jul1985

COMMUNICATION ARTS MAGAZINE Editor and designer: Richard Coyne

VOLUME 27, NUMBER 3, JULY 1985

Executive editor: Jean A. Coyne Associate editor: Dugald Stermer Advertising and production manager: Kurt Klein

The 1985 Illustration Annual: Advertising ...................... . . .

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Editorial . . . . . . . . . . . . . . . . . . . . . . . . . . .

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Institutional . . . . . . . . . . . . . . . . . . . . . . . .

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Self-promotion. . . . . . . . . . . . . . . . . . . . . .

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Production: Scott Perry Circulation manager: Nancy Hagemann Subscription: Pamella Girard, Sandra Gunther, Betty Willis Traffic: Jami al-Mansur Contributors: Tad Crawford, Byron Ferris, Mark Fulton, Barbara Gordon, Steven Heller, Larry Klein, Marty Neumeier, Rhodes Patterson, Wendy Richmond, Mill Roseman

For sale. . . . . . . . . . . . . . . . . . . . . . . . . . . . 103 Unpublished ........................ 104 Editor's column .. . .. . .. . ..... . . . . .. . 126 Index to illustrators . . . . . . . . . . . . . . . . . . 134

Communication Arts 410 Sherman Avenue

P. 0. Box 10300

Index to art directors, design firms, agencies and clients . . . . . . . . . . . . . . . . 144 Wendy Richmond . . . . . . . . . . . . . . . . . . . 148

Palo Alto, California 94303 Phone (415) 326-6040

Barbara Gordon. . . . . . . . . . . . . . . . . . . . . 152 Book reviews .. . .... . ..... . ....... . . 154

Communication Arts Magazine (ISSN 0010·3519) is published eight times a year, January/February, March/April, May/June, July, August , September/ October, November, December, by Coyne & Blanchard, Inc., 410 Sherman Avenue, Palo Alto, CA 94306.

Copyright 1985 by Coyne & Blanchard, Inc. Second class postage paid at Palo Alto, California and additional offices.

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Materials, available literature . . . . . . . . . . 158 Clubs, Conferences, Seminars ...... . .. 166

1985

ILLUSTRATION ANNUAL

The art reproduced in this annual is under prior copyright, by the artists or by contractual arrangements with their clients. It is published here under one-time publishing rights permission as stipulated in the call for entries form.

No art shown in this annual may be reproduced in any form without first obtaining the permission of the artist (addresses on page 134) and any other party who may have copyright ownership.

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ADVERTISING

Milton Glaser, illustrator/art director/designer Milton Glaser Inc., design firm Brooklyn Center for the Performing Arts at Brooklyn College , client Poster. 10 x 14 V2, pencil , colored inks and dyes , cello-tac.

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ADVERTISING

Malcolm T Liepke, illustrator Bernard Thomas, designer Zimmerman, Saks & Page, ad agency PBS-TY, client Ad for upcoming television show "Carnation Lily, Lily Rose." 18 x 24, oil.

2 Doug Johnson , illustrator Bryan Birch , art director Doug Johnson/Anne Leigh, designers Dailey and Associates, ad agency Armor All Products, client Limited edition poster. 30 x 20, dyes and gouache.

3 Rafal Olbinski, illustrator/designer/art director Papermania International , ad agency Shoshin Society, client Poster for American Peace. 12 x 16, acrylic.

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ADVERTISING

Paul Davis, illustrator/art director/designer Davis & Russek, ad agency Theatreworks USA, client "First Lady" poster celebrating the Eleanor Roosevelt centennial. 8 Y2 x 15, colored pencil on paper.

2 Alex Murawski, illustrator David Bartels, art director/designer Bartels & Carstens, Inc., ad agency Piedmont High School, client Poster for school bird calling contest. 13 x 20, ink and acrylic.

3 Abdul Mati Klarwein, illustrator Lane/Donald, art director CBS Records, client Album cover for George Duke: Rendezvous.

4 James Tughan, illustrator Herman Dyal, art director/designer Dyal & Babendure, design firm Southport Developments Company Inc., client

Ad for the Riverton condominiums. 15 x 20, pastel.

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ADVERTISING

Vivienne Flesher, illustrator Ellen Kier, art director/designer The New York Times, client Poster promoting a special section of the paper, "The World of New York." 15 x 23, pastel.

2 Bruce Wolfe , illustrator Gerald Andelin , art director Ogilvy & Mather, ad agency Southern Pacific, client Ad to promote the Olympics. 26 x 22, oil.

3 Bob Johnson , illustrator Allen R. Hicks , art director Robert J. Albo, M.D ., designer United Airlines , client Poster to advertise magic apparatus at the terminal.

21 x 26, pen and ink and colored pencils on 100 % rag paper.

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ADVERTISING

David M. Beck, illustrator/designer John Eding/Ted Bell , art directors Leo Burnett Company, ad agency Chicago Yacht Club, client Promotion for the club's entry into the 1987 America's Cup. 17 x 25, mixed media.

2 Barry E. Jackson , illustrator Brian Fox, art director Robert Biro, designer B. D. Fox Advertising , ad agency Warner Bros. Inc ., client "The Lift" poster for a movie about a haunted elevator that kills its passengers. 25 x 39, acrylic, airbrush and prisma pencil.

3 Michael Gonzalez, illustrator Lane/ Donald, art director/designer CBS Records, client Album cover. Pastel and airbrush .

4 Malcolm T Liepke, illustrator Philip Sussman , designer Limited Editions Inc ., design firm James River Paper Company, client Poster to advertise paper used for pastels .

10 x 16, pastel.

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ADVERTISING

Brad Holland , illustrator Steve Sandoz/Keith Campbell , art directors John Brown & Partners, coordinator Give Peace A Dance, client Poster headline: America 's Next Step Is Up To You .

11 % x 15 1/2. acrylic.

2 Teresa Fasolino, illustrator Milton Glaser, art director Milton Glaser Inc .. design firm Grand Union Supermarkets, client Poster for interior of market. 50 x 40, acrylic .

3 (series) Robert Giusti , illustrator Norman Eaglestone, art director The Agency, ad agency Barclays Bank, client Ad headlines : Beware of Cheap Imitations and The Eagle Flies Alone. 20 x 15, acrylic on canvas .

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ADVERTISING

Gary Kelley, illustrator Jim Borcherdt, art director Tony Luetkehans/Gary Kelley, designers D'Arcy-MacManus & Masius, ad agency Hellman Assoc iates, design firm Anheuser-Busch , Inc ., client Poster promoting black music stars tour sponsored by Michelob. 22 x 32 , pastel.

2 John Hom, illustrator/designer Philip Hays, art director World Animation Festival, Inc., client Poster. 23 % x 36, acrylic , gouache and dyes.

3 Marshall Arisman , illust rator Roy Kohara/Peter Shea , art directors John O'Brien , designer Capitol Records, client Poster for new album , April Wine, Animal Grace.

60 x 60, oil on canvas .

4 Gary Meyer, illustrator Tom Balchunas. art director/designer Young & Rubicam New York. ad agency Merrill Lynch Realty, client Trade ad . 30 x 40, gouache .

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ADVERTISING

James McMullan , illustrator/designer Ivan Chermayeff, art director Chermayeff & Geismar Associates, design firm Mobil Oil , client Poster for Masterpiece theatre "The Jewel in the Crown ."

12 x 20, watercolor on paper.

2 Curt DOty, illustrator Philip Hays, art director The World Hunger Project, client Poster " End Hunger." 24 x 36, acrylic .

3 R. 0 . Blechman, illustrator Thomas E. Williams, art director Thomas E. Williams/R . 0 . Blechman, designers CBS Print Advertising & Promotion , design firm CBS Entertainment, client Ad in Tournament of Roses program book. 12 x 9, pen and ink.

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ADVERTISING

Gary Meyer, illustrator Rick Albert, art director Rick Albert/Gary Meyer, designers Design Projects, design firm Film Ventures International, client One-sheet poster for movie "Mutant." What happens as a result of dangerous chemical leak. 30 x 40, gouache.

2 Paul Davis , illustrator/art director/designer Paul Davis Studio, design firm Emanuel Azenberg/Broadway for Bradley, clients Poster. 18 x 26 , acrylic on illustration board.

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Steve Pietszch , illustrator Diana McKnight, art director/designer The Richards Group, ad agency Richards Brock Miller Mitchell & Associates , design firm The Dallas Symphony, client Commemorative poster. 20 x 30, acrylic .

4 Pete Mueller, illustrator Cheryl Watson , art director Dayton Hudson Department Store Company, agency/client Poster and ad for spring sale. 18 x 24 , mixed media.

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ADVERTISING

Donald Keene, illustrator/designer David Mocarski, art director Pasadena Playhouse , client Poster headline: A Tradition Comes Home. 24 x 36, acrylic.

2 Leonard E. Morgan , illustrator Michael V Phillips, art director/designer Frank J. Corbett, Inc ., ad agency Westwood Pharmaceuticals, client Ad headline: It's amazing what some people think feet can do.

Call outs indicate that, in ancient Chinese "Science of Reflexology," reflex points within the feet correspond to other body areas. Ad for antifungal cream . 14 x 18, airbrush, designer's gouache and Dr. Martin 's dyes.

3 John Martin, illustrator Paul Grissom, art director/designer McGovern and Grissom Creative Services, ad agency TV Guide, client Trade ad aimed at ad agencies to show magazine is read repeatedly during the week. 27 x 20, acrylic.

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ADVERTISING

Mark Chickinelli , illustrator Chet Sailor, art director Grant-Jacoby, Inc ., ad agency Hellman Associates, design firm Gallery Group of Hotels /Chicago, cl ient Ad to show they offer complete convention and business meeting facilities . 19 Y2 x 30, acrylic .

2 Milton Glaser, illustrator/art director/designer Milton Glaser Inc., design firm Elaine Benson Gallery, client Poster for the benefit of Animal Rescue Fund of the Hamptons (ARF). 24 x 18, marker, colored inks and dyes, tempera.

BOOK 3 (series) John Collier, illustrator Michael Mendelsohn , art director The Franklin Library, client Illustrations from "The Optimist's Daughter" by Eudora Welty. 12 x 18 , monoprint.

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BOOK 1 (series) Dagmar Frinta, illustrator Michael Mendelsohn , art director The Franklin Library, client Illustrations from Eight Tales by Joseph Conrad .

6 1/2 x 11, mixed media.

2 Roberto Innocenti, illustrator Etienne Delessert, art director Rita Marshall , designer Ann Redpath , editor Creative Education , client Illustration from Rose Blanche, a child experiences war without understanding it. 15 114 x 8 V2, watercolor and pencil.

