on one com-

sary HTML, graphics and Flash Player files, which can be

mon server and be accessed by all members of the design, programming and production team.

uploaded directly to any Web

Shared Symbols only need to be downloaded once and can

server. Also worth noting in

140

When large teams work on a

regard to the Publish feature,

be reused across any number of

Flash can export a stand alone

files. Changes made to a Shared Symbol will be reflected in all

application for Macintosh or

cases where that symbol is used.

J AN U AR Y

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work developing a suite of products for what it calls the Web Content Lifecycle. Some of these products are avail-

approachable and to

able today while others are in the development stage .

streamline the design

Taking into account the increasing demands of ever increasingly complex Web sites and e-commerce sites, this group

process. A Launcher Bar has been added at the bottom of the main window that lets you

The new Launcher Bar resides at the bottom right of the main window and lets users turn panels on and off bypassing the pull-down menus.

of products is designed to handle the entire lifecycle of a Web site, not just the designing and building portion. The building blocks of the lifecycle include: Designing and

turn the various panels

Building, Managing, Personalizing, Analyzing, Delivering

on and off. This is helpful when you need to free up some

and Engaging. While there are various products offered

screen real estate or if you prefer to work in an uncluttered

by a variety of companies that can handle all these tasks,

environment. As with FreeHand 9, customizable user-

Macromedia is assembling tools that will integrate seam-

definable keyboard shortcuts have been added permitting

lessly with one another and share a common user interface

users to customize Flash to suit their individual require-

thereby maximizing efficiency and minimizing the learn-

ments and work habits. The color selection models and

mg curve.

interface are now consistent with FreeHand. Moveable

The building tools include: Flash, Dreamweaver, Fireworks,

guidelines, missing in previous versions, have been added

FreeHand, Director and Authorware. These are the too ls

making precise positioning of objects easier. Guidelines

with which most of us are familiar. Managing is done with

can be dragged from the screen rulers onto the stage . You

Macromedia Generator, a robust content automation server

can even set up a special guide layer.

for updating and maintaining graphical content for complex

As with any user interface redesign, some features have

Web sites. Generator 2 Developer Edition, a data-driven

migrated to new homes. I suppose this is inevitable when trying to make diverse applications consistent. For example, I spent some time looking for the Alignment panel before

Web-Native Printing. Small buttons or banners can be placed on a Web page and used to initiate high-quality device-dependent printing without the need to first download the actual pages into the browser.

I thought to look for it in the Window menu. Instance, Effect, Frame and

ound now share their own

panel. They did in Flash 4 as well, except the new panel takes up less space and offers more control.

Changing audio files is as simple as selecting from a drop-down list of imported sound files in the new Sound panel. And all of these features are now accessible from the new Launcher Bar. The newly added Pen Tool, referred to as native as it can be configured to work in the manner of the pen tools found in the most popular drawing applications, has been added for those more comfortable creating Bezier curves. A new Subselection Tool has also been added for greater selection control. Even with the newly added drawing tools, I suspect users may still want to do the drawing in the application with which they are most familiar. After editing a circle symbol that rotated continuously, I noticed the symbol developed a disturbing wobble. Editing the symbol out of

fLASH 5 A TRlUmPH o/flASH andSUBSTAHC'E

Flash and re-importing it fixed the problem.

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Flash front-end generators, Macromedia has been hard at COMMUNICATIO

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143

solution for automatically updating and maintaining Flash

enhance productivity by making the same symbols available

Web sites and for developers creating Web prototypes cus-

to the entire group that can then be edited and updated to the entire project. Web-Native Printing makes it possible

tomers, is included with Flash 5· For Personalizing, Like Minds is designed to deliver personalized content to Web visitors . For Analyzing, there is Aria.

Using information gathered with Aria, Macromedia's new Web analysis software, which gathers high-value, real-time customer data, Like Minds in conjunction with Macromedia Generator, is able to tailor the content on individual Web sites using saved information on the visitor's needs and preferences. Aria provides instant analysis ofWeb site performance, the effectiveness of online sales and marketing campaigns and other relevant Web data adding the ability to quickly react to and adjust to a changing consumer environment. Information gathering can be built into the front-end of the process-opposed to after the site has been designed-through the use of Dreamweaver Objects for

for visitors to print out product sheets and other information without having to first download the material. (The ability to print is built directly into the Flash Player so there are no additional utilities to download). The Movie Explorer makes it easier to see the big picture as well as the fine strokes. Complex documents can be viewed in hierarchical structure and elements or text styles can be tracked down and identified in seconds. The ActionScript Development Tools enable programmers familiar with JavaScript to bring their knowledge into Flash. XML Transfer support facilitates the transmission of structured XML information, necessary for developing information-rich e-commerce applications.

While there are no breakthrough killer features in Flash 5,

Aria. These drag-and-drop objects enable designers and

the sum of all the upgraded features, the more user-friendly

developers to meaningfully categorize their content during

approach, the increased workgroup capabilities and con-

the initial design stages.

sistent user interface make this a worthwhile investment

The delivery portion of the equation is handled through

or upgrade. •

industry partnerships developed by Macromedia. Tied into the delivery equation is Macromedia's Dreamweaver Web site authoring software, which is being adopted by many partners as their platform for creating a wide range of powerful delivery solutions. Current partners include Allaire, Art Technology Group, BEA, Broadvision, IBM, Microsoft, Sun and Vignette.

A Class Act While the number of new tools and features is small, the reasons for buying or upgrading to Flash 5 are big-especially if you are involved in creating complex e-commerce Web sites and Web content. Even though Macromedia has added some powerful new drawing and sub-selection tools, I suspect some designers will still opt to create their vector drawings in their drawing application of choice and import the images into Flash. FreeHand users will especially appreciate the tight integration provided with Flash. On the other hand, users familiar with traditional media should appreciate Flash's painting-like tools.

The common user interface, the Launcher Bar and userdefinable keyboard shortcuts streamline the working process and shorten the learning curve for new users, saving time and effort. The improved integration of Generator 2 will make managing, tracking and updating content worlds easier. Sharing Symbols Libraries across work groups will 144

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Flash 5 Macromedia 600 Townsend Street San Francisco, California 94103 (415) 252-2000 (415) 626-0554 fax www.macromedia.com System Requirements (Authoring): Windows: 133 MHz Intel Pentium processor; Windows 95, 98~ NT 4", 2000" or later; 32MB of RAM; 40MB of available disk space; 256-color monitor capable of 800 x 600 resolution; CD-ROM drive.

Macintosh: Power Ma cintosh; MacOS 8.5 or later; 32MB of free application RAM ; 40MB of available disk space; 256-c olor monitor capable of 800 x 600 resolution; CD -ROM drive .

Flash 5 Pricing : $399 (packaged product, including manual and CD-ROM); Flash 5 Upgrade Pricing - from all prev ious versions of Flash : $149 (packaged product, including manual and CDROM); Flash 5 FreeHand 9 Studio pricing : $599 (packaged product, including manual and CD-ROM); Flash 5 FreeHand 9 Studio upgrade pricing: $249 (packaged product, including manual and CD-ROM); Flash 5 Generator Developer Edit io n upgrade pricing $648 (packaged product, including manual and CD- ROM).

Spend a year getting cr good foundation have ycur housing paid for by the in copywriting, art direction, graphic agency you' ~e interninlf with. Some of design or interactive design in Miami, the participating agenc'es include: FCB, MIAMI AD SCH001:!1J.~1~~1S:~ Minneapolis or SaA Francisco; our three Leo Burnett, HBDO, Agency.com, DDB, 95S.Aito Road full-time school-s. Then spend a quarter , · KesselsKramer, GMO Hill Holida , The Miomi , Be<:;~ch, FL 3313 in Amsterdam, Los Angeles, New York, Designory, MerkeJy · Newman 'erty, . Tel: 305-538-3193.

Minneapolis, San Francisco, Chicago, StrawberryFrog and TBWA/Chiat/Day, London, .Prague, or Mipmi. (And if you speak Spanish, Barcelona or Madrid.) These are no coffee-fetGhing internships.

You can go to tnore ~han one city. You You' actuatly work on agencx proieds.

You .may produce print ads, web sites can go to as many as four. and even radio an tv commercials for ' In most cities you intern during the day · your portfolio-most of our· stud,ents at a major ad 'agency or design firm have. and take classes in the evening. Classes are taught by leading' cretJtives in each City to city travel is ~W because the city. In most cases, you'll get. a half school has locoted comp!etely furnished tuition scholarship for the quar.ter and housing .. All ·you need to bring is your toothbrush and y<?,ur laptop.

I

Books

I See" provides a brief overview

while they make their point.

a single package.

of the mechanics of light, color

Experienced Web de igner as

include RAVE, the real animated

www.color

and perception as they are

well as newcomers to the field

vector effects Web animation

By Roger Pring 192 pages; softcove r; $29.95 Publi shed by Watson -Guptill Publi cation s 770 Broadway New York, New York 10003 (212) 764-7300

impacted by the medium of computers, and the limitations

will learn much by looking at

application for creating Flash

Pring's examples. They'll learn

SWF animations. For more

of the display screen. "Target

even more by reading his tren-

information , visit www.co rel.

chant remarks.

com/products

www.watsonguptill .com

Do you really need another book about color on the Web? You've already downloaded a Web-safe color palette, you've

Practice," rhe second section, puts these principles to the rest with a series of design chal-

-SAM McMILLAN

Resources

lenges . "Squeezing the Tube" offers a handfu l of ways to

Tools

shrink large graphics to fir the narrow bandwidth of the Web. The bulk of www.color is given

ew features

Digital camera

Searching for stock

image grabber 2.0 from Random Eye Technologies is a

to-understand double-page

Pring's comments are so caus-

A versatile digital camera back from CreoScirex combines single-shot precision with multi-shot capability. The Leaf Cantare )('{ lets photographers choose a single-shot mode for live photography and multishot mode for high-resolution still life. A 2,048 X 3,072 pixel ceo captures full-image derail across a range of 12 f-srops,

spreads. The first section of the

tically funny, and so on target,

producing 36MB images at 16-

book, called "Do You See What

they make you laugh out loud

thousands of thumbnai l images.

bir RGB. For more information ,

image grabber works as a plug-in

visit www.creoscitex.com

with popular graphics appli-

got a copy of Phoroshop and irs idiot-proof "save for Web"

over to "Showcase, " in which hundreds of Web sires are dis-

command. What more do you

tilled to a few key screengrabs,

need? Well, for starters, I heartily

complemented by Pring's well-

recommend www.color by

chosen commentary.

Roger Pring.

The writing is a model of clariry,

Intelligently organized and

precision and wit. When was

thoughtfully laid out, www.

the last rime a how-to manual

color presents irs lessons in easy-

brought a smile to your face?

new Web-ba ed application utility that makes it easier than ever to find, download an d purchase royalry-free rock photography and illustrations over the World Wide Web.

image grabber will key word search a range of leading stock agencies, password-protected agencies and commercial image sires simultaneo usly, returning

cations, functioning as an image

Digital image transfer

portal. A shopping cart feature

The eFilm"' Pocket Reader

makes it simple to purchase

from Delkin Devices, Inc. is a whizzy little widget about the size of a key chain that enables

images as needed. For more information, check out www. randomeye.com

digital photographers to transfer images captured on flash

Web browser

memory cards to a computer

Combine a bookmark with a

hard drive within seconds. Plug

database and what have you

the flash card into the eFilm

got? A more productive way to

Pocket Reader, transfer file ,

surf rhe Web, for starters.

then plug the reader directly

2bpop is a free Net browser

into the USB port. The reader

window that captures page

shows up as a hard drive, and

description , key words and

files can be brought into any

even e-mail to a database while

graphics application. For more

yo u surf the Web. For more

information , call (8oo) 637-

information, check our

8087 or check our www.

www.2 bpop.co m

delkin.com

3-D special effects Graphics suite

146

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Broadcasr-qualiry 3-D models

Corel launches CorelDRAW 10,

for special effects in film , televi-

an ali-in-one graphics suite that

sion and advertising are now

combines vector animation,

available, free , from http://

page layout, bitmap editing and

3 Dup.com . In addition to

Web animation capabilities in

models and textures , 3Dup also

provides resources in 3-D and

Web design and computer art resources, the sire offers 29 free

Graphic media encyclopedia

point. The PL500 features 24-

multimedia design including forums, chars, news, tutorials

downloadable desktops.

You can look it up. Impresse

colors) for preci e color display.

and Frank Romano, the chair-

For more information , call

and a gallery of artist portfolios .