3 Will iam V Cigliano, illustrator Linda Fitzgibbons, art director MacDougal Littel & Co., client Selections by various authors. This illustration is for "The Raven " by Edgar Allen Poe. 13 x 10, oil and acrylic on board .

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BOOK

Robert Crawford, illustrator Joseph Montebello, art director/designer Harper & Row Publishers, Inc ., client Cover illustration for 11/ywhacker, a book about an Austral ian con man and story teller. 22 x 15, acrylic on canvas .

2 James Marsh , illustrator/designer Judith Loeser, art director Random House, Inc ., cl ient Cover illustration for The Sting of Death. 16 x 20, acrylic on canvas board.

3 James Marsh , illustrator/designer Stephen Abis, art director Granada Publishing , client 5

Cover illustration for The Disaster Area dealing with man 's inward and outward struggles. 16 x 20, acrylic on canvas board .

4 Ken Joudrey, illustrator Peter Schaefer, art director International Polygonics Ltd ., client Cover illustration for Cat & Mouse, mystery. 14 x 9, oil.

5 Brad Holland, illustrator Louise Fili , art director/designer Pantheon Books , Inc., client Cover illustration for 1985, What Happens After Big Brother Dies? by Gyorgy Dalos. 9 % x 14 %, acrylic .

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BOOK 1 (series) Judy Pedersen , illustrator Andrew Kner, art director/designer R C Publications , client Book jackets for Print Casebooks 6, packaging , environmental graphics, exhibition design .

7 x 7, pastel.

2 Frank K. Morris , illustrator Laura Glaser, art director Bantam Books, client First book of science fiction trilogy Homeworld.

High-ranking scientist of an elite social class discovers oppression and injustice in an idealistic society. He becomes the leader of a revolt against his own kind . 30 x 40, acrylic .

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BOOK

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Steve Guarnaccia, illustrator/designer Joseph Montebello, art director Harper & Row Publishers, Inc. , client Book cover. 5 3Js x 8 1/4 , watercolor.

2 Joseph Chiodo, illustrator Bruce Jones, art director Bruce Jones Associates , client Cover il lustration for horror comic titled Twisted Tales. 24 x 22, oil on canvas.

3 Seymour Chwast, illustrator/designer Pushpin Lubalin Peckolick, design firm Doubleday, client Cover Happy Birthday Bach. 15 x 20, acrylics and color pencil.

4 Stasys Eidrigevicius, illustrator Etienne Delessert , art director Rita Marshall , designer Ann Redpath , editor Creative Education , cl ient Illustration from Snow Queen. 5 % x 7 %, watercolor and pencil.

5 Robert Crawford , ill ustrator Greg Wilkin, art director Susan Bissett , designer New American Library, client 2

Main Street by Sinc lair Lewis. 16 x 12, acrylic on canvas.

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EDITORIAL

Katherine Mahoney, illustrator Susan Shepherd, art director I designer Purchasing Magazine, client Article: The Economic Recovery: Can it Withstand the Turning Tide? 9 1/4 x 12, oil on canvas.

2 Andrzej Dudzinski , illustrator Wayne Fitzpatrick, art director/designer Science 85, client Pacemakers : Going to the Dogs. 18 x 13, mixed media.

3 Dimitrios Bastas, illustrator Eloise Vega, art director Andrea DiBenedetto, designer Medical Economics , cl ient " Ethical Dilemma." What a young girl told the doctor-author could save an accused rapist from prison , but did patient confidentiality tie his hands? 18 x 22 , colored pencil , acrylic , graphite.

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EDITORIAL

James McMullan, illustrator/designer Tom Bentkowski , art director Time, client Article on Los Angeles , " In Search of the Angels."

11 x 4 Y2, watercolor on paper.

2 (series) Peter de Seve, illustrator Margaret Ottosen/Ellen Blissman, art directors Money, client Article: Tales from the Shelter Shocked, wherein the limited partners are rewarded with unlimited woes. 14 x 11, 12 112 x 12, 12 112 x 14, 12 1/2 x 12 112, watercolor and ink.

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EDITORIAL

Brad Holland, illustrator Art Neimi , art director/designer Quest, client Cover "The Ageless Power of Mother Goose." 13 x 17, acrylic .

2 Eraldo Carugati, illustrator Nancy Butkus , art director Janet Waegel , designer Manhattan, Inc., client Profile of Andy Warhol as a businessman , 14 x 20, gouache.

3 Brad Holland, illustrator Tom Staebler, art director Kerig Pope, designer Playboy, client "Cocaine" a special report. The world knows that this glamorous drug has turned mean-but only a handful of people know why.

12 x 17, acrylic .

4 (series) Guy Billout, illustrator Judy Garlan , art director The Atlantic Monthly, client Full page given to the artist to develop any idea of his choice.

"Afternoon ," " Persistence," " Drought" and " Perfection ism ."

Various sizes, watercolor.

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EDITORIAL

Terry Widener. illustrator Diane Marince/Mike Fuld, art directors Walker-Fuld & Assoc iates, Inc., ad agency American Way/American Airlines, client Article entitled " Pressure Points " dealing with pressures on hockey goalies, football kickers and relief pitchers. 18 x 24 , oil on canvas.

2 Frances Jetter, illustrator Tina Adamek, art director Postgraduate Medicine/McGraw Hill Publ ications, client Article " Benign prostatic hyperplasia: Urinary hesitancy and urgency as perceived by the patient." 12 x 12V2 . linocut, printed on colored papers with pastel.

3 Jerzy Kolacz, illustrator Steve Manley, art director/designer Overleaf Design Ltd ., design firm Canadian Business, client "The Big Pull ," article about firing a top-level executive. 18 1/2 x 14 %. oil.

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EDITORIAL

Steven Guarnaccia, illustrator Ronn Campisi, art director/designer The Boston Globe Magazine, client Article about a journalist move to Washington . " Washington is a circus ." 4 Vs x 5 V2, watercolor.

2 Douglas Smith , illustrator John Harold, art director/designer Ultrasport, client Fiction , "The Choices of Men ." 18 1/ 2 x 12 %, scratchboard and watercolor.

3 Douglas Smith , illustrator Hans Teensma, art director/designer New England Monthly, client "The Electric Ocean ." Will Nova Scotia's tidal power plant change the face of the New England coast?

9 % x 13 1/2, scratchboard and watercolor.

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EDITORIAL

Catherine Bleck, illustrator James Noel Smith , art director Westward/ Dallas Times Herald , cl ient Cover illustration for article on David Crockett, ''The Man Behind the Myth ." 9 112 x 8 % , scratchboard.

2 Robert Meganck, illustrator Robert Meganck/Meredith Davis, art directors Communication Design , Inc ., design firm Clue, client Cover illustration for magazine contain ing an interview with Philip Johnson. 11 x 17, gouache.

3 Alexander Hunter, illustrator/designer Jane Palecek, art director The Wash ington Times, client Article on the plight of Soviet dissidents, "Stalin Must Still Be Smiling." 12 112 x 12 112, mixed media.

4 Jeffrey Smith , illustrator Thomas P Ru is, art director New York Sunday News Magazine, client Cover illustration for article "Who Killed John Belushi?"

9 Ve x 11112, watercolor and gouache.

5 Robert Heindel , illustrator Harvey Grut, art director Sports Illustrated, client Art icle: In the Water, In the Air, in L.A. 30 x 25, oil and pastel on canvas.

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EDITORIAL 1 (series) Carol Wald, illustrator Marilyn Rose, art director/designer Nautical Quarterly, client Article on Alain Gerbault, "The Hermit of the Sea." Various sizes, oil painted photo montage.

2 Frants Kantor, illustrator Stephen Costello, art director Douglas Finley, designer Australian Penthouse, client A look at the business of balding men , " Losing lt."

141/s x 13 %, watercolor and pencil.

3 Jerzy Kolacz, illustrator Ursula Kaiser, art director Jacques Pilon, designer Comac Communications, design firm Homemaker's Magazine, client Article "Are Schools Brain Antagonistic? " Do schools go directly against the way the brain works?

10 1/2 x ? V2, mixed media.

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EDITORIAL

Dugald Stermer, illustrator/designer Yukari Lee, art director Barbara Cady, editor Flowers&, client Magazine cover. 15 x 20, pencil and watercolor on Arches paper.

2 Buddy Hickerson , illustrator James Noel Smith, art director Westward/Dallas Times Herald, client Article about fun things to do in Dallas during the Republican convention, " D Things To Do." 17 % x 19, colored pencil.

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3 Jerzy Kolacz, illustrator Steve Manley, art director/designer Overleaf Design Ltd., design firm Canadian Business, client An ex-director's wry memoir of boardroom desperation , " Down the Drain with Hopeless Inc." 16 x 20, oil.

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EDITORIAL

Robert Grossman , illustrator Veronique Vienne, art director/designer West/San Jose Mercury News , client Convention special cover. 15 x 20, watercolor.

2 Anita Kunz, illustrator Tom Staebler, art director Kerig Pope, designer Playboy, client Fiction , "The Witches of Eastwick."

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3 C. F. Payne, illustrator Ramiro Ramirez, art director Westward/Dallas Times Herald , client Illustration for story of a man 's foot problems, "Purple Toes." 11 x 8 %, mixed media.

4 Buddy Hickerson, illustrator James Noel Smith, art director Westward/Dallas Times Herald, client

Article "The Making of a Drive-In President."

12 x 17% , colored pencil.

5 Bonnie Timmons, illustrator/designer David Miller, art director The Denver Post, client Excerpt from "Wired: The Short Life and Fast Times of John Belushi." Headline: John Belushi on the road to nowhere. 7 x 11, crayon and pastel.

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EDITORIAL

Lauren Uram , illustrator Amy Gottlieb, art director Video Magazine , client Illustration of Peter Lorre accompanies an article on his career, " Lorre a Melodrama." 10 x 14, ripped paper.

2 Brian Ajhar, illustrator Margaret Ottosen/Ellen Blissman , art directors Money, client " Everything Has Its (Lower) Price ." Knowing when and how to haggle can pay off in discounts and dividends. 36 x 18, watercolor and ink .

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Robert Giusti , illustrator Thea Kouvatsos , art director Playboy, client Art icle " Redefining Smart " by William F Buckley, Jr. 10 x 12, acrylic on board .

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EDITORIAL

Denise Chapman , illustrator Matthew Drace, art director/designer D Magazine, client Article on holiday help. 29 x 9, oil pastels, colored pencil.

2 Tom Dolphens, illustrator/designer Bill Sikes, art director Kansas City Star, client "The resurrection of Linus." 18 x 20, pen , ink and watercolor.