Customizable Web site templates

Workflow information online No matter how mature rhe dig-

man of the School of Printing

(8oo) 922-6613 or check out

Management and ciences at

www.waco m.com

Rochester Institute of Technology, have reamed up to create

Ready-ro-use, Dreamweaver-

ital publishing and printing

comparible Web sire templates

industry becomes, workflow

an encyclopedia database of

are avai lable on the Tem-

issues contin ue to be a top

printing and graphic arts media

priority. Now there's a site that

terminology. Featuring more

need it? LogoAxis.com offers a

plares2go CD-ROM from Regent Press. Thirty Web sire templates

offers authoritative advice

than 12,ooo terms and 400

way to consolidate all your cor-

devoted to the digital workflow.

images, the Impresse Encyclo-

porate graphic assets in one

creating a sire with cusromiz-

www.inthedigitalworkflow.com

pedia of Graphic Media

place. Their secure online storage

able templates. Colors, images,

wi ll provide information on

promises to be the most up-to-

sire is designed specifically to

button designs, text and number

workflow issues, from input and

dare, extensive resource of irs

support the needs of corporate

of links can all be quickly

design, through storage and

kind. Visit www.impresse.com

changed to meet the client's

proofing to o u tput.

give designers a jump-start on

and to view sample templates, visit www. templates2go.com

Design meets architecture online

Online logo warehouse Where's your logo when you

marketing departments. Logos are available for distribution

Online paper solutions

needs. For more information

Download Web sites

Brokers and buyers in the paper

Website Extractor is a free

and printing industry now have

program that enables users to

an individually-tailored Web sire

copy all or part of a Web sire to

to call their own. 1Face from

their hard drive automatically.

PaperX now provides paper, pulp

A new Web sire, Design

Designed for fast-track naviga-

and board manufacturers with

Meeting Point hopes to stake

tion through the Web, Website

their own e-commerce capability,

out the intersection between

Extractor can download up to

enabl ing them to trade online,

design and architecture. www.

100 files simultaneously,

reduce their transaction costs

designmp.com is a thematic

including or excluding rhe

and improve their production

site for professionals in design

parts of the Web sire specified.

planning. For more informa-

and architecture featuring a

Copies of Website Extractor

tion, visit www. paperx.co m

discussion place, as well as

can be downloaded from www.

using passwords. For more information, visit www.logoaxis.com

Education Conferences TechGraphics 2001 is scheduled for April 5-7, at the Oregon Convention Center in Portland .

The largest print and graphics expo in the

orthwest, Tech-

Graphics 2001 will showcase the newest products, services, solution and presentations in

information on rhe latest expos,

esalesbiz.co m/ extra/

Print guide

books and tools.

webextracto rsetup .exe

An easy-to-read primer covering

tronic prepress and printing

all aspects of printing, prepress

industries. For more informa-

graphics communications, elec-

and packaging is available free

tion call (8oo) 280-6218 or visit

to universities and schools from

http:// confreg. uoregon.

ProfileCiry breaks new ground

Unirech Prepress Solutions. The

edu/ techgraphics200 1

DX ET, a new Web sire fea-

on the Internet, offering a

concise format describes different printing processes along

Digital Photo & Imaging Expo

turing news on interior design,

Web-based color management service for photography, digital

2001 will be held May 17-19 in

fashion, landscape and graphic

with advantages and disad -

printing and publishing indus-

vantages of each. To request a

Rosemont, Illinois, with a con-

design. Online information

tries. Using color targets from

tinuing commitment to explore

includes press releases, events,

Solutions Packaging Guidebook,

competitions, job posrings,

ProfileCiry, the customer prints

call (630) 858-8900.

all areas of digital imaging. The

virtual showrooms, designer

the targets , then sends the

Web sites Keep your finger on rhe pulse of the design world with

retrospecrives and rhemed exhibitions. For more information, visit www.dxnet.net

148

bir color depth (16 million

Web-safe color management

resu lts to ProfileCity. Based on

expo will provide a forum for professional photographers,

the user's output, ProfileCiry

Cordless pen and digital tablet

provides a custom solution

Wacom' new PL500 digital

tuned to each individual color

LCD tab let system combines a

Explore design resources of

printer. Users can obtain high-

15" flat panel screen with touch-

DHTML and Flash at www.

quality ICC profiles, improving

screen input capability. Users

m etatad .it. In addi rion to

the accuracy and consistency of

can use the cordless pen to

marketing news, domain name

their color images. For informa-

draw and edit on the high-reso-

search engine registeries and

tion, visit Pro fileCity.com

lution screen-directly at pen

J A N U A R Y

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designers, service bureaus, photo labs and prepres companie to discover the late t breakthroughs in digital technology, capture, workflow and output. For more information on DPIX 2001, visit www.digitalphotoexpo.com -S.M.

An Iceberg Didn't Sink the Titanic.

BY CARL WARNER

I

t was not Captain Edward J. Smith's order to steam

Forty-five thousand tons felled by two or three ounces. A

ahead into iceberg-infested waters that cost him his life

ship that cost millions of dollars sunk by something that

and sank his ship. It was not Mr.]. Bruce Ismay, chair-

cost only a few cents.

man and managing director of the White Star Line, whose

arrogance and ego sought headlines for his newest floating

Life is a lot like that. Big, grandiose plan can go awry when little things, "keys ," don't work correctly. Adver-

leviathan. And not even Billy Zane, the bad guy in the

tising is like that, too.

movie, can be blamed for the ship sinking.

Is it a client mandate that we agree to while we simul-

None of these people-for all their personal shortcomings

taneously mentally cut it from the agency version? Is it a

and ill-fated decisions-are responsible for the Titanics

word change that detract from the idea? Is it saying the

demise and for her 45,000 tons ending up two-and-a-half

client's name seven times in the spot? At any point in the

miles below the surface of the North Atlantic.

production process, one or more keys can get altered to a

What caused the world's most infamous sh ip to sink two-

point where the original idea becomes unrecognizable.

hours-and-forty minutes after side swiping an iceberg on

In the past year, I've had two projects with a janitor-sized

April 14, 1912, was a key.

key ring full of "keys" that accumulated and changed for

A simple key.

the worse as the spots moved toward production. Any

You see, long before the Titanic was the world's most notori-

one of these details could sink the quality of the finished

ous ship, she was the most opulent; appointed with accou-

product far below the waterline of greatness. Instead of

trements worthy of the finest hotels including woven carpet,

closing the air-tight doors and not producing the spots

handcrafted woodwork, fine crystal and china, the first

just for expediency's sake (the media's already bought,

swimming pools and gymnasiums afloat (I needn't continue

and shepherding new idea through the client's chain of

the litany, you've seen the movie).

command would take too long and cause a missed deadline), the production went on. Both times , a period of

Of course, amidst all the first-class appointments were the more basic components necessary to run the ship. Even they were impressive in their own right. The engine room housed 29 boilers each almost r6-feet high. There were 3 anchors

partner, the producer, the editor or I would think of

something to save the spots .

that weighed 15 tons apiece (each link in the anchor's chain

On one occasion, we picked the lock, got the binoculars

weighed 175 pounds). And there was a crow's nest from

and saved the spot before it rammed into the iceberg.

which crew could watch for icebergs.

The other time, we went down with the ship.

But this being the Titanic, even the crow's nest was finely

Often, it's the little things that make a big difference.

appointed. In this instance with a case (no doubt velvet-

Royal Caribbean Cruise Line has built the Voyager of the

lined) to hold a pair of binoculars, the instrument that was critical in aiding the lookouts to see lurking bergs. And , when building the world's most opulent ship, you don't construct a case without building a lock into it.

Seas, the latest "World's Most/Best/Bigge t" ship. It cost $700 million . It's 75% bigger than any other Royal

Caribbean ship and, at 137 ,ooo tons, it's 3 times the size of the Titanic.

Unfortunately, when the ship and its 2,228 passengers

In addition to having all the amenities that are aboard

and crew went to sea, the key to the lock remained in

most of today's cruise ships (casinos, pools , gyms and

Southampton.

shops), Voyager has an inline skating track, a 1,200 seat

As a result, the lookouts responsible for watching for icebergs had to work without any binoculars.

theater and the world's only ice rink afloat.

It also has a large, climate-controlled crow's ne t with a

So somewhere in a Southampton lo cksmith's coat pocket

state of the art visual monitoring system. And-I'm

or perhaps in the drawer of his office filing cabinet, lay

betting-a spare set of keys. •

the cause of the Titanic sinking and the reason 1,523 people died.

A key.

150

darkness in the edit bay followed where I prayed that my

J A N U A R Y /

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Donside8

ATypl Leipzig (Type Is Sexy)

BY MARK EASTMAN

L

eipzig, a city in eastern Germany with a great tradition of publishing, music and the arts, provided an excellent setting for ATypi's 44th annual conference

which took place there last September. The theme of Digital Classicism tied together a diverse range of aspects reflecting

what type is today. ATypl, the Association Typographique l nternationale, is the only independent worldwide organization

dedicated to type and typography. It was originally established in 1957 by Charles Peignot and currently has over 500 members from 20 different countries. The goals of ATypl are to preserve the culture, tradition and history of typography, promote contemporary digital fonts, encourage outstanding typography and typographic design as well as promote a critical understanding of type issues and the protection of typeface designs. ATypl is comprised of professionals within the type industry, type designers, typographers, developers, art directors , educators and anyone else with an interest in type. Their annual conferences provide a unique opportunity for attendees to share ideas and information about the past, present and future of type and typography.

This year's conference program was divided into two tracks running more or less simultaneously, and divided between two separate locations. One location was the Werkstdtten und Museum for Druckkunst, a museum of typesetting and print-

ing arts. The Werkstatten, a fully-functioning printing environment, has a working collection of vintage printing presses, Monotype hot-metal casting machines and a large collection of type matrices. The Werkstatten served well as a meeting place for some of the smaller presentations and workshops.

The second location was at the Konsum Center building, located about a kilometer from the Werkstatten. Originally built in the 1920s, and formerly the executive offices for an adjacent factory complex, more recently under the German Democratic Republic, it housed the offices of a supermarket chain. The interior has been beautifully restored-its large curve-ended room on the fourth floor served as a main lecture hall. An adjacent room was used as a lounge and eating area with a computer lab set-up at one end, where the conference daily newssheet fracture[d) was produced.

The presentations, panel discussions and workshops on each track covered a broad range of type-related subjects including historical, contemporary, a::s thetic and technical aspects of type and typography. Usually there was enough contrast between simultaneous programs so there was something for everyone. Although fairly regular shuttle bus service was provided between venues, at times the dual locations made 152

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access inconvenient. Most of the main presentations took place at the Konsum Center in English; some were given in German. English translation was provided during the presentations and while the translation seemed good, sometimes things got a little confusing.

Some of the program highlights on the historicalla::sthetic side included Ekerhart SchumacherGeblers's presentation on Typographic Treasures of the Museum fur Drunkkunst in Leipzig. This museum has approximately 700 matrices amounting to about 20 tons of type history in metal, spanning 450 years. SchumacherGebler also showed various rare examples of type in the muse um's collection including examples of Dutch medieval, Fournier, Didot and Fractur of Offenbach.

Yvonne Schwemer-Scheddin gave an excellent presentation, "Broken images: Fraktur-between faith and magic," tracing the history of Fraktur letterforms- the blackletter "broken type" style and its context within German culture and identity. She traced its roots in sixteenth century blackletter types, its development as a Fraktur form, how it was stripped down and genericized under the Nazi regime and its misuse and misrepresentation in current advertising and design outside Germany. She showed many examples, past and present, of the Fraktur letterform that associate it with the most negative stereotypes depicting darkness , d eath culture and obsession iconography, and its current misuse in music sleeve art for "heavy metal" bands like Motorhead and rap artists like DMX. A panel discussion titled "Broken types don't need fixing" followed this presentation with panelists Peter Bain, Matthias Gubig, Volker Kuster, Gunter Gerhard Lange, Ekerhart SchumacherGebler and Hrant Papazian who provided further perspectives on this theme and the practicality of using Fraktur letterforms today.

Other highlights on the historicalla::sthetic side included Adil Awallwi's presentation on the revival of Linotype Arabic typefaces and typography; Chris Burke's (University of Reading, England) presentation on "F utura-a biography of a typeface"; James Mosley on "Caslon and the English typographic tradition"; and Jay Rurherfurd's "Teaching typography at the Bauhaus: Research as method."

Type designer Kurt Weidemann gave a presentation criticizing the current state of typography (online) and called for a return to traditional typographic design values. Juergen Siebert of the FontShop gave an excellent presentation surveying a selection of work by contemporary digital type designers.

Siebert co-edited the recently published book Emotional

Fi na II y , a pro gra m that restores an essential element to a designer's career.

Meaning.

Ideas That Mat er A program to support design for the public good.

Nothing nouris hes the soul like doing work that really matters. Unfortunately, it doesn't do much for the pocketbook.

Th at is why Sappi created a program to support design for the public good. Ideas That Matter awards monetary grants to designers throughout the world to help them create and implement projects that serve the causes closest to their hearts. In other words, your favorite cause, your favorite charity, your favorite foundation.

For additional information and an application form, call us at 1-800-882-IDEA or visit our Web site at www.ideaexchange.sappi.com or www.sappi.com. But hurry.

The deadline for submissions is May 1.

•

Sappi Fine Paper North America S.D . Warren Services Company 225 Franklin Street Boston, MA 02110 © 2000 S.D. Warren Services Company

sapp1

Digital (Thames Hudson 1999), one of the best recent sur-

Buchkunst, the historic design school that Goethe attended.

On the technical side, font tool developer Yuri Yarmola of

After a comprehensive presentation by type professor Gunter

St. Petersburg, Russia-based FontLab (www.fontlab.com)

Karl Bose, on the rich typographic history associated with

gave an in-depth overview of the new Open Type format,

the school, Carol Wahler of the New York City-based Type

one of the most significant developments on the font horizon .

Directors Club (www. tdc. org) presented a special scholar-

OTF is a joint project of Microsoft and Adobe and com-

ship award to Hochschule student Philipp Arnold. Following

bines aspects of PostScript and True Type to form a more

this, Walher presented the TDC Medal to Gunter Gerhard

compact font format capable of larger character sets and

Lange in honor of his typographic achievements as a type

intelligent scripting. What OTF means for users is that

designer and artistic director of H. Berthold AG for 30

advanced typesetting characters such as ligatures will be far

years. He retired in 1990. Although not well known within

easier to implement and manage as software programs and

the U.S., Lange's work and high standards that made the

plug-ins follow suit to Adobe's InDesign layout program that makes use of OTF built-in font capabilities. Where OTF is a

had an enormous impact on the type industry.

major asset, though, is in the non-Latin realm. With alphabets such as Hindi or Arabic, which have very large character sets with glyphs that can be comprised of modular elements, OTF allows a greater reduction in the overall size of the typeface not previously possible for non-Latin typefaces. On the ISO Larin end, Adobe has already released a number of OpenType fonts and irs InDesign [watch for a product review in the May/June issue of CA] layout program and plug-in architecture allows for use of OTF font features now, and for further OTF features to develop down the road.

Just Van Rossum and Erik Van Blokland who comprise Letterror (www.letterror.com), well-known in the type world for their innovative type designs and programming, pre-

original Berthold foundry world-renowned for quality have

The official gala dinner rook place at the Auerbachs Keller, another renowned restaurant in the heart of the city, and the inspiration for a famous scene in Goethe's Faust. Coinciding with the ATypi conference, some of the Hochschule students rented an empty downtown retail storefront and transformed it into the "Type is Sexy" bar. The cool minimalist, retro lounge setting complete with a grid of large brightly colored dots on one wall and live DJs had many attendees dancing well into the early hours.

The day prior to the ATypi conference, a separate Independent Font Technology forum rook place at the Konsum Center. The forum, coordinated by type designer John

sented work they've done combining these skills. They have

Hudson, of Vancouver, Canada-based Tiro Typeworks

developed their own font tool based on a licensed version

(www. tiro.com), was centered on OpenType Format font

of the original Fontographer 3·5 code combined with Python scripting-a "hot rod" font tool with scripting capability

development. The forum brought together major figures

allowing users to automate many of the repetitive steps

demo presentations of current OTF font tools by represen-

behind OpenType technology and included a series of

involved in producing large font families. This sophisti-

tatives of Microsoft, Adobe, Apple, FontLab as well as type

cated font tool, known as ROBOFOG, is meant for use by

designer/programmers Just Van Rossum , Erik and Peter

font specialists, and available on a paid-subscription basis

Van Blokland. The Forum included panel discussions and

(www.robofog.com) with subscribers receiving updates as the program continues to evolve.

question and answer sessions and was an excellent oppor-

Cynthia Hollandsworth gave a primer on typeface protec-

154

special event took place at the Hochschule fur Grafik und

veys published on contemporary digital type and design.

tunity for font developers and designers to get the latest information on OpenType.

tion, reviewing the current state of protections of typeface

Like all conferences, some programs were better than others.

design. While some progress has been made in protecting

Although this year's ATypi conference programming varied

digital typefaces from illegal copying and distribution, enforc-

and was made more difficult to access at times because of

ing existing laws is generally still left to the copyright owner who must rake legal action against infringers. In the U.S.,

and workshops inspired thought and affirmrd the value of

the dual locations, most all of the presentations , panels

where a few precedents have taken place in favor of protecting

type and typography. What makes ATypi such a great

digital typefaces (Adobe v. Southern Software, Inc.) , foundries

event, though, goes beyond any of the individual presen-

are now able to more effectively take legal action against copy-

tations- it's the people who attend it and the interactions

right infringers than in the past, and are actively doing so now

and exchanges that occur. No particular conference pre-

that the laws are progressing in favor of the type industry.

sentation on type itself can rake the place of this. ATypi

Evening activities included a dinner reception with live jazz

2001 is scheduled for September 20-23 in Copenhagen,

at the Moritzbasrei, a bar and restaurant located in a cav-

Denmark. For more information, visit the ATypi Web site

ernous 6oo year-old cellar in the old part of the city. A

at www.atypi.org . •

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WHO PRINTS

~E

DO .

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CONTACT US IF WE CAN HELP YOU.

Anderson Lithograph

HEADQUARTERS 3217 SouTH GARFI EL D AvENUE Los ANGELES, CA 90040 800-727-5846 I EXT.359 213 - 7 22-23 28 FAX BosTON /CoNNECTICUT 860-767-3158 860-767-3159 FAX

CHICAGO 84 7 -913-9239 84 7 -913-8956 FAX

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SEATTLE 206-706-9797 20 6- 7 06-9 8 50 FAX

212-880-6440 212-880-6441 FAX

"WVVW". andli tho. cotn

Book Reviews

photographs for 35 years, photos he's selected for their singular excellence. He writes about his experience of developing a refined eye, first taking photos in Europe and then meeting photographers while working at an advertising agency in New York. Richard Avedon suggested classes by Alexey Brodovitch who "introduced to the United States a modern

One Man's Eye Photographs from the Alan Siegel Collection 180 pages, hardcover, $49.50 Harry M . Abrams, Inc. 100 Fifth Avenue New York, New York 10011 www.abramsbooks.com

graphic style forged from European art and design, " then other classes in learning to see photographically and technical darkroom classes to understand processes. But Siegel's passion gradually shifted his focus to collecting favorites.

Robert Sobieszek writes in the preface, "The images in the Siegel collection have been assembled in a rather eclectic or even polymathic manner: fine art and tough journalism, scientific records and ethnographic portraits ... It is only by analogy and associative comparisons that the finer and more nuanced understanding and discernment of photography is made possible."

Who could say it better?

This assembly of photos doesn't connect as a collection. It's just one man's gathering of prints; photos from Bert Stern's sessions with Marilyn Monroe to a 1929 congress of clowns.

Alan Siegel, chairman and CEO of Siegelgale, has collected

One Mans Eye is essentially a catalog of Siegel's exhibition at Cornell University, a tasty book done in n" x 14" format.

Double spreads allow big reproductions-a foot high by 28 ." These are select visions of reality, of crowds and lonely places, objects and insight, some photos of deliberate composition and some captured of the instant: revelations the camera sees in ways we can't.

Robert Mapplethorpe gives magic to roses, Imogen Cunningham captures two callas, Irving Penn photographs skulls from the Cranium Architecture series. Lisette Model explores New York and Leigh Wiener sequences Milton Berle mugging. Edward Weston makes art of Death Valley and NASA shows us the craters of the Moon. Urban ugly is part of the panorama and Lizl6 Moholy-Nagy and Man Ray go abstract. The collection is eclectic, but that makes for the surprise of variety.

Most of the photos are classic black-and-white, a form that requires control of lighting since there is only tonal discernment to show the content. The Milan printers, however, use duotone tastefully to increase the tonal range and define detail in the darks. The large-page format will dominate your eye and this book is for the educated eye. It's visual, and words don't help. Enough said.

-BYRON FERRIS

Emery Vincent Design 247 pages, hardcover, $49.95 Publish ed by Gingko Press 5768 Paradise Drive, Suite J Corte Mad era . California 94925 www.gingkopress.com

An award-winning multidisciplinary studio in Australia since 1980, Emery Vincent Design specializes in environmental graphics, exhibitions and installations, corporate branding and marketing planning and project management. Their client list includes Fosters Brewing, the Australian Film Commission, the Australian Post and Pacific Power. This colorful book with its spare, modern layout shows some of their work alongside essays and lecture by the designers (on typography, identity, architecture and classicism, among 156

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Work from visiting faculty Anita Kunz, David Altschiller, Lou Dorfsman, and C.F Payne.

Other visiting faculty include:

Contact us for a detailed description of these programs, including grant and loan opportunities. Please indicate if your interest is in advertising design, illustration, or both.

Independent Study Degree Programs at Syracuse University, 700 University Avenue, Syracuse, NY 13244-2530 Phone: 1-800-442-0501 (U.S. only) or 315-443-3480 Fax: 315-443-4174 E-mail: SUISDP@UC.SYA.EDU Web site: www.suce.syr.edu/isdp/maad&i

Book Reviews other topics) and pertinent quotations from others (for

recture. For Fosters Brewing, display panels resembling

example, Isamu Noguchi's "I am always looking for new

folding screens combine type and image in terse, yet filmic

ways of saying the same thing") .

descriptions of the brewing process-inanimate animations.

The authors see the book nor as a nostalgic retrospective or inventory of past work, bur rather as a part of the present, "the

Designer Jackie Cooper writes how the physical qualities of the co untry affect the Australian identity in design: "the

product of Emery Vincent Design's active relation to the

openness , the brightness of the light, the hugeness of the

past ... a ' looking backwards to the future."' The structural

distances. " The heterogeneous population affects Australian

metaphor for the book are lines of longitude and latitude,

design's capacity for eclecticism. Bur, beyond eclecticism, the

where the former equate with the temporal sequence of the

authors do not necessarily see their work as definitively

projects included and the latter correspond to the nine threads

"Australian. " Nonetheless, part of the fun of this book is

running throughout: profile, reference, process, philosophy,

the chance to look at work which may not be familiar to

typography, place, identity, modernism and graphics . (For

readers in the northern hemisphere. How exciting to see the

example, at the reference latitude, readers can find whether

designers recall the lively spirit of Zwart and Lissirzky in

the designers sought inspiration from "Islamic geometric

the typographically decorated Queensland Newspapers

principles" or "maritime history. ") One page is devoted to a

Pavilion from Expo 88, celebrating, in the round, "news-

key for this mapping and also acts as a terse summary of

paper banners and headline typefaces , continuous sheer

the studio's rigorous organization of thought and process .

printing, half-tone imagery and serrated newsprint edges."

Typography rakes the equatorial spot and irs importance in

The book reproduces a short piece written by Garry Emery

their work is evident in the illustrations, where letterforms have an almost structural relation to designs. For example,

in I997· In it, he invokes the mathematical view of elegance: minimalism. And he refers to simplicity, silence and Zen

the 1995 Melbourne Exhibition Centre sports oversized words

Buddhism. It's a telling statement of philosophy and helps

(for example, a grand "Door s" that's over three times the size

readers further appreciate the vibrant work presented

of the door) that act as signage, grap hics and readable archi-

within these covers.

-A

GELY

N GRANT

Editor's note: See CA., May/june I99I, p. 88 for a foature on Emery Vincent Design.

Advertise in CA and reach the 83% of subscribers who use Macintosh computers

Dean Cornwell: Dean of Illustrators

By Patricia Janis Broder 240 pages, hardcover, $75 Collectors Press, Inc. P.O. Box 230986 Portland, Oregon 97281 www.collectorspress .com

DEAN CORNWELL

In those years when the ill ustraror was king, Dean Cornwell appeared among them: Charles Dana Gibson, James Montgomery Flagg, Maxfield Parrish, Howard Pyle, N.C. Wyeth, J. C. Leyendecker, Norman Rockwell. They could

For information on advertising in Communication Arts contact: Michael Krigel General Manager 650-815-4226 advertising@commarts.com

draw, they could paint and they gave a form of realism to the stories of the first years of the twentieth century. Movies were primitive and television was 50 years away. Books and magazines brought the dreams of a wider world to America.