3 Anita Kunz, illustrator Greg Paul , art director/designer Sunshine/The Florida News/Sun Sentinel , client Article describing procedures following a nuclear holocaust in Florida, " Lost Weekend ." 10 x 12, watercolor and gouache.

4 James Endicott, illustrator Mike Shenon , art director Mike Shenon Design , design firm Stanford Medicine, client "Phobias." 13% x 10 %, watercolor.

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EDITORIAL

Ralph Giguere , illustrator Judy Garlan , art director The Atlantic Monthly, client Illustration for a short story " Lily." 65/1 6 x 65 /16 , pencil.

2 Jerzy Kolacz, illustrator Ursula Kaiser, art director Jane Francis, designer Comac Commun icat ions, design firm Homemaker's Magazine, cl ient "Villain Takes All ." 10 Y2 x ? Y2, mixed media.

3 Matt Mahurin , illustrator Louise Kollenbaum, art director Dian-Aziza Ooka, designer Mother Jones, client "M . M.: Portrait of An Artist As A Young Man ." 8 x 10, oil paints on a photograph .

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EDITORIAL

James E. Tennison , illustrator Hilber Nelson , art director Discipleship Journal , client "Life-Giving Touch," article about Jesus bringing a girl back to life. 18 x 24 , oil on canvas .

2 Ned Seidler, illustrator Jan Adkins, art director National Geographic, client Article on soil. 21 x 21 , acrylic .

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Peter de Seve, illustrator Steve Duckett , art director Gary Bernloehr, designer Florida Trend , client " New Suitors Court the Elite Patrons of Private Banking" article on the extremes of personal banking. 15 1J4 x 20%, watercolor

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EDITORIAL

Marc Rosenthal , illustrator Margery Peters, art director Joan Hoffman , designer Fortune, client Article "The Case for Managing by the Numbers," thou shalt achieve the earnings to which thou committed thyself. 7 Y2 x 9 Y2, watercolor, ink and pencil.

2 Sandra Filippucci, illustrator Robert Hirsch, art director Qui Magazine , client Article about improvisational creativity of Mardi Gras participants. 11 x 14, pastel/collage.

3 Anita Kunz, illustrator Gilvrie Misstear, art director/designer The London Sunday Times, client One of a series of articles, "The ABC Diet & Body Plan."

A guide to slimming . 10 x 12, watercolor and gouache.

4 Bonnie Timmons, illustrator/designer David Miller, art director The Denver Post, client

Article on the Ku Klux Klan. 7 Y2 x 11 , scratchboard .

5 Nigel Buchanan , illustrator Stephen Costello, art director/designer Austral ian Penthouse , cl ient The questionable ethics of some sections of the corporate security industry are turning into the bug-bear of Austral ian business, "The Insecurity Industry." 175116 x 123/,6, gouache, airbrushed.

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EDITORIAL

Peter de Seve, illustrator Bill Jensen , art director/designer Digital Review, client "Getting a Foot in the Door" artic le about job interviews.

8 Y2 x 11 %, watercolor.

2 An ita Kunz, illustrator John Twohey, art director/designer The Chicago Tribune, client Sunday magazine cover for an article about the perfume industry "Seductive Fragrances." 10112 x 11, watercolor and gouache .

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Bill Vuksanovich , illustrator Richard Whittington , art director The Texas Humanist, client Article " Extending the Family, From Entrapment to Embrace."

35 X 29Y2, oil.

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EDITORIAL 1 (series) Richard Sparks, illustrator Harvey Grut, art director Richard Warner, designer Sports Illustrated, client Article on Pat Ewing . Various sizes, oil on board.

2 Gene Garbowski, illustrator /designer Jane Palecek, art director The Wash ington Times, client Article " People are Robbing Sacred Indian Grave Mounds in America." 10 112 x 12 1/2, Dr. Martin's concentrated watercolor, airbrush .

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EDITORIAL 1 (series) Bruce Wolfe , illustrator Tom Staebler, art director Kerig Pope, designer Playboy, client Fiction "Julius Caesar & The Werewolf." 17 x 22, 25 x 21 , oil.

2 Rafal Olbinski , illustrator Alice Degenhardt, art director Creative Living, client Article "The New Breed of Entrepreneur." 12 x 16, acrylic .

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EDITORIAL

Marvin Mattelson , illustrator Don McCarten , art director Walter Bernard/Milton Glaser, designers/design firm U.S. News & World Report, client Cover, "The Marxist World , Lure of Capitalism."

9 x 9, acrylic .

2 Chuck Wimmer, illustrator/designer Belinda Wilson , editor Dental Management, client Art icle "Answering Dental Insurance Companies' Queries." 9% x 13 114. luma dyes and collage.

3 Burt Silverman, illustrator Irene Ramp, art director Time , client Cover painting of President Chun Doo Hwan of South Korea. 14 x 20, oil on wood panel.

4 Brad Holland, illustrator Louise Kollenbaum , art director Dian-Aziza Ooka, designer Mother Jones , client "Equitorial Zone" used with a quote from the illustrator: "We had just conquered Grenada and were dreaming about seizing Cuba . . if the U.S. insisted on being the cop on every street corner in the world, it would ultimately discover how many street corners the world has."

11 1/2 x 15 1/2, acrylic.

5 John D. Dawson . illustrator Howard E. Paine , art director National Geographic , client Article on ants. 23 x 19, acrylic

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EDITORIAL

Anita Kunz, illustrator Steve Bialer, art director/designer Pacific Northwest, client Author Frank Herbert, "Lights, Camera, Dune!"

8 V2 x 11 , watercolor and gouache.

2 (series) Seymour Chwast, illustrator/designer Hans-Georg Pospischil, art director Pushpin Lubalin Peckolick, design firm Frankfurter Allgemeine Magazin, client Computer article, "Oh , my PC.s." 18 x 12, pen, ink and cello-tac.

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EDITORIAL

Ken Joudrey, illustrator Mare Earley, art director Fairchild Publications/Home Furnishing Department, The Weekly, client Article on Atari president Jack Tramiel. 18 x 25, oil.

2 Greg Spalenka, illustrator/designer Mariam Smith , art director Newsday, client Illustration for "A Father Found," a father and son relationship on the eve of death . 12 x 13112, oil and acrylic .

3 Peter de Seve, illustrator James Walsh , art director Emergency Medicine, client " Insulin Dependent Diabetes " the logic and logistics of control. 17 114 x 12, watercolor.

4 Ramon Gonzalez Teja, illustrator/art director/designer Diario-16, client 5

Cover illustration featuring an article written by King Juan Carlos I of Spain about the Spanish transition to democracy. 18 x 25, ink with airbrush and colored pencils.

5 Jerzy Kolacz, illustrator Steve Manley, art director/designer Overleaf Design Ltd., design firm Canadian Business, cl ient " When Love Walks In " article about the effects of clandestine relationships in the office. 15 x 20, oil.

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EDITORIAL

Alexander Hunter, illustrator/designer Jane Palecek, art director The Washington Times, client "The Time to Hang Tough " article on President Reagan 's hawkish attitude. 10% x 18 V2, pencil and ink.

2 Carolyn Gowdy, illustrator Jerelle Kraus, art director/designer The New York Times, client "America in the Age of Enlitenment" (sic) article outlines the disintegration of substance in certain American values , "Liteness as opposed to substance." 11 Ys x 7, ink.

3 Douglas Smith , illustrator Michael Valenti , art director/designer Science Digest, client " Any more at home like you?" science fiction about a young man from a faraway planet. 9 % x 13 %, scratchboard.

2

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Communication Arts 75

76

Illustration Annua/1985

2

EDITORIAL

Greg Spalenka, illustrator/designer Laura Lamar/Deborah Stairs, art directors San Francisco Focus, client "The Garbageman's Daughter." 18 x 30, oil and acrylic .

2 Cathy Hull, illustrator Skip Williamson, art director Consumers Digest, client "Wild Insurance." 11 x 11, pencil , airbrush, collage.

3 Blair Drawson, illustrator Tom Staebler, art director Kerig Pope, designer Playboy, client Fiction "A Gift of the Gods." 16 x 13, watercolor.

3

Communication Arts 77

EDITORIAL

Brad Holland, illustrator Walter Herdig , art editor Graphis, client Magazine cover. 9 x 12, acrylic .

2 Jeffrey Smith , illustrator Ronda Kass, art director Forbes, client Cover: How the Wizards Get Rich Even if You Don 't.

6 % x 9, watercolor.

3 John Zielinski, illustrator Roy Moody, art director Consumers Digest, client Article: Attack of the hidden salt !

12 x 15, colored pencil and vinyl paint.

4 Kinuko Y Craft , illustrator Tom Staebler, art director Bruce Hansen , designer Playboy, client Article: The Education of Reggie Smith . 12 x 18, watercolor.

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Illustration Annual 1985

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Communication Arts 79

80

Illustration Annual 1985

2

EDITORIAL 1 (series) Geoffrey Moss, illustrator Hulon 0 . Noe, art director Steve Phillips, designer Steve Phillips Design , Inc., design firm Changing Times, client " Investors, some changes just for you " and "The New Tax Law, do you win or lose?"

2 Peter de Seve, illustrator James Walsh , art director Emergency Medicine, client "Overlooked Anatomy, " doctor's failure to examine a boy 's genitals. 15 % x 14 Y2, watercolor.

3 Charles Reid, illustrator Gary Gretter, art director/designer Sports Afield, client

"September's Song ." 22 x 20, watercolor.

3

Communication Arts 81

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82

Illustration Annual 1985

2

EDITORIAL 1 (series) Todd Lockwood , illustrator/designer Steve Frye/Brian Larkowski , art directors CommTek Publishing , Inc ., client Cover illustrations for Orbit, a program guide for owners of satellite dishes. 14 x 14, mixed media.

2 Ward Schumaker, illustrator Veronique Vienne, art director California Living Magazine, client " Beak Deal." 11 x 13 114, pencil.

3 Douglas Smith , illustrator Ronn Campisi , art director/designer The Boston Globe Magazine , client "The spies who came in from the coast."

14 112 x 11 1/4, scratchboard .

3

Communication Arts

83

INSTITUTIONAL

Marvin Mattelson , illustrator Rudy Hoglund , art director Susan Skoorka, designer Time Inc., client Calendar page illustration . 11 x 14, acrylic.

2 Ted Wright, illustrator/designer Tony Taylor, art director Maritz, Inc ., design firm American Optical Corp., client Print dealing with the art of vision . 17 x 25, oil wash and transfertechs.

3 Dugald Stermer, illustrator Jerry Nelson/Mark Daspit , art directors/designers Hinton & Steel , Inc ., ad agency Justus Log Homes, client Brochure cover. 12 x 12, watercolor and penc il on Arches paper.

4 Braldt Braids, illustrator/designer Ed Hamilton , art director The Design Schools/Art Institute of Dallas, client Cover for school brochure . 11 x 15, oil on masonite panel.

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!1/ustration Annua/1985

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Communication Arts 85

INSTITUTIONAL

Guy Billout, illustrator Peter Deutsch , art director Mark Ulrich , designer Anthony Russell , Inc. , design firm AT&T, client Company magazine article, "Getting There From Here."

7 V2 x 10, ink and watercolor.

2 Barbara Brice, illustrator Blake Parkman, art director/designer TW & Associates, design firm Clemson World, client School magazine, "Science Joins Battle of the Bulge." 13 x 16 V2, pastels .

3 Mark Ulrich , illustrator/designer Anthony Russell, art director Anthony Russell, Inc ., design firm Squibb Corporation , client Interview with Gianni Versace in Squibbline. 9 x 12, mixed media.

4 (series) Jack Unruh , illustrator Steve Miller, art director/designer Richards Brock Miller Mitchell , design firm Lomas Nettleton Mortgage Investors, client Annual report. Comparison of the Orwell vision and the real1984 .

7 x 7, ink and watercolor.

3

2

86

Illustration Annual 1985

4

Communication Arts 87

INSTITUTIONAL

Geoffrey Moss, illustrator Peter Deutsch , art director Mark Ulrich , designer Anthony Russell , Inc., design firm AT&T, cl ient Company magazine article, " Beyond One's Nose ." ? V2 x 10, watercolor and litho pencil.

2 (series) Scott Reynolds, illustrator Jeffery Leder, art director/designer Leder Design Assoc ., design firm The Barrick Group Inc ., client Brochure illustrations: "The Web," "The Lobby " and "The Flat Iron Building ." 13 x 17, pastel.

2

88

Illustration Annual 1985

Communication Arts 89

INSTITUTIONAL

Nancy Lawton , illustrator Bennett Robinson , art director/designer Corporate Graph ics Inc ., design firm H J Heinz Company, client Annual report. Portrait. 22 x 28, graphite.

2 Connie Connally, illustrator Dick Thomas, art director Tracy-Locke/BBDO Inc., ad agency The Dallas Opera, cl ient La Traviata poster for season 's subscribers. 25 % x 32114 , pastel and torn paper.

3

Braldt Braids, illustrator Debbie Lawrence / Lauren Barnes, art directors J. Walter Thompson U.S.A. , ad agency Chevron , cl ient 14 x 18, oil on masonite panel.

4 Alan Caber, illustrator Peter Deutsch , art director Mark Ulrich , designer Anthony Russell , Inc ., design firm AT&T, cl ient Company magazine article, " Eyes and Ears on Others." ? V2 x 10, mixed media.

90

Illustration Annual /985

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Illustration Annua/1985

INSTITUTIONAL 1 (series) Frank A Steiner, illustrator Bill Heuer, art director Maritz, Inc. , design firm General Motors, client Limited edition prints sent to service technicians as part of a motivational program to increase productivity and promote pride in their craft. 16 x 22 , oil on canvas .

2 (series) Malcolm T Liepke, illustrator Paul Harris/Warren Friedman, art directors Guttman & Sims Design Group Inc ., design firm Bendel 's Fabrics, client Annual report paintings of the garment dist rict. 28 x 24 , 12 x 16 and 42 x 38, oil.

Communication Arts

93

SELF-PROMOTION

Marilyn Montgomery, illustrator/designer Direct mail post card . Self-portrait at six years of age. 24 x 30, oil.

2 Gary Kelley, illustrator/designer Lyle Miller, art director Hellman Associates , design firm The Dallas Illustrators, client Mailer for meeting . 22 x 22, pastel.

3 Ray Vella , illustrator/designer Personalized logo. 5 x 6 1/4, brush and India ink.

4 Edward Sorel , illustrator Bennett Robinson , art director/designer Corporate Graphics Inc. , design firm Mead Paper Corporation , client Paper company insert. 19 x 26, pen and ink.

2

3

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Illustration Annua/1985

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Communication Arts 95

2

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Illustration Annua/1985

3

SELF-PROMOTION

Linda Montgomery, illustrator/designer Kathleen C. Howell , art director Harry Hoffman & Sons Printing , client August calendar page for printing company. 15 x 11 , pastel.

2 Michel Guire Vaka, illustrator David Bartels, art director/designer Bartels & Carstens, Inc ., ad agency Pallas Photo Labs, Inc ., client Poster for the eighth annual C-Print spectacular. 17 x 11 , ink and dyes.

3 Bill James, illustrator

19 V2 x 25, pastel.

4 Susi Kilgore, illustrator

23 V2 x 15 V2, oil.

4

Communication Arts 97

SELF-PROMOTION

Ralph Giguere, illustrator/art director Business card illustration .

11 % x 13 Va, pencil.

2 Kam Mak, illustrator Bill Kobasz/Richard Wilde, art directors/ designers School of Visual Arts Press, Ltd., ad agency I design firm School of Visual Arts, client Competition poster "Apartments For Rent."

Oil on wood.

3 Brenda J. Clark, illustrator/designer Robert L. Jones, art director Poster for graph ic design and illustration.

8 x 10, acrylic .

4 Rob Colvin , illustrator/art director 13 x 16, acrylic on paper.

5 Michael Paraskevas, illustrator Marshall Arisman , art director Self-promotion card, "1939," dealing with cabaret life in Germany. Oil on board.

98

Illustration Annua/1985

2

3

4

5

Communication Arts 99

SELF-PROMOTION

Bill Nelson , illustrator/art director 7 1/ s x 12, colored pencil on charcoal paper.

2 Greg Moraes , illustrator/art director Promotional mailer. 23 x 12, gouache and pastels on mounted fabric .

3 Alex Murawski , illustrator David Bartels , art director/designer Bartels & Carstens, Inc., ad agency Bruce Bendinger/April Fool Film Festival , client Poster announcement. 12 x 16, acrylic and ink on acetate.

4 Nancy R. McMillan , illustrator/art director " Discovery." 14 x 14 , acrylic .

5 Michael Garland , illustrator / art director " Hawthorne Afternoon ." 24 x 20, oil.

2

100

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4

5

Communication Arts

101

102

Illustration Annua/1985

2

SELF-PROMOTION

Teresa Woodward, illustrator Craig Butler, art director The Los Angeles Workbook, client Divider page, color theme " Flesh ." 12 x 16, oil on canvas.

FOR SALE

2 Pamela Paparone, illustrator Hallmark Cards, Inc ., cl ient 4 x 5 1/2, acrylic.

3 Kent Will iams, illustrator Limited edition print, " Horn and Halo." 20 1J4 x 13 Y2, oil.

3

Communication A rts

103

FOR SALE

Malcolm T Liepke, illustrator Ed Bailey-Mershon , art director The Bradford Exchange, design firm/client Painting to be used on a limited edition of plates.

9 x 12, oil.

2 Jill Walsh , illustrator Hallmark Cards, Inc ., client 5 Va x 4 7 hs, acrylic .

UNPUBLISHED 3 Salvador Bru , illustrator/art director/designer Bru Associates , Inc ., design firm Westland Printers, client Calendar illustration of "George Wash ington and the Obelisk " approved, but later censored.

22 x 30, gouache and colored pencils. © Salvador Bru 1985

2

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Communication Arts

105

2

106

Illustration Annua/1985

3

UNPUBLISHED

Gary Head, illustrator Elvis Costello portrait. 12 x 16, oil. © Gary Head 1985

2 Marla Tarbox, illustrator Personal work, Lindberg Jr. kidnapping .

20 x 12, acrylic. © Marla Tarbox 1985

3 Quang Ho, illustrator 13 x 16 V2, acrylic . © Quang Ho 1985

4 Bill Vuksanovich , illustrator 40 x 30, pencil. © Bill Vuksanovich 1985

4

Communication Arts

107

UNPUBLISHED

Mark Hess, illustrator Margery Peters, art director Unpublished Fortune illustration " Living in the Shadow of Industry." 17 x 22 , acrylic . © Mark Hess 1985

2 Michael Miller Yu , illustrator Personal work " Woman ." 20 x 20, watercolor and ink. © Michael Miller Yu 1985

3 Michael Paraskevas, illustrator Sam Martine, art director One of a series on fun houses, Rockaways Playland . 36 x 24, oil on canvas. © Michael Paraskevas 1985

4 Gary Head, illustrator Portra it of Grace Jones. 14 x 22, oil. © Gary Head 1985

5 Tim Parker, illustrator "The State of the Nation ." 17 x 24, oil and acryl ic . © Tim Parker 1985

108

Illustration Annua/1985

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Communication Arts

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2

UNPUBLISHED

Scott Reynolds, illustrator Rudy Hoglund/l rene Ramp, art directors Irene Ramp, designer Proposed Time cover coverage of the Democratic National convention .

17 x 26, oil. © Scott Reynolds 1985

2 Ed Soyka, illustrator Dick Davis, art director/ designer " Untame Your Game." 15 x 17, gouache. © Ed Soyka 1985

3 Thomas B. Allen , illustrator/art director Illustrating the theme of "color " for the Department of Design at the University of Kansas. 28 x 16, oil on canvas. © Thomas B. Allen 1985

3

Communication Arts

111

2

112

1//ustration Annua/1985

3

UNPUBLISHED

Bob Peters, illustrator 19 x 13, acrylic . © Bob Peters 1985

2 Paul Melia, illustrator Personal painting, "Lady Jane." 40 x 29, permanent inks, gouache and acrylics on illustration board . © Paul Melia 1985

3 Jean-Francais Podevin , illustrator 11 x 11, airbrush. © Jean Francois Podevin 1985

4 Eric Dinyer, illustrator Marshall Arisman , art director

Painting from course in visual journalism at School of Visual Arts. 10V2 x 12, oil. © Eric Dinyer 1985

4

Communication Arts

113

UNPUBLISHED

Gary Head , illustrator 20 x 16, oil. © Gary Head 1985

2 Mark Hess, illustrator Margery Peters, art director Unpublished Fortune illustration of Mark Rich .

16 x 20, oil on canvas. © Mark Hess 1985

2

114

Illustration Annua/1985

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"Fishing in Ar . for Sports gent1na" 111 Art Direct or. .ustrated Harvey Grut

198 5 Mohawk ©Robert Gra M..Cunningham

phlcs Collection

This year, the work of illustrator Robert M. Cunningham joins the prestigious Graphics Collection at Mohawk Paper Mills.