Dean Cornwell did his first illustrations for Redbook magazine

~ommunication Arts

in 1915 when reproduction was difficult and most magazines printed only in black, sometimes duotone, and illustrations were made to fit the engravers' camera object boards. He was

158

JA N U A R Y /

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Enter The Most Prestigious Illustration Competition In The World Entry Forms Now Online: www.commarts.com

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Categories include Advertising, Books, Editorial, work produced For Sale, Institutional, Self-Promotion and Unpublished.

If selected, your award-winning work will be handsomely reproduced in the July issue of Communication Arts, which has a paid circulation of 73,000 and a readership of nearly one-quarter million .

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Book Reviews so prolific, however, working day and night, that he was soon

print in a diverse range of magazines, journals, degree theses,

illustrating for Harper's Bazaar, Cosmopolitan, the Saturday

etc., circling topics of text, typography and reading. Many

Evening Post and Good Housekeeping. His work was often in

of the essays use Beatrice Warde's well known "The Crystal

color, the color work separated with filters directly from the painting. The hundreds of illustrations shown demonstrate that his early black-and-white techniques had developed his eye for tonal control that gave punch to his full-color pictures.

Goblet, or Printing hould be Invisible" (1932) as a springthat most clients are not necessarily looking for a transparent goblet. His first title for the book was re:word, and he is

Cornwell's robust style of painting suited the adventure stories

especially interested in how designers recontextualize words

of the teens, the '2os and '3os, exotic tales of the Far East,

and images in design. The essays range from Rolf F. Rehe's

Biblical stories, contemporary dramas and romances. Though he schooled in Chicago and New York, he loved to travel.

Journeys took him to Central America, the Mediterranean, Palestine, Turkey, Greece and the Middle East, where he made

summary of scientific legibility studies to Katie Salen's enterWong). Joanna Drucker analyses typographic signage in fine art, for example, the paintings of Stuart Davis and, in "E

sketches and took photos to document atmosphere. His careful details then gave authenticity to his adventure illustrations.

offers an engaging estimation of the letter E. With typogra-

taining look at "ethnic" typefaces (think Hobo and Chinese

Pluribus Unum" (first published in Eye 33), Paul Elliman

Where others were noted for beautiful fashion and romantic fantasy, Cornwell painted toward a vital realism. His women

phy, does the designer aid readers in grasping the author's

were beautiful and his men were strong. He was a master of

contexts and mechanisms may change, this question stays the

action who captured lighting effects, page composition and body language portraying wide-stanced heroes. I think his

same and will continue to do so as long as there is reading.

lighting and draftsmanship showed up later in Alex Raymond's Flash Gordon and today's hero comic books.

In the history of American illustration, the Society of Illus-

message or restructure the meaning of that message? Although

-A. G. What logos Do and How They Do It, by Anistatia

trators had its heyday in the '2os and '3os and when Dean

R. Miller and Jared M. Brown (Published by Rockport Publishers, Inc., 33 Commercial Street, Gloucester, Massachusetts

Cornwell became the group's president, James Montgomery Flagg drew a cartoon, shown in this book, naming him "Dean

01930, www.ro ckp ub.co m, 144 pages, softcover, $20). There are a lot of logos here. "Logos" is now the accepted short form

of Illustrators;' and said, "His secret is this; He is a born artist."

for "logotype;' traditionally the copyrighted way you lettered a company name. Now the logo seems to be the full identity

This is a rich and rare book; one of the most sought-after art books. It was first published by Watson-Guptill, in an

program from name to emblem to visual personality for pro-

edition of only 1,300 copies, and soon went out of print. If

duct, building, print and Web page. That means a lot of

you could find a copy of the first edition, you'd probably

work for design firms. Rockport has collected the project portfolios of ten design offices for show and tell. It's nice to know

pay $1,200. Richard Perry of Collectors Press tracked down the original negatives in Japan and has produced a brilliantlyprinted edition at a collectible price. What a good idea!

-B.F.

Briefly Noted: Graphic Design & Reading: Explorations of an

who did some of the design work: the beautiful duogram for Ethan Allen, the clever logomark for Northwest Airlines and the powerful FedEx signature by Landor Associates of San Francisco origin. Hornall Anderson Design Works of Seattle shows so many projects that the book seems almost their promotion book. But, with work from England, France and Spain, the pages take on the look of current global

Uneasy Relationship, edited by Gunnar Swanson (Pub-

design practice. There are hundreds of logo programs shown

lished by Allworth Press, ro E. 23rd Street, Suite 510, New York, New York rooro, www.allw orth.com, 256 pages, soft-

for big and little clients and some of the logos may even endure. What Logos Do is a colorful survey of identities, so many of them that "distinctive" and "memorable" get lost

cover, $19.95). This book had its genesis as the companion reader/catalog for a proposed exhibit on graphic design aimed at nonprofessionals. While the exhibit fell through, the book had taken on a life of its own, finding its place among similarly excellent readers put out in recent years

160

board, so it's helpful that it's included here. Swanson notes

in the crowd. With the increasing volume of new spin-off and e-business companies with rather abstract names , how do you make distinctively memorable logos? The authors show and describe programs of "ONKYO ;' "MIDCOM ;'

from Allworth (e.g., Looking Closer and its sequels). Author

"Lucent;' "Telenor;' "orange" and other obfuscating names.

Swanson brings together an admittedly personal choice of nineteen essays, most of which have already appeared in

It's a pleasant exploration for just twenty bucks.

JA N U A R Y /

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-B.F.

nnu~ © 2000 Bryce Duffy, SABA

© 2000 Francine Zaslow

fnter The Most Prestigious Photography Competition In The World fntry forms Now Online: www.commarts.com

© 2000 Catherine Ledner

© 2000 Peter Barrett

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runUmmunl· r~tl•U nUnArt('l1 42nd Annual Juried Photography Competition I.J

Deadline: March 15, 2001 No Hanging Fees • No Acceptance Fees • No Return of Entries

Materials Artfulgiving.com only accepts

Pantone® Universe

"Color Predictions" page 98.]

season . For more information,

Introduced at The Conran Shops

Incorporating the concept of

visit www.pantoneuniverse.com

worldwide, Pantone, Inc. has

shopping by color with the themes

created its first "colorful " collec-

of mobility and utility, the French company Nekt has produced ele-

Gift wrapping made personal

own photos , add messages ,

tion of consumer products. A renowned authority on color and

gant, modern and rubber collec-

Though this news flash comes a

visit Expressit.com and choose from over 25,000 free digital

th e JPEG format. Under Design Your Own, you can upload your choose designs on the site or

provider of professional co lor

tions of stationery, travel gear,

little too late for the 2000 holiday

standards for graphic, fashion,

photo albums, bags and rainwear,

season, gift wrap is something we

images to download and turn into

interior and industrial design

just to name a few. Yes , I did say

cons umer-driven hum ans tend

your personal gift wrap. While

industries, their new line of acces-

rubb er. It provides a smooth,

to use year-round. Therefore,

the options I've discussed thus

sories promises to change colors

tactile quality to this vivid line

Artfulgiving.com is a handy Web

far are targeted at consumers,

with the seasons, based on fashion

that I dare say would survive an

site where you can "make your

Artfulgiving.com offers oppor-

co lor trends-what fun! [See

unexpected torrential downpour.

Nekt's d es igners extraordinaire bring vario us elements from their d esign-ridden backgrounds to Pantone Universe. A graduate of the Arts Appliques design section and Arts Decoratifs, Ronan Bouroullec works with a thorough approach that in turn creates simp le and intelligent design-as close to reality a possible. In 1996, he was joined by his brother Erwan. Christian Biecher began his career in the last decade of the twentieth century as part of the new generation of architects that takes into consideration the correlation between art, architecture, design, interior design, exhibition scenes and

day gifts, anniversary, wedding, baby and ju t about any other gift

and where do you start? With one

you can think of. Yo u might be

of the founders of Artfulgiving.

asking yo urself, why shou ld I

com, creative vice president Gina

order my wrapping paper online,

Cotroneo. Designs can be submit-

when I can go down to the corner market and buy some? Well,

Artfulgiving.com allows you to personalize your gift by adding photos and/or messages to the paper that shrouds the gift. The possibilities are literally endless.

Messages can be added to a variety of paper designs on the site (inside jokes can certainly spice up packages). For instance, under Birthdays, the choices are Fun, Wacky, Traditional, Ethnic/World, Kids and Inspirational-and under

graduate from the School of

these categories are specific designs.

Decorative Arts in Nice and the

I found out, quite unexpectedly,

Domus Academy in Milan , views

that there is a limit to how many

ted to her for consumer use and, for a bit more in cost, gift-wrap files can be created by designers for personal use only (not available to the general public). No one, young or old, can deny the mounting anticipation that surges forward when a gift is placed before them. The presentation, first impression , only adds to the excitement. And this is where

Artfulgiving.com becomes the gift-wrapping source for that personal touch. For more information, please visit www.

Artfulgiving.com -

REBECCA BEDROSSIAN

design as just another trade and

characters/spaces yo u can use in

likens it to accounting or jour-

yo ur message when I attempted to

nalism. (The horror!) He believes

add the lyrics from my all-time

if a design is new, it should be

favorite childhood Christmas song,

justified by being better, having

"Who's That Up On The Roof?"

P22, the Buffalo, New York-based

new qualities or looking more

to some paper. C'est la vie.

digital font foundry producing

forecasts and color psy-

J A N U A R Y /

tunities for graphic designers only, such as submitting designs. How

graphics. Christophe Pillet, a

beautiful. With Pantone's color

162

presents known"-wrapping birth-

Frank Lloyd Wright ExhibitionTM Font

Up loading personal photos is

historical, art-related digital fonts

another option. It's quite an easy

since 1994, ha recently released

chology expertise linked

process. I tried this out too-fun .

the Frank Lloyd Wright Exhibi-

with the modern designs

You're only a few clicks away from

tion™font family, produced in

of Nekt, Pan tone Universe

putting the new baby or the

cooperation with the Frank Lloyd

assures fashionable trendy acces-

newly-wedded couple onto the

Wright Foundation, Taliesin

sories that will change with the

wrapping paper for that shower

West, ScottSdale, Arizona. This

seasons. To everything, there is a

gift. Please keep in mind that

(CONTINUED ON PAGE

F E B R U A R Y

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164]

Materials

P22 FRANK LLOYD \VRIGt+T E)(t+l r31TION1M

the literature described.. .free unless

Gmund's . . . Ever line of paper

otherwise noted. Whenever possible,

elegantly mingles rich European

fax numbers, e-mail addresses and

history with their long tradition

URLs have been included for

of papermaking. Their latest

convenience.

promotion, Ever: A Culture in Papermaking since I829, arrived in a beautiful and simple package . . . creating an aura of anticipation rarely felt-in terms of paper. The different pieces that make up this promotion echo the hand-crafted

A8COEFGt+IJKLM Ol23lt56 Ar3COEFGtfiJKLM Ol23i56 ABCDEFGtfiJKlM 0123456

Modus .. . is Fraser Papers's

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inspire designers. Wow-that's

ongoing publication for designers . So far, three issues of Modus have been published, each designed to educate, motivate and quite a tall order for these 5" X 7Y2'' books. Each one features a differ-

family, comprised of three weights,

film and paper processes within

ent company whose cutting-edge

is part of the architectural letter-

the photographic, reprographic,

design produces a unique con-

ing Frank Lloyd Wright intended

diagnostic-imaging industries

sumer product: Issue 1 "Sculpt-

to accompany his exhibition draw-

was recently released from Hydra

ing the Idea": Ibis Cycles manu-

ings. The fonts have a clear and

International. This new product,

mechanical form using only 45

the Blitz V2 for the interior of

and 6o degree slants and two com-

processors, was launched at

pass curves except for the "S"

Photonika 2000. It does not mist

character. Despite these parame-

or fume-so it can be used in

ters, many nuances are introduced

confined spaces. Blitz V2 foams

among all the characters, such as

on contact, immediately begin-

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Frank Lloyd Wright Exhibition complements their previous release Eaglefeather':" also a Frank Lloyd Wright font produced under license. Exhibition is available for $ 23 .95. For more information on

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racks, rollers, tanks and other components. Ideal for pro-labs, mini-labs, prepress and diagnostic-imaging machines, Blitz promises to add speed to the cleaning process. What exactly does that mean? Less down time!

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-R.B.

(8oo) 722-5080 for a free catalog.

Literature for Your Files Blitz cleaning!

A new cleansing method for the 164

JANUARY

I

A request on your letterhead to the following companies will bring you

FEBRUARY

2 0 0 I

handwritten script from days gone by, immigration stamps from European cities and Sepiatoned photographs of the German town of Gmund combined on textured paper produce a refined antique effect. The color palette

factures mountain bikes on

resonates with a quiet history:

Fraser's Genesis paper; Issue 2

Aomori and Salzburg make up

"Designing an Experience": The

the creams and whites; Lyon ,

work of entertainment design

Sverig and Sankt Moritz are the

firm, Imaginary Forces, from film

grays from light to dark respec-

and television to print and inter-

tively; and Buenos Aires is an

active media, are showcased on

earthy, rich brown. Rabat, Praha,

Fraser's Synergy paper [For more

Edinburgh and Tikal mimic the

on Imaginary Forces, see the

colors mentioned above, but have

March/April 2001 issue of CA];

been treated with a wax-similar

and Issue 3 "An Art Form on the

substance that lends them an

Face": Oliver Peoples Eyewear

almost translucent quality. The

manufactures (surprise!) eyewear

Writing, Text and Cover in

which is displayed on Fraser's Passport paper. Modus features duotones, tritones, 4-colors, sculptured embossing, thermography, halftone, quadtone, etc. Designed

by Douglas Joseph Partners, Los Angeles, California, and written

by Delphine Hirasuna, San Francisco, this handy ongoing series features various illustrators and

-MARK EASTMAN

feel of Ever. Old postage stamps,

photographers in each issue.

Modus is available upon request by calling (8oo) 543-3297. For more information on Fraser Papers, check out www.fraserpapers.com

various weights are listed inside

thumbnails abound: work (most

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of us are familiar with this, except

nical information and examples

for the independently wealthy);

of 4-color, letterpress and emboss-

play (from bowling pins to fish-

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ture rhar is Gmund is felt in all

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phones); attitude (I don't need

offices are housed in a nineteenth

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flowers and pets, from desert to

has rhe oldest paper machine in

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Europe (1883)-and it's still in use

and imaginative- just about any-

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thing goes); explore (travel,

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science, adventure); and be (No,

Gmund and see Ever for yourself:

nor the United Stares Army, but

+49 (80)227-5000 and +49 (8o)

humans, relationships, emorions-

227-0099 fax. While Gmund has

l'm getting choked up.). All in

mation, check our www.

been making quality paper since

all, nonsrock.3 is packed with

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1829, they are definitely keeping

stock punch. You can launch

up with rhe rimes in this global

directly to the Web sire at www.

Script, illustration and

nonstock.com

design clip art . .. Dover

village of ours with their Web sire

Publications recently inundated

Gmund.com . Designed by New York-based Design: M/W, the subtle color palette and black-and-

Neenah Paper .. . offers alterna-

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white photographs reflect their

Environment®Papers: In All The

classic heritage. The sire offers

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visitors a Paper Store, a Gmund Shop, Distributors , as well as their History, News & Info, a Mill Tour-all in all, an interactive visit to the world that is Gmund.

weight samples. For more infor-

head identity promotion showcases 100% recycled papers in

me with mail-and to what did my wondering eyes appear? Books

And the piece de resistance ... these full-color, dazzling images of Victorian figures, flora and fauna are scanned at 300 dpi and saved in TIFF format on rhe CD-ROM!

chock-full of copyright-free

Fruits and Flowers Illustrations

designs with CD-ROMS to boor!

harks back to the nineteenth cen-

In this day and age, copyright free

tury as well , and 24 Bold Script Display Fonts has, yep, you got

means hassle free, so I thought I'd pass along these treasures.

it, 24 different versions of the

finishes. Seeking to hit the corpo-

Ornamental Initials contains 866

alphabet, from Balzac to Gaston

rate community with earth-

elaborate designs of initial let-

to Zorba (Anthony Quinn nor included). Music Illustrations is comprised of black-and-white

a variety of weights, colors and

friendly paper choices, Neenah

ters from the English alphabet .

nonstock.3 .. . resembles a baby's

Paper showcases six different

Quire a few ABCs to choose

boardbook, partl y due to the

identity design packages that

from-Art Nouveau, Deco,

drawings of anything musical,

combine Environment's warm

medieval, just to mention a few

from classical cherubs to lures,

colors, rich textures, die-cur

styles . Black-and-white designs

bagpipes to a baby grand to etched

trations. A solid bright green sur-

techniques, metallic inks and

from the simple to the ornate,

portraits of the classical masters

rounds and protects the pages of

wire-o bindings. The color palette

though the ornate definitely

themselves- Mozart, Handel , Chopin, Bach, ere. For more

6" X 6" format and mostly due to the hardcover-bur without illus-

stock photography inside. Com-

includes: Sedona Red, Cypress,

dominates. Decorative Illustrations

plete with a CD (with a custom-

Tortilla (yummy), Alpaca, Natural

includes 500 designs, a colorful

information, contact Dover Publications at dover@artimaging.com

built search engine) to pop in the

White and Desert Storm (oh no,

Victorian grimoire of sorts that

almighty computer, nonsrock.3

not again). Environment also

could possibly put a little magic

promises yo u choice from over

includes Neenah's brightest recy-

in some modern designs. Zebras,

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cled white-Ultra Bright White.

Oriental fans , rea cups, cars

arranged, as always, to reflect

The identities includes samples

dressed up in finery, butterflies ,

the way we live, work and think.

of business cards, envelopes,

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There are eight categories where

notepaper, letterheads and writing

wasn't life just peachy then?

or check our www.artimaging. com/dover.

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

-R.B.

A R T S

165

Clubs Conferences Seminars The American Association of Advertising Agencies

Conference information is also available on the DMI Web

has schedu led the eighth annual AAAA Media Conference

site at www.dmi.org/ conferences

and Trade Show for Wednesday, February 28 through Friday, March 2, at the Hilton New Orleans Riverside in New Orleans, Louisiana. The general sessions and breakout sessions will include agency, client and media speakers sharing their views on what's happening now in media-and future forecasts. Contact AAAA, 405 Lexington Avenue, New York, New York 10174; call (212) 682-2500; fax (212) 682-8391; or visit the Web site at www.aaaa.org Tom Monahan, former advertising columnist and contri-

buting editor for Communication Arts, has two seminars coming in March : Big Splash Ideas, March 5-7 and Ad Hell Camp, March 29-31. The first seminar will help in crease the resourcefulness and nimbleness of your mind so you can generate more ideas on demand to gain a competitive edge. Content includes identifying your primary creative thinking strength and challenges; how to manage time for

The Society for Environmental Graphic Design

holds its 21st annual conference May 30- June 2 in Miami Beach, Florida. Conference speakers will include: Mark Fisher, Mark Fisher Studio, United Kingdom; Clement Mok, Sapient, San Francisco, Cal ifornia; Erik Spiekermann, MetaDesign, Berlin, Germany; Mitchell Mauk, Mauk Design, San Francisco, California; Marilyn Weyant; Morris Lapidus/ Allen Lapidus, Miami Beach, Florida; Patricia A. Moore, Arizona State University; Scott Mallwitz, Lego, C hi cago, Illinois; Tom Moriarity, Economics Research Associates, Washington DC; and Tony Goldman/Don Meginly, The Goldman Properties, New York, Miami Beach and Philadelphia. For details, write SEGD , 401 F Street NW, Suite 333, Washington, DC 20001; call (202) 638-5555; fax (202) 638-0891; e-mail segdoffice@aol.com; or visit the Web site at www.segd.org

more consistent big thinking; how to regularly generate hun-

The International Design Conference in Aspen

dreds of fresh ideas and solutions; and how to conduct a high-

(IDCA), the 51st Conference, convenes in Colorado from

output Big Splash Brainstorming,." session . The cost is $1,150,

June 6-9. "The More Things Change" is the theme of the conference and will address: the business of design and the design of business; the environment, built and found; the shape and feeling of things; and the world we design for.

The program committee chair is Dorothy Twining Globus, assisting her is Paola Antonelli, Ralph Caplan, Wendy Keys and Jane Thompson, and they have invited a distinguished assembly of thinking practitioners and practicing thinkers.

For registration information, write IDCA, Registrar, P.O.

including lodging and meals. The second annual intense Hell Camp for advertising creative people starts with the basics of creative thinking and the rudiments of ad making. The bulk of the agenda is devoted to conceiving and creating effective award-winning work that the client can love and you can be proud of. Senior people will get their batteries recharged and juniors will build a stronger foundation. The cost is $950, including lodging and meals. Substantial discounts for early registration and groups. Visit www.CreativeCamp.com for more information or call (401) 624-1850 .

Box 664, Aspen, Colorado 81612; call (9 70) 926-2257; fax (9 70) 925-8495; e-mail info@idca.org; or visit the Web at www.idca.org

The University & College Designers Association has

finalized plans with the Council for Advancement and Support of Education for the joint CASE/UCDA Design Institute at the Wyndham Emerald Plaza in San Diego, California, March 21-23. For information, write UCDA, 1260 Oakwood Avenue, DeKalb, Illinois 6ou5; call (815) 754-4u2; fax (815) 754-0801; e-mail info@ucda.com; or visit the Web at www.ucda.com The 6th Digital Conference, sponsored by The Design

Management Institute, convenes April 29-May I in Pasadena, California, at the Art Center College of Design. This year the conference will focus on "Teamwork for Building

The Santa Fe Photography Workshops ha planned

summer workshops from June 17 through August II. Each week offers a selection of color, black-and-white, studio , landscape-ba ed and digital workshops for various levels of photographic experience. The range of topics is broad, encompassing lighting, portraiture, darkroom techniques , garden photography, stock photography, photojournalism and more. For additional information, write to anta Fe Workshop , PO. Box 9916, anta Fe, New Mexico 87504; call (505) 983-1400; fax (505) 989-8604; e-mail sfworkshop @aol.com; or access the Web site at www.sfworkshop.com - ]EA A. CoY E

Successful Brands." For information, contact DMI,

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Index to Volume 42 March/April 2ooo-]anuary/February 2001

Ace Asphalt

Bartle Bogle Hegarty Ltd.

Two billboards from a campaign created by Cramer-Krasselt Phoenix. (Exhibit): Vol. 42, #8 (Jan/Feb) , p. II7.

Advertising

Newspaper ad for Barnardo's. (Exhibit): Vol. 42, #r (Mar/Apr), p. 101.

Baseman, Gary (illustrator)

Article/portfolio: Vol. 42, #r (Mar/Apr), p. 88 .

"Beyond the Kenny G School of Advertising"

by Bruce Turkel: Vol. 42, #1 (Mar/Ap r), p. 176; "When an Ad is Not a Campaign" by Tom Monahan: Vol. 42, #z (May/June), p. 52; "Zen Advertising, or How to Catch a Great Fish with a Straight Hook" by Paulie Boutlis: Vol. 42, #3 (July) , p. 220; "Music to Barf By" by Tom Monahan: Vol. 42, #4 (Aug), p. 236; "Same Tools. Different Day. " by Paul Matthaeu : Vol. 42, #5 (Sep/Oct), p. 30; "Ageism in Advertising: Myth, Dogma, Or Self-Fulfilling Prophecy?" by Laurie Sinclair Fritts: Vol. 42 , #6 (Nov), p. 300; "It' Taken Me Ten Years To Write This Column"

by Tom Monahan: Vol. 42, #7 (Dec), p. 222; ''An Iceberg Didn't Sink the Titanic" by Carl Warner: Vol. 42, #8 (Jan/Feb) , p. 150.

Beaulieu Vineyard

Sales kit created by Bi.iro Design. (Exhibit): Vol. 42, #r (Mar/Apr), p. 107.

Biers, Nanette (illustrator)

Brooks Branch and Les Than is unique design project. Article/portfolio: Vol. 42, #r (Mar/Apr), p. 68.

AIGA/Aquent Survey of Design Salaries 2000 Salary survey: Vol. 42, #6 (Nov), p. 282 .

Album Cover Design

"Past Influences, Present truggles & Future Predictions. " Article: Vol. 42, #8 (Jan/Feb), p. 82.

Allegheny County Courthouse and Jail

Banners, outdoor exhibit panels and self-guided walking tour designed by Landesberg Design As ociates. (Exhibit): Vol. 42, #5 (Sep/Oct), p. 97· Alston, Kwaku (photographer)

Outdoor board created by Gabriel Diericks Radzidlo. (Exh ibit): Vol. 42, #r (Mar/Apr),

P· 105.