Bob was born in Kansas, and now lives and works in New York. His work has been published and displayed internationally, and has won (among other awards) Gold and Silver Medals from the Society of Illustrators, and the 1983 Hamilton King Award.

"The field for illustrators is so broad today," Bob comments, "it's a great time for an artist. A lot of variety is open to us. That wasn't true thirty years ago, I think. The public today is more aware, more sophisticated.

"I was a slow starter myself, and I'm still not a terribly

efficient worker. I got started late as an illustrator, but everything I've done along the way has been helpful.

"I'm very interested in photography, and even considered at one time being a photographer. It's extremely helpful for

reference work. I couldn't do without it, especially for sports illustrations. And there are so many great photographs today, and so many good photog rap hers, that as an illustrator you have to do something different.

You can't compete directly with photography.

"As an artist, you just do the best you can, and you're very fortunate if someone happens to like your work enough to buy it. I consider myself very lucky. I've had many good clients who have given me a lot of freedom in my work.

"I don't know what I'd do if I weren't an artist. But I'm very happy as an artist. I wouldn't want to do anything else."

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EDITOR'S COLUMN Here's our second Illustration Annual, 192 entries selected from over 5,000 submitted. 141 artists are represented. "Second" may sound like we're new at this. Actually, this is the 26th year that we've held a juried competition for illustration-sixteen as a category in the CA Annual, eight in conjunction with photography in the Art Annual and two as the Illustration Annual. I've already discussed, in past columns, the evolution that led to our including four separate annuals in our eight-issue subscription.

"Get the accepted work published as soon as possible." That was the first standard we established when we decided to begin publishing annuals. An annual should become a useful history book, but not the day it's published.

Our entry deadline for this one was March 21. The judging took place on April14 and 15. Our press date was scheduled for June 24, bindery on June 27. If you live in the U.S. or Canada (we fast freight to Windsor and mail from there) the work you see here could have been done as recently as four months ago and no more than 16 months old.

Vienne

Another standard we established was to reproduce the art as well as we possibly can, to serve the best interests of the artists as well as yours. Some of what you see here was reproduced from original art and the balance is from the best transparency each artist could supply. Obviously, this involved the artists in our tight schedule and their cooperation was essential and appreciated. One continuing fear, it happens every year, is that our mailed request does not reach some of the artists. They may have moved or just plain didn't get it. So, if we haven't received the credits and reproduction material by our specified date, we're on the phone. Usually this solves the problem.

The judging procedure for this annual followed the technique we originally designed for the 1961 CA Annual. There's been a few modifications along the way, but it's basically the same as I've described about 35 times before. I'll write a complete description next month in the Photography Annual.

I'd like to thank the judges of the 1985 Illustration Annual for their hard work and conscientious effort in making the selections that are shown here.

David Bartels is a principal in Bartels & Carstens Advertising, St. Louis. He began his advertising career as an art director with J. Walter Thompson, Robinson Photographs by K. Gypsy Zaboroskie

Silver

126

Illustration Annua/1985

EDITOR's CoLUMN

Chicago, and held senior creative positions with N. W. Ayer, Campbell Mithun, Clinton E. Frank and Leo Burnett before opening his own design and advertising firm in St. Louis which merged with Donn Carstens, formerly Harris Carstens Amaral, this February.

Dennis Juett heads his own design and corporate communications firm, Dennis S. Juett & Associates, Los Angeles. After graduating from UCLA and a stint in the Army, he became a designer for Douglas Aircraft, then an art director for Hixon & Jorgensen before joining Faust/Day (later merged into Chiat/Day) where he headed up the graphic design department. Dennis left to co-found Weller & Juett in 1970 which evolved into his present firm. He served as president of the Los Angeles Art Directors Club and has been an instructor at the Art Center College of Design.

Juett

Bennett Robinson is chairman and creative director of Corporate Graphics Inc., New York City, a firm he co-founded in 1976 after having headed his own firm for sixteen years. A graduate of Syracuse University, Bennett was an instructor at Pratt Institute for six years and has served as Chairperson of Graphic Designers for the Graphic Artists Guild.

April Silver is the art director of Esquire. Born and raised in Brooklyn, she went to UCLA where she studied painting with Richard Diebenkorn. Becoming interested in illustration and design, she joined a design studio and then returned to New York where she worked at Rolling Stone. April moved to Esquire as associate art director in 1979 and became the magazine's art director in 1983.

Veronique Vienne is the art director of California Living, the Sunday magazine of the San Francisco Examiner. She was a graphic designer in New York City specializing in editorial design, magazine formats and redesign for Conde Nast, Billboard and Fairchild on numerous magazine assignments.

Veronique moved to California as art director of San Francisco Magazine, later as editorial director. She was art director of West, the Sunday magazine of the San Jose Mercury, before her current post with California Living.

-R.S.C.

Bartels

Judging Slides

128

Illustration Annua/1985

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404 32S-7SI3

301 424- 49SO

CROWN SO..JOURN

IDAHO

MASSACHUSETTS

REXBURG

BOSTON

STYLART

SUPERIOR ENG . CO .

208 3S6-3200

617 269-7132

MARIER ENG. CO .

INDIANA VINEBURG SONOMA ENG . CO.

INDIANAPOLIS

707 938-2138

D .E . BAUGH CO .

317 632- 8098

CANADA ILLINOIS MONTREAL ADAMS ENG . LTD .

CHICAGO

Sl4 937-7744

ARTISTRY ENG . & EMS . CO .

312 4S4-1118

SCARBOROUGH C.W . EMBOSSING LTD .

IMPERIAL ENG . CO .

416 291-23S6

312 263 - 2S81

TORONTO

REPRO , INC .

ADAMS ENG . LTD.

312 666- 3800

416 446-1382

BRIDGEVIEW

M .C . CHARTERS CO ., LTD.

MILLER BROS . ENG . CO .

416 366-2788

312 S98- 3112

VANCOUVER B.C.

ELK GROVE

SPRINGER ENG . LTD .

MA..JESTIC MILLS PAPER CO .

604 248-S821

312 981-0360

WESTERN ENG . LTD .

HINSDALE

604 874-6136

FINE ARTS ENG . CO .

312 920-9300

LINCOLNWOOD WESTMINSTER CHAPLIN ENG . CO.

HOLMES CO .

312 679-7400

303 426-4933

CONNECTICUT BRIDGEPORT

716 8S4- 3000

617 769-3900

NO. ATTLEBORO ARTCRAFT ENG . CO .

617 69S- 4042 CUSTOM ENG . CO .

TUALATIN

7 18 729- 8300

S03 692 - 3SSO

LYNBROOK L.l .

PENNSYLVANIA

LYNBROO K ENG . CO .

Sl6 S99- 1660

MT.VERNON .JOHN 0 . MOONEY CO . INC .

914 664- 4456

NEW YORK CITY 2 12 924 - 6800 COLONIAL ENG . CO .

212 620 - 0800

I . SCHEFF ENG. CO .

212 925- S960

MINNESOTA

LESLIE , SEMPLE & GARRISON INC .

Sl8 374- 9S02

MINNEAPOLIS WEST HEMPSTEAD MUTUAL ENG . CO .

516 486-2996

NORTH CAROLINA

KANSAS CITY H .F . ANDERSON ENG . CO .

816 421-1111

CHARLOTTE W .A. BUENING ENG . CO .

704 376 - 1007

Sl EGRIST ENG . CO .

816 421 - 4S20

BANKERS LITHO CO .

4 12 782-3900

TENNESSEE PEPPER I TE CO. I NC. 901 52S- 8257 S .C . TOOF & CO .

90 1 278 - 2200

TEXAS DALLAS

SCHENECTADY

MISSOURI

215 563- 0S6 1

PITTSBURGH

212 226 - 7116

6 16 243- 3 108

612 927- 8401

215 455- 9500 SPE ISER LEVENTHAL

PALOGRAPH lA ENG . CO .

MICHIGAN

WINSTON SALEM

FINE ARTS ENG . CO .

2 14

SS3 - 1500

HOUSTON CAP I TOL ENG . CO .

713 821 - 3003 FINE ARTS ENG . CO .

214 553-I SOO

SAN ANTONIO ENGRAVED STATI ONERS 512 22S- 08S2

UTAH SALT LAKE CITY TRADE ENG . CO .

801 487-6255

WASHINGTON D.C.

H.T. HEARNE ENG . CO .

ST. LOUIS SOUTHWEST ENG . CO .

ZION

314 S31 - 3227

FRIENDS & CO .

NEBRASKA

312 746-1248

2 12 67S- 1327 CONTINENTA L BOURNIQUE

212 233-38S9

THE GRAVURE ENG . CO .

PH I LADELPH lA POMCO GRAPHICS

MEMPHIS CONCORD ENG . CO .

RO YAL ENG . CO .

ROSE ENG . CO .

OREGON F I NE ARTS GRAPHICS

617 69S-1468

GRAND RAPIDS

918 S87-1178

BALL ENG . CO .

NORWOOD REGAL PRESS INC.

TULSA PRINTED PRODUCTS INC.

LONG ISLAND CITY

212 962 - 4520

41S 861-3414

COLORADO

BATES .JACKSON & CO .

ANCHOR ENGRAV ING CO . I NC .

213 692-7079

SAN FRANCISCO

716 771-8428

OKLAHOMA

REGEN & CO .

FLORIDA

ANAHEIM

CLEVELAND THE PECK ENG . CO .

ECCLES-LEHMAN ENG . CO.

OMAHA

203 33S-4482

TOUREK ENG . CO .

919 760-1467

OHIO CINCINNATI

COPENHAVER

202 882-2700

WISCONSIN

BOHLENDER ENG . CO .

MILWAUKEE

Sl3 621-409S

HART ENG . CO .

414 271-7075

402 341-636S CRANE ' S CREST SUBSTANCE 24 WHITE WOVE

INDEX TO ILLUSTRATORS

A Ajhar, Brian

Chickinelli , Mark 52

24

113

Giusti , Robert

14, 52

1 2nd St. East

350 East 52nd St.

321 East 12th St.

1225 West 4th St.

Brooklyn, NY 11218

New York, NY 10022

New York, NY 10003

Waterloo, lA 50703

Dolphens, Tom

Glaser, Milton

Allen , Thomas B. 300 Art & Design

Chiodo, Joseph 32 1733 Shenandoah St.

111

University of Kansas

Doty, Curt

4, 24

Milton Glaser Inc. 207 East 32nd St. New York, NY 10016

19

32, 70

115 Wooster St. , #2B

Gonzalez, Michael

New York, NY 10012

3026 Tatum St.

314 West 100th St.

Pushpin Lubalin Peckolick 67 Irving Pl.