Tyler Blik Design

Product lin e created for Chinac. (Exhibit): Vol. 42, #5 ( ep/Oct), p. 94·

Booklet cover and spreads by Leagas Delaney.

(Exhibit): Vol. 42, #5 (Sep/Oct), p. 93 · BMW Motorcycles

Magazine ad created by Merkley ewman Harty. (Exh ibit): Vol. 42, #5 (Sep/Oct), p. 94· Borders Perrin & Norrander, Inc.

Magazine ad for Restoration Hardware.

(Exhibit): Vol. 42, #r (Mar/Apr), p. 108.

Arnold Communications

Magazine ad created for Royal Caribbean International. (Exhibit): Vol. 42, #5 (Sep/Oct), p. 102.

Atrek Contemporary Dance

Poster designed by creativi ll e. (Exhibit): Vol. 42, #5 ( ep/Oct), p. 97· Kim Baer Design Associates (design firm) Article/portfolio: Vol. 42, #z (May/June), p. 58.

Barnardo's

ewspaper ad created by Bartle Bogle Hegarty Ltd. (Exhibit): Vol. 42, #r (Mar/Apr), p. 101.

Symphony Hall Centennial Exhibit designed by Krent/Paffert Associates , Inc. (Exhibit): Vol. 42 , #8 (Jan/Feb), p. u8 .

The Buntin Group

Magazine ad produced for Pinpoint fish finders.

(Exh ibi t): Vol. 42 , #8 (Jan/Feb), p. 120.

Sales kit designed for Beaulieu Vineyards.

(Exhibit): Vol. 42, #1 (Mar/Apr), p. 107.

California Avocado Commission

Poster produced by Colby Effier & Partners.

(Exhibit): Vol. 42, #5 (Sep/Oct), p. 93· Cambridge Seven Associates, Inc.

Cambridge eve n designed, directed and produced the architecture and exhibits for The Scientific Center for The Kuwait Foundation for the Advancement of Sciences. (Exhibit): Vol. 42 , #8 (Jan/Feb) , p. II4.

Campbeii-Ewald

Two billboards for the Woodward Dream Cruise sponsored by Chevrolet. (Exhibit): Vol. 42, #8 (Jan/Feb), p. II7.

Carfax.com

" Dog" :30 TV commercial created by The Martin Agency. (Exhib it): Vol. 42, #5 (Sep/Oct), p. 102.

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Campbell -Ewald created two billboards for the Woodward Dream Cruise. (Exhibit): Vol. 42, #8 (Jan/Feb), p. II7.

Chinac

Product line created by Tyler Blik Design.

(Exhibit): Vol. 42, #5 ( ep/Oct), p. 94·

"Baseball " :30 TV commercia l for Homes.com.

(Exhibit) : Vol. 42, #5 ( ep/Oct), p. 98.

City of Los Angeles

LAX Airport permanent gateway lighting in tallation created by Seibert Perkins Design.

(Exhibit) : Vol. 42, #8 (Jan/Feb) , p. III. Clarity Coverdale Fury

Poster for The Minnesota Coa liti on Against Sexual Assault (MCA A). (Exhibit) : Vol. 42, #5 (Sep/Oct), p. 93· Colby Effler & Partners

Ad agency created a poster for the California Avocado Commission. (Exhibit): Vol. 42, #5 (Sep/Oct), p. 93· Color Predictions

Article: Vol. 42, #8 (Jan/Feb), p. 98.

Columbus Dispatch

Boston Symphony Orchestra

Buro Design

A look at advertising in The Netherlands.

Article: Vol. 42, #1 (Mar/Apr), p. II3.

Chevrolet

Citron Haligman Bedecarre Black Forest Inn

Article/portfolio: Vol. 42, #8 (Jan/Feb), p. 72.

Amsterdam : Europe's New Creative Center

Annual report designed for ProBusiness.

(Exhibit): Vol. 42, #8 (Jan/Feb), p. n8.

Article/portfolio: Vol. 42, #8 (Jan/Feb), p. 50.

Blue Nile Jewelry Aerobleu (design)

Casper Design Group

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ewspaper golf-directory page. (Ex hibit): Vol. 42, #5 (Sep/Oct), p. ror.

Communication Arts

ILlustration Annual: Vol. 42, #3 (July); Photography Annual: Vol. 42 , #4 (Aug); Interactive Design Annual6, results of CA's sixth annual Interactive Design competition: Vol. 42, #5 (Sep/Oct), p. I19; Design Annual: Vol. 42, #6 ( ov); Advertising Annual: Vol. 42, #7 (Dec).

Concept 2 Bakers

Panne Provincio packaging designed by Wink.

(Exhibit) : Vol. 42, #8 (Jan/Feb), p. II4.

Conference Reviews

"Burning the God of Gloom: The Illustration Conference in anta Fe 1999" by Matthew Porter: Vol. 42, #1 (Mar/Apr), p. r6z; "Design Ranch" by Matthew Porter: Vol. 42, #4 (Aug), p. 244; "HOW Design Conference: Fast Forward" by Anne Telford: Vol. 42, #5 (Sep/Oct), p. 40; "International Design Conference in Aspen: A Little Bit of Soul" by Moira Cullen: Vol. 42, #6 (Nov), p. 304; "ATyp 1" by Mark Eastman: Vol. 42, #8 (Jan/Feb), p. 152.

CPd

Poster designed for Keen e Taylor Theatre Productions. (Exhibit): Vol. 42, #1 (Mar/Apr), p. 102.

Cramer-Krasselt

Two billboards from a campaign created for Ace Asphalt. (Exhibit): Vol. 42, #8 (Jan/Feb) , p. II 7. creativille

Poster for Atrek Contemporary Dance.

(Exhibit): Vol. 42 , #5 ( ep/Oct), P· 97· CyberCash, Inc.

" tared At" :30 TV commercial created by Katsin/ Loeb Advertising, Inc. (Exhibit): Vol. 42 , #r (Mar/Apr), p. 105.

Design Issues

"Confessions of a Closer Siruarionisr" by Veronique Vienne: Vol. 42 , #r (Mar/Apr), p. 26; "First Thing First: A econd Look" by Carolyn McCarron: Vol. 42, #2 (May/June), p. 21; "Step One: Pur Money Where Mouth Is" by David Sterling: Vol. 42, #3 (July) , p. 200; "Parsing What's Good" by ean Kernan: Vol. 42 , #4 (Aug), p. 216; "The Death of the Past" by Cecelia Holland: Vol. 42, #5 (Sep/Ocr), p. 22 ; "A Matter of Degree : The Ph.D. in Design" by Carolyn McCarron: Vol. 42, #6 ( ov) , p. 256; "The Information Age (Accidentally) Finds a Heart ... " by Larry Keeley: Vol. 42 , # 7 (Dec), p. 226; "You Ear the oup" by Cecelia Holland: Vol. 42 , # 8 (Jan/Feb) , p. 16.

Design Technology

"From rhe Mind Into Matter" by George Fifield : Vol. 42, #r (Mar/Apr), p. 142; "The (Mis)Measure of Success" by Wendy Richmond: Vol. 42, #2 (May/June) , p. 158 ; "Taking Back Public Space"

by Gary Duehr: Vol. 42 , #3 (July), p. 172; "The Quality of Technique" by Wendy Richmond: Vol. 42, #4 (Aug) , p. 175; "The Work in the Exhibit" by Wendy Richmond: Vol. 42, # 5 (Sep/Oct) , p. 200; "The Creative Process" by Wendy Richmond: Vol. 42, #6 (Nov) , p. 230; "Concentrating on Form" by Wendy Richmond: Vol. 42, # 7 (Dec), p. 186; "Thinking Forward by Thinking Back" by David Williamson haffer: Vol. 42 , #8 (Jan/Feb), p. 134.

Dinnick & Howells (design firm)

Article/portfolio: Vol. 42, # 1 (Mar/Apr) , p. 46.

Doyle, John (advertising)

Article/portfolio: Vol. 42, #5 (Sep/Oct), p. 70.

Ec o

"Computer Companies: Grading For Green" by Alison Wald: Vol. 42, #1 (Mar/Apr), p. 109; "Profile: Wendy Jedlicka, Packaging The Forgotten Product?" by Dan Imhoff: Vol. 42, #1 (Mar/Apr) , p. III; "Hemp Over The Hump?"

by Dan Imhoff: Vol. 42 , #1 (Mar/Apr) , p. III; "Lyons in the Forest" by Dan Imhoff: Vol. 42, #r (Mar/Apr), p. 112; "Assessing Photography, Parr 1: Going Digital" by Christine Armstrong: Vol. 42, #2 (May/June) , p. 121; "Confessions from My Darkroom" by Jim Egan: Vol. 42, #2 (May/June) , p. 123; "Assessing Photography, Parr 2: Balancing Act" by Eva Anderson: Vol. 42, # 5 ( ep/Ocr) , p. 105; "Advocacy Advertising" by Darlene Trew Crist and Dan Imhoff: Vol. 42, #8 (Jan/Feb) , p. 103.

El Camino Resources International, Inc.

Annual report created by [i]e design. (Exhibit): Vol. 42, #1 (Mar/Apr), p. 98.

Fallon McEIIigott/New York

"Lawyer" :30 TV commercial created for the FX Network's "The X Show. " (Exhibit) : Vol. 42, #1 (Mar/Apr) , p. 104.

FAO Schwarz

Duffy designed their brand identity system.

(Exhibit) : Vol. 42, #8 (Jan/Feb) , p. 108.

Freelance

"Internet Marketing for Freelancers" by Maria Piscopo: Vol. 42, #1 (Mar/Apr) , p. 38; "Other C lients for Freelance Work" by Maria Piscopo: Vol. 42, #2 (May/June) , p. 34; "More Insights on the hanging Freelance cene" by Barbara Gordon: Vol. 42, #3 (Ju ly), p. 211; "Successful Pricing Tips" by Maria Pi copo: Vol. 42, #4 (Aug) , p. 2n ; "The New Innovarion-RepSrock"

by Barbara Gordon: Vol. 42, #5 (Sep/Ocr), P· 39; "Every Freelancer's Dream-Selling Your Personal Work" by Maria Piscopo : Vol. 42, #6 (Nov) , p. 274; "The Freelance cene-A Snapshot" by Barbara Gordon: Vol. 42, # 7 (Dec) , p. 236; "T he Age of Image" by Barbara Gordon: Vol. 42, #8 (Jan/Feb) , p. 22.

FX Network

"Lawyer" :30 TV commercial created by Fallon McElligorr/New York. (Exhibit) : Vol. 42, #r (Mar/Apr) , p. 104.

Duffy

Brand identity system de igned for FAO Schwarz.

(Exhibit): Vol. 42, #8 (Jan/Feb) , p. 108.

Gabriel Diericks Radzidlo

Black Forest Inn outdoor board. (Ex hibit): Vol. 42, #r (Mar/Apr), p. 105.

Duffy Design & Interactive

Article/portfolio: Vol. 42, #2 (May/June) , p. 148.

Geer Design (design firm)

Article/portfol io: Vol. 42, #5 (Sep/Ocr) , p. 50.

Goavec, Pierre-Yves (photographer)

Article/portfoli o: Vol. 42, #5 (Sep/Ocr), p. 8o.

Great Ideas on Limited Budgets

One- and two-color design projects from the U.S. and Canada: Vol. 42, #2 (May/June), p. 125 .

Solomon R . Guggenheim Museum

Graphic identity created by Real Design.

(Exhibit): Vol. 42 , #1 (Mar/Apr) , p. 98 .

Guip, Amy (photographer)

Article/portfo li o: Vol. 42 , #1 (Mar/Apr) , p. 58.

Hangers Cleaners

Newspaper ad created by Howard , Merrell & Partners. (Exhibit): Vol. 42, #5 (Sep/Ocr) , p. 101.

James Hardie Siding Products

Trade ad created by Sawyer Riley Compton.

(Exhibit): Vol. 42 , #5 (Sep/Ocr) , p. 94· Hi-Season, ltd.

Two spreads from Summer magazine. (Exhibit): Vol. 42 , #8 (Jan/Feb), p. II3.

Homes.com

"Baseball " :30 TV commercial created by Citron Haligman Bedecarre. (Exhibit) : Vol. 42, # 5 (Sep/Ocr) , p. 98.

Hotel Spaarne

Brochure designed and created by Peter choenmaker. (Exhibit): Vol. 42 , #5 (Sep/Ocr),

p. 91.