New York, NY 10025

New York, NY 10003

B

Cigliano, William V

Arisman , Marshall

Chwast, Seymour

55

3520 Locust St. Kansas City, MO 64109

Los Angeles, CA 90035

Lawrence, KS 66045 16

Bastas, Dimitrios

34

266 South 21st Ph iladelphia, PA 19103 Beck, Da~dM . 13 1433 W. Rascher St. , #3-W Chicago, IL 60640 Billout, Guy

19

Manhattan, KS 66506 90

New York , NY 10036 Bleck, Catherine

44

1019 North Clinton St. Dallas, TX 75208

London E8, England 34

New York, NY 10013 Guarnaccia, Steven

E 32

55, 98

Rt. 1, Box 27B

455 West 23rd St. , #14B New York, NY 10011

Fasolino, Teresa

233 East 21st St., #6

14

7818 Ridgemar

Filippucci, Sandra

Dallas, TX 75231

270 Park Ave. South

60

New York, NY 10010 78

20 Landmark Ct.

Litchfield Rd.

Flesher, Vivienne

Marietta, GA 30060

Route 272

23 East 10th St.

Norfolk, CT 06018

New York, NY 10003

Bru , Salvador 104 5130 Bradley Blvd.

Chevy Chase, MD 20815

Crawford, Robert 29, 32 340 East 93rd St. , #9-1 New York, NY 10128

Buchanan , Nigel

Frinta, Dagmar

10

26

87 Hope St. Providence, Rl 02906

60

144 Blues Point Rd., 1st Floor

D

McMahons Point

Davis , Paul

Sydney, Australia

14 East 4th St.

333 7th St. NE

New York, NY 10012

Washington, DC 20002

Head, Gary

107, 108, 114

44

140 Banks Rd. Easton , CT 06612 108, 114

88 Quicks Ln. Katonah , NY 10536 Hickerson, Buddy

49, 51

Rt. 2, Box 2756 Belton , TX 76513 Ho, Quang

107

1743 S. Clarkson St. Denver. CO 80210 Holland, Brad 68, 78

14, 29, 38,

96 Greene St. 65

New York, NY 10012 Hom, John

16

1645 Amberwood Dr., #16

c Carugati , Eraldo

G Garbowski , Gene

9, 20

H

Hess, Mark

90

Craft, Kinuko V

86

New York, NY 10012

Heindel, Robert

15 Old Colony Ave.

32, 42

89 Bleecker St. , #6B

3432 Gilham, #13 Kansas City, MO 64111

Newberg, OR 97132

Quincy, MA 02170 Connally, Connie

51

New York, NY 10028

F

98

Grossman , Robert 19 Crosby St .

Endicott, James

Lawrence, KS 66044

74

52 East 81st St., #4

New York, NY 10010

84, 90

Brice , Barbara

M4L 3T3

Warszawa 00-321, Poland

24

Colvin, Rob

Gowdy, Carolyn 29 Beck Rd.

Bednarska 27-1

95 Croton Dam Rd.

Collier, John

Toronto, Ont. Canada

Eidrigevicius, Stasys

2309 Willow Creek Ln .

2 West 47th St.

Braids, Braldt

Kansas State University Umberger Hall-Room 10A

13

Los Angeles, CA 90065

77

Dudzinski, Andrzej 98

Ossining, NY 10562

New York, NY 10011 Blechman , R. 0 .

832 W. Gunnison St.

Clark, Brenda J.

Drawson, Blair 156 Waverly Rd.

26

Chicago, IL 60640

Gober, Alan

38, 86

222 West 15th St. #2A

38

Via Valesia #86 Milan, Italy 2152 Chapman , Denise

55

1529 Lawson Houston , TX 77023

134

Dinyer, Eric

Hellman Associates

Illustration Annual 1985

Dawson , John D.

68

Garland , Michael

100

PO. Box 1479

78 Columbia Ave.

Hailey, ID 83333

Hartsdale, NY 10530

de Seve, Peter

37, 58, 63,

73, 81 321 East 12th St .

New York, NY 10003

Giguere, Ralph

56, 98

South Pasadena, CA 91030 Hull, Cathy

77

236 East 36th St. New York, NY 10016

322 South 11th St. Philadelphia, PA 19107

Hunter, Alexander

44, 74

5767 Reading Ave. Alexandria, VA 2231 1

INDEX TO ILLUSTRATORS

Kunz, Anita Innocenti, Roberto Via degli Artisti 6

26

CP 50132

51 , 55, 60, 63, 70

Dayton , OH 45409

New York, NY 10025

Meyer, Gary

Payne, C. F.

Lawton, Nancy 90 601 West 113th St. , #9B

1206 Montecito Dr.

New York, NY 10025

Los Angeles, CA 90031

Liepke, Malcolm T

James, Bill

6, 13,

97

Miami , FL 33157

30 West 72nd St., #2B New York, NY 10023

Jetter, Frances

Lockwood, Todd

41

390 West End Ave. , #3KN

c/o Hal lie Roberts

Johnson , Doug

6

Joudrey, Ken

Mahurin, Matt

56

209 East 23rd St .

New York, NY 10010

47

Marsh, James 16 lveley Rd.

Bondi Beach Sydney, Australia

29

London SW4 OEW, England

30

Reid, Charles

81

Box 113

New York, NY 10014

Greens Farms, CT 06436

Moss, Geoffrey

Reynolds, Scott

81 , 88

315 E. 68th St.

Martin, John

23

New York, NY 10021 20

Rosenthal , Marc

16, 94

230 Clinton St.

Hermosa Beach , CA 90254

Brooklyn , NY 11201

Murawski , Alex

s

9, 100

Schumaker, Ward

Austin , TX 78751

San Francisco, CA 94133

N

M4L 3V2

Nelson, Bill 100 1402 Wilmington Ave.

Seidler, Ned 58 National Geographic Society

Richmond, VA 23227

17th and M Streets, NW Washington , DC 20036

Mattelson, Marvin 68, 84 88 Lexington Ave ., #12-G New York, NY 10016

97

0

McMillan, Nancy R.

2905 Bay Villa Tampa, FL 33611 9

c/o CBS Records 1801 Century Park West Los Angeles , CA 90067 41, 47, 49, 56, 73

25 Carnival Ct. Willowdale, Ont. , Canada M2R 3T7

100

Olbinski , Rafal

5 Guard Hill Rd.

c/o Tania Kimche 470 West 23rd St.

McMullan, James

19, 37

Visible Studio Inc. 99 Lexington Ave. New York, NY 10016 Meganc~Robert 44 Communication Design , Inc.

Suite 200 300 E. Main St.

Silverman , Burt

6, 66

Westport, CT 06880

Richmond , VA 23219

Illustration Annua/1985

83

466 Green St .

Toronto, Ont. , Canada

Hellman Associates 1225 W Fourth St. Waterloo, lA 50702

60

643 8th Pl.

56 Wheeler Ave.

Larchmont, NY 10538

88, 111

308 W 30th St. , #9B New York, NY 10001

4900 Rowena

23

6 Villa Rd .

136

113

Los Angeles, CA 90004

131 Ridgewood Ct.

Mueller, Pete

72 Roscoe St.

Kolacz, Jerzy

Podevin , Jean Francois 223 South Kenmore, #4

New York, NY 10014

K

Klarwein , Abdul Mati

23

23 Bethune St.

Mak, Kam 98 c/o School of Visual Arts Press

Kilgore, Susi

Dallas, TX 75228

R

Astoria, NY 11103

Kelley, Gary

20

Bolingbrook, IL 60439

95 Horatio St. , #316

31-50 37th St.

Keene, Donald

Pietszch , Steve 3057 Larry Dr.

100

Morgan , Leonard E. 34

113

PO. Box 7014 Phoenix , AZ. 85011

Morris, Frank K.

29, 73

Kantor, Frants

Peters, Bob 94

4844 Van Noord, #1

Mahoney, Katherine

45 East 19th St. New York, NY 10003

New York, NY 10012

Sherman Oaks, CA 91423

60 Hurd Rd. Belmont, MA 02178

30

Toronto, Ont., Canada

Moraes, Greg

M

Pedersen , Judy 96 Greene St.

Los Angeles, CA 90068

10

1346 Fourth St. San Rafael , CA 94901

97

5746 Cazaux Dr.

83

Denver, CO 80204 Johnson, Bob

Montgomery, Linda

51

1800 Lear St. , #5 Dallas, TX 75215

20 D'Arcy St.

Montgomery, Marilyn

16 W 13th Ave.

New York, NY 10024

16, 20

227 West Channel Rd. Santa Monica, CA 90402

M5T 1J7

93, 104

15840 SW 79th Ct.

108

Toronto, Ont. , Canada

L 13

Parker, Tim

210 W 94th St. , #4A

Florence, Italy

J

113

3121 Atherton Rd.

M4X 1B3

Jackson, Barry E.

Melia, Paul

135 Winchester St.

68

324 W 71st St. New York, NY 10023 Smith , Douglas

New York, NY 10011

42, 74 , 83

405 Washington St.

p Paparone, Pamela

Brookline, MA 02146 103

5404 Tracy Ave.

Paraskevas, Michael Roselle Park, NJ 07204

44, 78

255 E. Prospect Ave. Mt. Vernon , NY 10550

Kansas City, MO 64110

228 Charlotte Terr.

Smith , Jeffrey

98, 108

Sorel , Edward

94

156 Franklin St .

New York, NY 10013

jimmy Doolittle's littk jim Dandy.

The ''Super Solutil»l'' by Laird ofChicago.

A plane to remember.

A plane to fly again in print.

Love at first flight. Even the color scheme delights the eye, allgutsyyellow and viridian green. But speed, not looks, was the game .. . and Bendix the name. And long before he became Medal ofHonor winner General james H Doolittle, jimmyflew the Solution coast-to-coast in under 12 hours. Won the Bendix Trophy in 1931. Average speed 223 mph. Could man everpossiblyfly faster?

Man could Man did USAF heavyweights now fly Doolittle's Bendix Trophy route in under two hours. As for fighter-planes ... who knows?

The Super Solution marked a breakthrough in flight, and similarly Reflections takes a significant step forward in high quality printing.

Quite simply, this is America's premier paper, the high-point of the papermaker's art. A paper of such quality, such lux ury, that the graphic artist can select it with absolute confidence. All coated papers are measured against specific benchmarks: surface smoothness, color brilliance, ink hold-out, press and bindery performance, to mention the most important.