Howa Construction

Trade ad created by Razor. (Exhibit): Vol. 42, #8 (Jan/Feb) , p. 107.

Howard, Merrell & Partners

Newspaper ad created for Hangers C leaners.

(Exhibit): Vol. 42, #5 (Sep/Ocr), p. 101.

Huey/Paprocki ltd.

Peachtree Franchise Finance magazine ad.

(Exhibit): Vol. 42, #1 (Mar/Apr), p. 101.

Hyperion

Trade ad produced by THI K NEW IDEAS. (Exhibit): Vol. 42, #8 (Jan/Feb), p. 120.

Idaho AIDS Foundation

HIV poster from a campaign created by Oliver, Russell & Associates. (Exhibit): Vol. 42 , # 8 (Jan/Feb) , p. 114. [i]e design

Annual report designed for the El Camino Resources International , Inc. (Exhibit): Vol. 42, #1 (Mar/Apr), p. 98. lkea

Two :05 TV commercials, "Bubblor Cutlery'' and "Ribba Framed Picture", created by Roche Macaulay & Partners. (Exhibit) : Vol. 42 , #8 (Jan/Feb) , p. II7.

Grant Design Collaborative (design firm)

Article/portfolio: Vol. 42, #8 (Jan/Feb), p. 40.

COMMU

!CATION

ARTS

169

Index to Volume 42, March/April 2ooo-]anuary/February 2001

Journalists Union Magazine ad created by McCann-Erickson Lisbon, Portugal. (Exhibit): Vol. 42, #5

( ep/Oct), p. 98.

Katsin/Loeb Advertising, Inc.

"Stared At" :30 CyberCash, Inc. TV commercial.

(Exhib it): Vol. 42 , #r (Mar/Apr), p. ro5.

Keene Taylor Theatre Productions

Poster created by C Pd. (Exhibit): Vol. 42 , #r (Mar/Apr), p. ro2.

Kioken (interactive design firm) Article/portfolio: Vol. 42 , #r (Mar/Apr), p. 132.

Krent/Paffert Associates, Inc. The Symp hon y Hall Ce ntenni al Exhibit designed for the Boston Symphony Orchestra.

(Exhibit): Vol. 42, #8 (Jan/Feb) , p. u8 .

Lyric Opera of Chicago Commemorative poster de igned by Thirst.

(Exhibit): Vol. 42, # r (Mar/Apr), p. J08.

McCann-Erickson Lisbon Magazine ad for the Journalists Unio n .

(Exhibit): Vol. 42, #5 ( ep/Oct), p. 98.

The Madison Repertory Theater Two posters created by Lindsay, Stone & Briggs.

(Exhibit): Vol. 42, #8 (Jan/Feb), p. 108.

The Martin Agency

" Dog" :30 TV pot for Carfax.com . (Exhibit):

Landesberg Design Associates Banners, o utd oor ex hibit panels and a selfguided walking tour designed for the Allegheny County Courtho use and Jail. (Exhibi t):

Vol. 42 , #5 ( ep/Oct), p. 97· Legal Affairs "Sellin g Web Si te Design" by Don Sparkman (exce rpt from Selling Graphic Design): Vol. 42, #r (Mar/Apr), p. 170; "Negotiating £-Licenses"

By Tad Crawford: Vol. 42, #2 (May/Jun e), p. 39; "What You Sho uld Know About Insurance" by Leonard D. DuBoff: Vol. 42, #3 (July), p. 214; "Selling Yourself and Your Photography" by Chuck DeLaney: Vol. 42, #4 (Aug), p. 229; " ew Trends in 'Trade Dress"' by Leonard D. Duboff: Vol. 42, #5 (Sep/Oct), p. 34; "A re You Insured for Computer Virus Damage?" by Leonard D. DuBoff: Vol. 42 , #6 (Nov), p. 294; "Ma king and Managing Agreements, Part One"

by Lee Wilson (excerpt from The Advertising Law Guide): Vol. 42, #7 (Dec), p. 242; " Making and Managing Agreements, Part Two" by Lee Wilson (excerpt from The Advertising Law Guide): Vol. 42, #8 (Jan/Feb), p. 28.

Leagas Delaney Booklet cover and spreads for Blue Nile Jewelry.

(Exhibit): Vol. 42, #5 (Sep/Oct), p. 93· Lindsay, Stone & Briggs

Po rers designed for The Madison Repertory Theater. (Exhibit): Vol. 42, #8 (Jan/Feb), p. J08.

Lucasfilm Three outdoor posters for Episode!: The Phantom Menace created by design fi rms Studio J and Plazm Design. (Exhibit): Vol. 42, # r (Mar/Apr), p. 102.

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Article/portfolio : Vol. 42, #7 (Dec), p. 176.

Oliver, Russell & Associates HIV poster from a campaign created for the Idaho AIDS Foundation. (Exhibit): Vol. 42, #8 (Jan/Feb), p. u4.

Omatic Design ob Hill walking map created for the Nob Hill Bu iness Assoc iation . (Exhibit): Vol. 42, #8 (Jan/Feb), p. rr3. ootworld (interactive design firm)

Vol. 42 , #5 ( ep/Oct), p. ro2.

Article/portfo lio: Vol. 42, #5 (Sep/Oct), p. 191.

Martin/Williams Advertising

Opinion/Commentary "Gerry vs. Gates?: The onso lidation of the rock Image Indu try" by Michael Krigel: Vol. 42, #2 (May/June), p. 44; "Ap ple Update" by Kathleen Maher: Vol. 42 , #3 (July), p. 193; "Reinvention: Cha ll enges Create ew Opportunities for Illustrators" by Lisa L. Cyr: Vol. 42, #3 (July), p. 224; "What could J PEG 2000 mean for you?" by Kat hl een Maher: Vol. 42 , #5 ( ep/Ocr), p. 212; "Off Target: The Gherroization of Black Advertising" by The arbon Copywriter: Vol. 42, #7 (Dec), p. 214.

Print ad for ZoneTrader.com . (Ex hibit): Vol. 42, #5 ( ep/Oct), p. 97 · Mary's City of David Museum

The Kuwait Foundation for the Advancement of Sciences Cambridge Seven Associates, Inc. designed , directed and produced the architecture and exhibits for The Scientific Center. (Ex hib it): Vol. 42 , #8 (Jan/Feb), p. II4.

Ogilvylnteractive (interactive design)

Museum poster created by Raoust + Partners.

(Ex hibit): Vol. 42, #8 (Jan/Feb), p. J08.

Mauk Design (design firm)

Article/portfo li o: Vol. 42, #r (Mar/Apr), p. 78.

Meeks, Raymond (photographer)

Article/portfolio: Vol. 42, #2 (May/June), p. 68.

Merkley Newman Harty Magazine ad for BMW Motorcycles. (Ex hibit):

Vol. 42, #5 (Sep/Oct), p. 94· Mills Corporation Concord Mills retail and entertainment destination designed by Kiku Obara & Company.

(Exhibit): Vol. 42, #5 (Sep/Oct), p. 104.

The Minnesota Coalition Against Sexual Assault (MCASA) Poster created by C larity Coverda le Fury.

(Exh ibit): Vol. 42, #5 ( ep/Oct), p. 93· Minor, Wendell (illustrator)

Article/portfolio: Vol. 42, #2 (May/June), p. 88.

Moffatt/Rosentha I " Mr. T" :6o TV spot created for rhe Oregon Lottery. (Exhibit): Vol. 42, #8 (Jan/Feb), p. 120.

Motorcycle Safe Riding Project Mu ll en created an in - tore poster. (Exhibit): Vol. 42, #5 (Sep/Oct), p. 98.

Mullen In-store poster created for Motorcycle Safe Riding Project. (Exhibit): Vol. 42, #5 (Sep/Oct), p. 98. netlibrary Trade ad created by Wo rkhorse Adverri ing.

(Exh ibit): Vol. 42, #8 (Jan/Feb), p. III. Nob Hill Business Association Wa lking map d es igned by Omatic Design .

(Exhibit): Vol. 42, #8 (Jan/Feb), p. IIJ. Kiku Obata & Company The Concord M ills retail and entertainment destination designed for the Mil ls Corporation.

(Ex hibit): Vol. 42, #5 ( ep/Oct), p. 104.

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Oregon Lottery "Mr. T" :6o TV spot created by Moffart/Rosenthal.

(Exhibit): Vol. 42, #8 (Jan/Feb), p. 120.

Parada, Roberto (illustrator)

Article/portfo li o: Vo l. 42, #5 ( ep/Oct), p. 6o.

Peachtree Franchise Finance Magazine ad created by Huey/Paprocki Ltd. (Exhibit): Vol. 42, #r (Mar/Apr), p. ror.

Pennsylvania, University of

Graduate School of Fine Arrs event posters and development materials d es igned by Polite Design.

(Exhibit): Vol. 42, #5 (Sep/Oct), p. 101.

Pinpoint Magazine ad crea ted by The Buntin Group.

(Ex hibit): Vol. 42, #8 (Jan/Feb), p. 120.

Pioneers " Robert Weaver": Vol. 42, #2 (May/June), p. 106; " Helmut Krone": Vol. 42, #8 (Jan/Feb), p. 94· Pixar Animation Studios (multimedia studio)

Article/portfolio: Vol. 42, #3 (July), p. 164.

Plazm Design Three outdoor posters created with Studio J for Lucasfilm's Episode 1: The Phantom Menace.

(Exhibit): Vol. 42, #r (Ma r/Apr), p. 102.

Polite Design Events posters and development materials for the University of Pennsylvania's Graduate Schoo l of Fine Arts department. (Exhibit): Vol. 42, #5 (Sep/Oct), p. ror.

Porto, James (photographer) Article/portfolio: Vol. 42, #4 (August), p. r66.

ProBusiness

Annual report designed by Casper Design Group. (Exhibit): Vol. 42, #8 (Jan/Feb), p. u8.

Project Surefire

Public service poster created by Young & Rubicam. (Exhibit): Vol. 42, #8 (Jan/Feb), p. II 7.

Publicis in Mid America

Whirlpool business-to-business ad. (Exhibit): Vol. 42, #8 (Jan/Feb), p. 107.

Ralli Culver (design firm)

Article/portfolio: Vol. 42, #2 (May/June), p. 98.

Raoust + Partners

Poster created for Mary's City of David Museum .

(Exhibit) : Vol. 42, #8 (Jan/Feb), p. 108.

Razor

Trade ad for Howa Construction. (Exhibit): Vol. 42, #8 (Jan/Feb), p. 107.

Real Design

Graphic identity created for the Solomon R. Guggenheim Museum. (Exhibit): Vol. 42, #1 (Mar/Apr), p. 98.

Research Studios

Snowboarding catalog designed for Salomon.

(Exhibit): Vol. 42, #1 (Mar/Apr), p. 107.

Red Gold

Outdoor board designed by Young & Laramore.

(Exhibit): Vol. 42, #1 (Mar/Apr), p. I04.

Restoration Hardware

Magazine ad created by Borders Perrin & Norrander, Inc. (Exhibit): Vol. 42, #r (Mar/Apr), p. 108.

Roche Macaulay & Partners

Two :05 TV commercials for Ikea. (Exhibit): Vol. 42, #8 (Jan/Feb), p. II7.

Rodgers Townsend

Magazine ad for Southwestern Bell. (Exhibit): Vol. 42, #1 (Mar/Apr), p. 102.

Royal Caribbean International

Magazine ad created by Arnold Communications.

(Exhibit): Vol. 42, #5 (Sep/Oct), p. 102.

Rugby North America

Catalog designed by Studio T-Bone. (Exhibit): Vol. 42, #1 (Mar/Apr), p. 101.

Salary Survey

"AIGA/Aquent Survey of Design Salaries woo": Vol. 42, #6 (Nov), p. 282.

Salomon

Snowboarding catalog designed by Research Studios. (Exhibit): Vol. 42, #1 (Mar/Apr), p. 107.

Sawyer Riley Compton

Created a trade ad for James Hardie Siding Products. (Exhibit): Vol. 42, #5 (Sep/Ocr), p. 94· Schoenmaker, Peter

Created and designed the Hotel Spaarne brochure. (Exhibit): Vol. 42, #5 (Sep/Ocr), p. 91.

Seibert Perkins Design

Gateway lighting installation at the LAX Airport in the City of Los Angeles. (Exhibit): Vol. 42, #8 (Jan/Feb), p. III.

Think New Ideas

Trade ad produced for Hyperion. (Exhibit): Vol. 42, #8 (Jan/Feb) , p. 120.

Thirst

Singapore Advertising

Article: Vol. 42, #8 (Jan/Feb), p. 6o.

Southwestern Bell

Magazine ad created by Rodgers Townsend.

(Exhibit): Vol. 42, #1 (Mar/Apr), p. I02.

Stadtwerke Hannover AG

Cover and spread of the Least-Cost-Planning Report designed by Sunderdiek & Partner.

(Exhibit): Vol. 42, #8 (Jan/Feb), p. 122.

Studio J

Three outdoor posters created with Plazm Design for Lucasfilm's Episode!: The Phantom Menace.

(Exhibit): Vol. 42, #1 (Mar/Apr), p. 102.

Studio T-Bone

Two catalog spreads for Rugby North America.

(Exhibit): Vol. 42, #1 (Mar/Apr), p. 101.

Sum a

Identity designed by Summa Comunicacio.

(Exhibit): Vol. 42, #5 (Sep/Oct), p. 91.

Summa Comunicacio S.A.

Identity for Suma, a small chain of supermarkets. (Exhibit): Vol. 42, #5 (Sep/Oct), p. 91.

Summer magazine

Two spreads from the magazine, published by Hi-Season, Ltd. (Exhibit): Vol. 42, #8 (Jan/Feb), p. II3.

Sunderdiek & Partner

Cover and spread of the Least-Cost-Planning Report for tadrwerke Hannover AG. (Exhibit): Vol. 42, #8 (Jan/Feb), p. 122.

TDA Advertising & Design

Magazine ad for Thule Car Rack Systems.

(Exhibit): Vol. 42, #5 (Se p/Ocr) , p. 102.

Team One Advertising

Trade ad created for Verbind. (Exhibit): Vol. 42, #8 (Jan/Feb), p. III. Technology Reviews

"The Olympus C-2020 Z" by Kathleen Maher: Vol. 42, #1 (Mar/Apr), p. 146; "Deep Paint" by Kathleen Maher: Vol. 42, #1 (Mar/Apr), p. 152; "Digital Printers for Final Art and Commercial Output" by Barry Haynes: Vol. 42, #2 (May/June), p. r6o; "Macromedia FreeHand 9: A Flashy New Release" by Gary W. Priester: Vol. 42, #3 (July), p. 178; "Calibration of Monitors, Digital Printers and Scanners" by Barry Haynes: Vol. 42, #4 (Aug), p. 178; "Bitstream WebFont Maker"

by Gary W. Priester: Vol. 42, #5 (Sep/Ocr), p. 202; "The Big Picture: MrSID'M (Multiresolurion Seamless Image Database)" by Gary W. Priester: Vol. 42, #6 (Nov), p. 232; "Making Up for Lost Time: Adobe Illustrator 9" by Gary W. Priester: Vol. 42, #7 (Dec), p. 190; "Macromedia Flash 5: A little Flash-A Whole Lot of Substance" by Gary W. Priester: Vol. 42, #8 (Jan/Feb) , p. 138.

Commemorative poster for the Lyric Opera of Chicago. (Exhibit): Vol. 42, #1 (Mar/Apr), p. 108.

Thule Car Rack Systems

Magazine ad created by TDA Advertising & Design. (Exhibit): Vol. 42, #5 (Sep/Oct), p. 102.

THUNKdesign (interactive design firm)

Article/portfolio: Vol. 42, #8 (Jan/Feb) , p. 126.

Trendwatch

"Stock Image Trends": Vol. 42, #4 (August), p.

208; "Can Too Much Business Pur You Out of Business?": Vol. 42, #5 (Sep/Oct), p. 18; "Creative Shops Buy Printing For Their Clients": Vol. 42, #6 (Nov), p. 292; "Why Don't We Do It On the Web? ": Vol. 42, #7 (Dec), p. 208; "That Voodoo That You Do": Vol. 42, #8 (Jan/Feb) , p. 36.

Trollback & Company (interactive design firm)

Article/portfo lio: Vol. 42, #6 (Nov), p. 220.

Verbind

Trade ad created by Team One Advertising.

(Exhibit): Vol. 42, #8 (Jan/Feb) , p. III. Whirlpool

Business-to-business print ad by Publicis in Mid America. (Exhibit): Vol. 42, #8 (Jan/Feb), p. 107.

Wink

Panne Provincio packaging designed for Concept 2 Bakers. (Exhibit): Vol. 42, #8 (Jan/Feb), p. II4.

WongDoody (ad agency)

Article/portfolio: Vol. 42, #2 (May/June), p. 78.

Workhorse Advertising

Trade ad created for netLibrary. (Exhibit): Vol. 42, #8 (Jan/Feb) , p. III. Young & Laramore

Outdoor board created for Red Gold. (Exhibit): Vol. 42, #r (Mar/Apr), p. 104.

Young & Rubicam

Public service poster created for Project Surefire.

(Exhibit): Vol. 42, #8 (Jan/Feb) , p. II 7.

Zone Trader. com

Print ad created by Martin/Williams Advertising. (Exhibit): Vol. 42, #5 (Sep/Oct),

P· 97·

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

A R T S

171

Directory Featured in this issue Grant Design Collaborative 111 E. Marietta Street Canton, GA 30114 (770) 479-8280 (770) 479-4384 fax www.grantcollaborative.com

Fritz Klaetke Visual Dialogue 4 Concord Squa re Boston, MA 02118 (617) 247-3658 fritz@visualdialogue.com www.visualdialogue.com Gary Burden R. Twerk & Co. (310) 457-3768 (West Coast) (718) 218-8887 (East Coast) rtwerk@mindspring.com www. rtwerk.com

Nanette Biers Nanette Biers Illustration 123 Willow Avenue Corte Madera, CA 94925 (415) 927-1531 (415) 924-4564 fax biersillus@aol.com

Tommy Steele Capitol Records tommy.steele@capito lrecords.com www.capitolrecords.com

Represented by Morgan Gaynin Inc. 194 Third Avenue New York, NY 10003 (212) 475-0440 (212) 353-8538 fax www.morgangaynin.com

Jeri Heiden SMOG 1725 Silverlake Boulevard Los Angeles, CA 90026 (323) 668-9073 (323) 668-9075 fax ma il@smogdesign .com

Singapore Advertising

Capacitor Design Network 33 North Avenue, Suite 16 Burlington, VT 05401 (802) 658-0222 (802) 658-8822 fax www.capacitornetwork.com

Ogi lvy & Mather Singapore 1 Maritime Square, Lobby B #11 -01 World Trade Centre Singapore 099253 +65 273-8011 +65 274-2156 fax www.ogilvy.com

Jason Gnewikow info@publicinternationale.com www.publicinternationale.com

Saatchi & Saatchi Singapore 3D River Valley Road, #03-01, Singapore 239228 +65 339-4733 +65 339-3916 fax juggi@saatchi.com.sg www.saatchi.com

Jon Bernhardt Wobbly Music Charmwood Road Somerville, MA 02144 jonb@wobblymusic.com www.wobblymusic.com

Kwaku Alston

Eco

kwakualston@mediaone.net www.kwakualston.com

Eva Anderson Eva Anderson Design 207 Williams Street Providence, Rl 02906 (401) 351 -1211 (401) 351-5744 fax evaeco@mindspring.com

Represented by Art Mix 2148 Federal Ave Los Angeles, CA 90025 (310) 473-0770

Darlene Trew Crist 54 Church Lane New Kingston, Rl 02852 (401) 295-1356 (401) 295-2793 fax dtcrist@i df. net

Album Cover Design Carla Leighton Gloo Design 450 W. 15th Street, Suite 602 New York, NY 10011 (212) 989-8389 gloodesign@e rols.com www.gloodesign.com

Dan Imhoff www.simplelife.com

D. Mark Kingsley/Karen Greenberg Greenberg Kingsley 525 W. 22nd Street. No. 3E New York, NY 10011 (212) 645-7379 (212) 645-3582 fax

Exhibit The Buntin Group 1001 Hawkins Street Nashville, TN 37203 (615) 244-5720 Cambridge Seven Associates Inc. 1050 Massachusetts Avenue Cambridge, MA 02138 (617) 492 -7000 (617) 492 -7007 fax

172

J A N U A R Y /

F E B R U A R Y

2 0 0 I

Campbeii-Ewald Advertising 30400 Van Dyke Warren, Ml48093 (81 0) 574-3400 Casper Design Group, Inc. 2105 Martin Luther King Way Berkeley, CA 94704 (51 0) 549-1300 (510) 549-3600 fax www.casperdesign.com

Seibert Perkins Design Collaborative 1916 Main Street Santa Monica, CA 90405 (31 0) 664-9100 (310) 452-7180 fax www.selbertperkins.com

Cramer-Krasselt 829 N. First Avenue Phoen ix, AZ 85003 (602) 417-0600 (602) 271 -0800 fax

Stadtwerke Hannover AG Postfach 5747 lhmeplatz 2 30057 Hannover Germany (05) 11-430-2161 (05) 11-430-22024 fax info@e nercity.de www.enercity.de

Duffy NYC 233 Broadway, Woolworth Building, Suite 20 New York, NY 10279 (212) 699-9500 (212) 699-9501 fax

Summer Hi -Season Limited 81 Sukhumvit 26 Bangkok Thailand 10110 (662) 261-1433 ph/fax

Krent/Paffett Associates, Inc. 34 Farnsworth Street Boston, MA 0221 0 (617) 451-6301 (617) 451 -2983 fax www.kpainc.com

Team One Advertising 1960 E. Grand Avenue El Segundo, CA 90245 (31 0) 615-2000 (310) 322 -7565 www. teamoneadv.com

Lindsay, Stone & Briggs 100 State Street Madison, WI 53703 (608) 251-7070 (608) 251-8989 fax www.lsb .com

Think New Ideas 71 Columbia Street, Suite 600 Seattle, WA 98104 (206) 343-9000 (206) 447-2663 fax www.thinkinc.com

Moffatt/Rosenthal 133 S. Second Avenue, Suite 300 Portland, OR 97204 (503) 221-2103 (503) 221 -9730 fax www.moffattrosenthal .com

Wink 417 First Avenue N., No . 400 Minneapolis, MN 55401 (612) 630-5138 (612) 630-5157 fax wink2@kruskopfolson.com

Oliver, Russell & Associates, Inc. 202 N. Ninth Street. Suite 400 Boise, ID 83702 (208) 344-1734 (208)344-1211 fax www.oh-zone.com

Workhorse Advertising 1708 Walnut Boulder, CO 80302 (303) 444-4134 (800) 783-4152 fax www.workhorseads.com

Omatic Design 408 SW 2nd, Suite 509 Portland, OR 97204 (503) 225-1866 (503) 225-1846 fax

Young & Rubicam Chicago 233 N. Michigan, Suite 1600 Chicago, IL 60601 (312) 596-2131 (312) 596-3129 fax

Publicis in Mid America 224 S. Michigan Avenue Chicago, IL 60604 (312) 697-5700 (312) 697-5770 fax Raoust + Partners 516 Settlers Landing Road Hampton, VA 23669 (757) 723-5749 (757) 723-6090 fax www.raoust.com Roche Macaulay & Partners Advertising Inc. 22 St. Clair Avenue E., 14th floor Toronto, Ontario M4T 2S3 Canada (416) 927-9794 (416) 927-1188 fax rmp@rochemacaulay.com www.rochemacaulay.com

Technology Technology Feature THUNKdesign 2948 20th Street, Studio 103 San Francisco, CA 94110 (415) 641-5005 (415) 641-5099 fax info@thunkdesign.com www.thunkdesign .com

Design Technology David Williamson Shaffer 7 Linmoor Terrace Lexington, MA 02420

Technology Reviews

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Advertiser's Index Advertiser's Display Binder 31 Anderson Lithograph 155 Aquent 23 Clients & Profits 16 Cohen, Stewart back cover Comstock 11 Corbis Images 29 Corbis Sharpshooters 5 CoreiDRAW 10 135 Crane 137 Dickson's 149 Donside, In c . 151 Epson Graphic Inkjet 6 Epson Photo Gallery 33 Frasier Paper 37 French Paper 123 LaCie 147 Lexar Media 139 Masterfile 17 McArthur, Pete 35 Menuez, Doug 26 Miami Ad School 145 Microtek Labs, In c. 39 Potlatch Papers 141 Sappi Fine Papers 153 Sappi's ie.com 15 stone 9 Superstock 13 Syracuse University 157 Th e Stock Market 25 VCU Adcenter 22 Wausau Papers 19 Wond erfil e 125

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