Look at Reflections. Note the beauty. And note how it radiates a luxury that becomes part of the graphic message.

Reflections. There is no "or equal:' The very best from Consolidated. And therefore, by extension, the very best.

Worth noting: 190 merchants across North America now carry Reflections. In basis 90 lb., 110 lb., and 85 lb. cover in standard and special sizes. Call your local Consolidated Paper Merchant for more infOrmation and samples. ~

6 :::>

the Specialist in enamel printing papers CO SOLIDATED PAPERS, INC. 200 WEST MAD ISO ST • CHICAGO, IL 60606

Born in the midwest and now back home to stay ... our Super Solution gleamsamidotherhistoricplanesatthe EAA Aviation Center in Oshkosh, WI. PRODUCfiON NOTES: Photography • Izokaitis, Chicago Paper • Reflections Basis 90

Plates • Kodak M Press • Six-color2S"x40" OM CA Speed • 6,000 I.P.H. Inks • Process inks Four color separations were made from 2 ~ x 2 ~ transparencies by scanner to 200 line screen equivalent.

l

C

D

A

INDEX TO ILLUSTRATORS

GOT THE

MUNCHIES? Hungry for knowledge? Have a craving for excellence? Stimulated by the association of others in the design profession? Satisfy your creative appetite with a membership in University and College Designers Association.

At UCDA's annual conference and show, members exhibit works in a nationally recognized design competition, hear worldrenowned speakers like Milton Glaser, Saul Bass, Heather Cooper, and Arnold Saks, and participate in exhilarating workshops.

Join us at the Chicago Marriott September 22-25, 1985, for UCDA's 15th annual conference.

Soyka, Ed

111

Vella, Ray

345 Main St. , #7-D

Peekski ll, NY 10566

White Plains, NY 10601

Spalenka, Greg

Vuksanovich , Bill

73, 77

165 Perry St. , #1B New York, NY 10014 Sparks, Richard

65

w Wald, Carol

Norwalk, CT 06851

57 East 78th St.

Steiner, Frank A 934 N. Taylor

Walsh, Jill

Kirkwood, MO 63122

104

3810 Harrison

49, 84

Kansas City, MO 64109 Widener, Terry

San Francisco, CA 94123

41

10161 Casa View Dallas , TX 75228

T

UCDA

47

New York, NY 10021

93

1844 Union St.

For more information on membership, the conference, and the competition (deadline for entries is June 28!) fill out and send the information form to UCDA, 2811 Mishawaka Avenue, South Bend, IN 46615, or call 219-288-UCDA.

63, 107

3224 N. Nordica Ch icago, IL 60634

Two West Rocks Rd .

Stermer, Dugald

UCDA ...the flavor lingers on.

94

231 Lafayette Ave.

Tarbox, Marla

107

Williams, Kent

103

2611 Morn ingside St.

320 7th Ave ., Studio 3

Pasadena, CA 91107

Brooklyn , NY 11215

Teja, Ramon Gonzalez 73 Hermosilla, n<? 120-3'?A

Wimmer, Chuck

28009 Madrid, Spain

Cleveland, OH 44144

Tennison , James E.

58

68

5000 Ira Ave.

Wolfe , Bruce

10, 66

117 Ironworks Rd.

206 El Cerrito Ave.

Clinton , CT 06413

Piedmont, CA 94611

Timmons , Bonnie Cornell Agents

51 , 60

90 Corona #508

Woodward , Teresa 103 544 Paseo Miramar Pacific Palisades , CA 90272

Denver, CO 80218 Tughan , James

Wright , Ted

9

84

4 765 Wedgewood

1179 A King St. West

House Springs, MO 63051

Suite 310 Toronto, Ont. , Canada

Name & Title _ _ _ _ _ _ _ _ _ _ _ __ Address _ _ _ _ _ _ _ _ _ _ _ _ _ _ __ City, State, Zip _ _ _ _ _ _ _ _ _ _ __ Telephone _ _ _ _ _ _ _ _ _ _ _ _ _ __ University/College/Company _ _ _ _ _ _ __

M6K 3C5

Yu , Michael Miller

u

48-78 Hight St. , 6/F Flat 8 Hong Kong

Ulrich, Mark 86 41 East 22nd St .

z

New York, NY 10010

Ziel inski, John

Unruh, Jack

3753 N. Marshfield Ch icago, IL 60613

86

2706 Fairmount

142

C

Illustration Annua/1985

D

108

78

Dallas , TX 75201 Uram, Lauren

52

251 Wash ington Ave. , #2F Brooklyn , NY 11205

v l'

y

CA

Vaka , Michel Guire

A

205 West 14th St. New York , NY 10011

97

EDITOR 'S NOTE Every effort has been made to ensure that cred its and addresses accurately comply with information supplied to us. If, for any reason , a misspelling , omission , or othe r error has occurred, notify us within th irty days and we will be able to issue corrected award certificates .

---SenforNIDiredor.Grey~D::~tas~CA DJJectoroltheVlsual~DIIJ-.a

Uldll

Calilomia lnlltute9ftbe .Ans. Valenda. CA ......... VicePte:sldent.~t'lilr«.ior.

PoJndexler/OsaiAdveltlllDQ~Los~CA

a.ara

1

r aPresldent.TheGrq)bDSludto.~

The Art Directors Club ofl.t:IIAngelel. Chairman of the MJI..AAdvillorr Boord

.......... Co-Chaitman.DepadmentotCommuntcallonDellgn.

Art Center College ot Dellgn. Pasadena. CA.PJelfdent Jullan Ryder. A.saock2tttl.

INDEX TO ART DIRECTORS, DESIGN FIRMS, AGENCIES AND CLIENTS

A AT&T 86, 88, 90 Abis, Stephen 29 Adamek, Tina 41 Adkins, Jan 58 The Agency 14 Albert, Rick 20 Alba, Robert J. , M.D. 10 Allen, Thomas B. 111 American Optical Corp. 84 American Way/American Airlines 41 Andelin , Gerald 10 Anheuser-Busch , Inc. 16 Arisman , Marshall 98, 113 Armor All Products 6 The Atlantic Monthly 38, 56 Australian Penthouse 47, 60 Azenberg , Emanuel 20

B Bailey-Mershon, Ed 104 Balchunas, Tom 16 Bantam Books 30 Barclays Bank 14 Barnes, Lauren 90 The Barrick Group Inc. 88 Bartels & Carstens, Inc. 9, 97, 100 Bartels, David 9, 97, 100 Beck, David M. 13 Bell , Ted 13 Bendel 's Fabrics 93 Bruce Bendinger/April Fool Film Festival 100 Elaine Benson Gallery 24 Bentkowski, Tom 37 Bernard, Walter 68 Bernloehr, Gary 58 Bialer, Steve 70 Birch , Bryan 6 Biro, Robert 13 Bissett, Susan 32 Blechman, R.O. 19 Blissman , Ellen 37, 52 Borcherdt, Jim 16 The Boston Globe Magazine 42 ,83 The Bradford Exchange 104 Braids, Braldt 84 Broadway for Bradley 20 Brooklyn Center for the Performing Arts at Brooklyn College 4 John Brown & Partners 14 Bru Associates, Inc. 104

144

Illustration Annua/1985

Bru, Salvador 104 Leo Burnett Company Butkus, Nancy 38 Butler, Craig 103

13

c CBS Entertainment 19 CBS Print Advertising & Promotion 19 CBS Records 9, 13 Cady, Barbara 49 California Living Magazine 83 Campbell , Keith 14 Campisi, Ronn 42, 83 Canadian Business 41 , 49, 73 Capitol Records 16 Changing Times 81 Chermayeff & Geismar Associates 19 Chermayeff, Ivan 19 Chevron 90 The Chicago Tribune 63 Chicago Yacht Club 13 Chwast, Seymour 32, 70 Clark, Brenda J. 98 Clemson World 86 Clue 44 Colvin, Rob 98 Comac Communications 47, 56 CommTek Publishing, Inc. 83 Communication Design , Inc. 44 Consumers Digest 77, 78 Frank J. Corbett , Inc. 23 Corporate Graphics Inc. 90, 94 Costello, Stephen 47, 60 Creative Education 26, 32 Creative Living 66 D D Magazine 55 Dailey and Associates 6 The Dallas Illustrators 94 The Dallas Opera 90 The Dallas Symphony 20 D'Arcy-MacManus & Masius 16 Daspit , Mark 84 Davis, Dick 111 Davis, Meredith 44 Davis, Paul 9, 20 Paul Davis Studio 20 Davis & Russek 9 Dayton Hudson Department Store Company 20 Degenhardt, Alice 66 Delessert , Etienne 26, 32

Dental Management 68 The Denver Post 51, 60 Design Projects 20 The Design Schools/Art Institute of Dallas 84 Deutsch , Peter 86, 88, 90 Diario-16 73 DiBenedetto, Andrea 34 Digital Review 63 Discipleship Journal 58 Dolphens, Tom 55 Doubleday 32 Drace, Matthew 55 Duckett, Steve 58 Dyal & Babendure 9 Dyal , Herman 9

E Eaglestone, Norman 14 Earley, Mare 73 Eding, John 13 Emergency Medicine 73, 81 Endicott, James 55

F Fairchild Publications/Home Furnishing Department, The Weekly 73 Fili , Louise 29 Film Ventures International 20 Finley, Douglas 47 Fitzgibbons, Linda 26 Fitzpatrick, Wayne 34 Florida Trend 58 Flowers& 49 Forbes 78 Fortune 60 B.D. Fox Advertising 13 Fox, Brian 13 Francis, Jane 56 Frankfurter Allgemeine Magazin 70 The Franklin Library 24, 26 Friedman , Warren 93 Frye, Steve 83 Fuld , Mike 41

G Gallery Group of Hotels/Chicago 24 Garbowski, Gene 65 Garlan, Judy 38, 56 Garland, Michael 100 General Motors 93 Giguere, Ralph 98 Give Peace A Dance 14

Glaser, Laura 30 Glaser, Milton 4, 14, 24, 68 Milton Glaser Inc. 4, 14, 24 Gottlieb, Amy 52 Granada Publishing 29 Grand Union Supermarkets 14 Grant-Jacoby, Inc. 24 Graphis 78 Gretter, Gary 81 Grissom, Paul 23 Grut, Harvey 44, 65 Guarnaccia, Steve 32 Guttman & Sims Design Group Inc. 93

H Hallmark Cards, Inc. 103, 104 Hamilton, Ed 84 Hansen, Bruce 78 Harold, John 42 Harper & Row Publishers, Inc. 29, 32 Harris, Paul 93 Hays, Philip 16, 19 H J Heinz Company 90 Hellman Associates 16, 24, 94 Herdig, Walter 78 Heuer, Bill 93 Hicks, Allen R. 10 Hinton & Steel , Inc. 84 Hirsch , Robert 60 Harry Hoffman & Sons Printing 97 Hoffman, Joan 60 Hoglund, Rudy 84 , 111 Hom, John 16 Homemaker's Magazine 47, 56 Howell, Kathleen C. 97 Hunter, Alexander 44, 74

International Polygonics Ltd .

J Jones, Bruce 32 Bruce Jones Associates Jones, Robert L. 98 Justus Log Homes 84

K Kaiser, Ursula 47, 56 Kansas City Star 55 Kass, Ronda 78 Keene, Donald 23 Kelley, Gary 16, 94 Kier, Ellen 10

32

29

is no hogwash. Demands for Graphic Composition's typesetting services are rising.

The telecommunication services, 24-hour turnaround times for anywhere in the countr~ seasoned quality control technicians and dependable delivery schedules seem to be a few of the reasons why.

And with our multibook system housing one of the largest typeface libraries in the country, there's no telling how far these demands might go!

So for your next typesetting project, give us a try. A simple phone call will do.

---- ---- - -----------Cross-referenced. Expandable. Complete. Easy to use.

Graptic Composition, n:.

PO. Box 585, Dept. C1, Menasha, WI 54952-0585 Call collect: 1-414-739-3152 Spam• is a r egistered trademark of George A Hormel & Co.

INDEX TO ART D IRECTORS, D ESIGN FIRMS, AGENCIES AND CLIENTS

30

Kne r, Andrew Kobasz, Bill

98

Kohara , Roy

16 52

74

58, 68

L

100

77

Nelson , Bill

9, 13

Nelson , Hilber

58

83

Nelson , Jerry

84

90 88

Leder Design Assoc .

Lee, Yukari

49

Leigh , Anne

6

32

Robinson , Bennett

42

Rose, Marilyn

10, 74

The New York Times Noe, Hulon 0 .

83

Lockwood, Todd

0

86 The London Sunday Times

O'Brien, John

60

Ogilvy & Mather

The Los Angeles Workbook

103

Olbinski , Rafal

Investors

16

Luetkehans, Tony

M

10 6

29

School of Visual Arts Press, Ltd.

74

Shea, Peter

16

Walsh , James

55

Shenon , Mike

Mike Shenon Design

44, 65, 74

Martine, Sam

108

McCarten , Don

68

Pantheon Books, Inc.

86

Parkman , Blake

23

Peters , Margery

60, 108, 114

McMullan , James

19, 37

Phillips, Michael

23

Mead Paper Corporation

94

34

Medical Economics Mendelsohn , Michael

24, 26

Pilon , Jacques

Merrill Lynch Realty

16

Playboy

Pospischil , Hans-Georg Hill Publications Purchasing

41

Herald

44 , 49, 51

Wh ittington , Ric hard

73, 77

W ilde, Richard 98 Wilkin, Greg 32

44, 65

Squibb Corporation

86

W illiamson , Skip

77

38, 51 , 66, 77, 78

W ilson, Belinda

68

W immer, Chuck

68

77 55

Stermer, Dugald

49

Sentinel

23

Westwood Pharmaceuticals

9

Sunshine/The Florida News/Sun

32 ,

104

Sports Illustrated

34

Pushpin Lubalin Peckolick

Will iams, Thomas E.

63

19

The World Hunger Project Wright, Ted

19

84

Sussman , Philip

13

y Young & Rubicam New Yo rk

37, 52

16

T

Montebello, Joseph

29, 32

Q

Montgomery, Linda

97

Quest

94

Illustration Annua/1985

Qui

T.V Guide

38 60

23

TW & Assoc iates Taylor, Tony

16

World An imation Festival, Inc .

55

70

23

Montgomery, Marilyn

10

Stanford Medicine

Postgraduate Medicine/McGraw

19

Mocarski , David

70

51

Westland Printe rs

Westward / Dallas Times

81

Stairs, Deborah

51 , 60

60

News

44, 49, 51

Southport Development

Staebler, Tom

Miller, David

86

84 73

Sports Afield

44, 65, 74

20

West/San Jose Merc ury

38, 51 , 66, 77

Pope, Kerig

Misstear, Gilvrie

55

Skoorka, Susan

38, 51 , 52, 66, 77, 78

20

Miller, Steve

9

47

Meyer, Gary

94

Watson, Cheryl

Spalenka, Greg

81

Steve Phillips Design , Inc. Piedmont High School

44

Meganck, Robert

The Wash ington Times

Company Inc.

81

Phillips, Steve

34

Southern Pacific

100

65

6

Smith , Miriam

McM illan , Nancy R.

Warne r, Richa rd

Shoshin Society

Smith , James Noel

55

Paul , Greg

20

6

13

Warne r Bros. Inc .

55

41

73, 81

Shepherd, Susan Sikes , Bill

29

Papermania International Pasadena Playhouse

McKnight, Diana

97

38

Walker-Fuld & Assoc iates, Inc .

70

Pallas Photo Labs, Inc.

Waegel , Janet

34

68

Palecek, Jane

51, 83

Science 85

Paine, Howard E.

29

52

Vienne, Veron ique

w

98

Science Digest 6

74

34 94

Video Magazine

98

52 41 , 49, 73

Vega, Eloise Vella, Ray

Ottosen , Margaret

26, 32

Money

14

Schaefer, Peter

77

School of Visual Arts

Marshall , Rita

Mobil Oil

Sandoz, Steve

Pacific Northwest

23

10

Valenti, Michael

41

McGovern and Grissom Creative

42

Ultrasport

v 24

56, 68

PBS-TV

68

86, 88, 90

United Airlines

84, 93

Services

86, 88,

Anthony Russell , Inc.

Ooka, Dian-Aziza

Marsh , James

Miller, Lyle

Ulrich , Mark

San Francisco Focus

16

p

41 , 49, 73

Marince, Diane Maritz, Inc.

86

Sailor, Chet

26

38

Manley, Steve

U.S. News & World Report

Russell , Anthony

81

Overleaf Design Ltd .

MacDougal Littel & Co. Manhattan , Inc.

u

44

s

Lomas Nettleton Mortgage

90

63

90

47

90

29

Loeser, Judith

51, 60

Timmons, Bonnie

Ruis, Thomas P.

73

Newsday

13

Limited Editions Inc.

90

37, 68, 84

Twohey, John

New England Monthly

44

90

Tracy-Locke / BBDO Inc.

13

New American Library

Magazine

20

James River Paper

New York Sunday News

88

Leder, Jeffery

Time

20, 86

Company

6

J. Walter Thompson U.S.A

The Richards Group

Lamar, Laura

Lawrence, Debbie

146

38

9

Thomas, Bernard Thomas, Dick

26, 32

Redpath , Ann Mitchell

Neimi , Art

Lane/Donald

Larkowski, Brian

Theatreworks USA

29

Richards Brock Miller

47

Nautical Quarterly

63

The Texas Humanist

Random House, Inc.

National Geographic

73

Teja, Ramon Gonzalez

Ramirez, Ramiro 51 Ramp, Irene 68, 111

N

42

Teensma, Hans

30

R C Publications

56, 68

Kollenbaum , Louise Kraus , Jerelle

100 56, 68

Moraes, Greg Mother Jones

Kouvatsos , Theo

R

78

Moody, Roy

84

86

z Zimmerman, Saks & Page

6

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Jtendy Richmond

u I glanced at the top of the screen: 19:32:02. It had been a long day. I was using a new word processor, and felt frustrated with its myriad of obscure codes. I pressed the keys escape, k, s, print, and headed for the coffee machine.

As I walked by one of the studios, I peeked in the door.

A designer was working on a comp for an ad. She sat at a workstation: a streamlined desk with a color video screen, a keyboard, and a mouse. To her left was a video camera on a copy stand, to her right was a color proof printer and a slide recorder.

The screen displayed a white page with a headline in Garamond. I watched the woman as she continued to design the ad, studying her movements so that I could understand how the system worked. She slid the mouse across the desk, and a pointer moved across the screen. She pressed a button on the mouse, and the pointer turned into a small, empty rectangle. As she moved the mouse, the rectangle grew. She pressed the button again, and the rectangle was replaced by a full color photograph, shocking in its contrast to the stark white and black page. She pressed a different button; as though changing channels, the page disappeared and the screen displayed a menu of choices, ranging from shapes and tools to a palette of smoothly blended colors. She made her selections, switched back to the page, and began to paint with a bright, yellow rectangular "brush."

With a series of menu selections, she altered the image by adding type, airbrushing, and cutting out pieces of the picture to rotate, mirror, scale and layer. As I watched the comp take shape, I realized that she was employing the tools and services of a well-equipped design and photography studio without moving from her chair.

Before long I was as absorbed as she was. I forgot about the menu, the mouse, how the system worked. My attention was held by the rapidity of change and the clarity of elements so familiar to my trade-typefaces, photographs, and color.

I was seeing graphic design as a performing art.

An insistent beep from the other room broke the spell; the word processor's printer had finished printing out my text.

I'll see it when I

believe it. '' Your bo~ton r u •• cuttuna actpnauon

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Qolor tp<'<'d t up rhu procru bJ puuia a ltotlt qual.ry druan a nd o .. rpur n pour foni"'"P' ·

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This photographerI designer team continued to freeze images. I watched for a few minutes, witnessing a dialogue of subtle progressions. They finished when the sun went down.

Not at all ready to escape, k, retrieve, and edit, I wandered back to the first studio. The ad looked quite different. She had removed some type, moved everything down so that the headline really stood out, and changed the size of the photograph. Her new design was twice as powerful.

She leaned back and reviewed her final comp. I heard a click-she had pressed a foot pedal. With that, the image on the screen was transmitted to the slide recorder, and ninety seconds later she had a slide of her comp. She had saved a few variations, making a slide of each, and she put them all in a slide tray.

I paced as a I read, and nearly tripped over a heavy extension cord. Someone was carrying around a video camera, pointing it out the window at the skyline, the water, the traffic . I followed the cord from the camera to another studio, where there was a workstation identical to the one I'd seen in the first studio. Instead of using the camera to transmit an existing photograph to the screen, the photographer had removed the camera from the copy stand for some "live" material. Cars were moving across the workstation's screen, and another designer was studying the images, now and then pressing a button to "freeze" and save moments. One frozen picture was me, tripping over the extension cord!

She typed a memo to her boss on an electric typewriter, and I asked her why she didn't use the wordprocessor. "I wish I could," she said, "but it's too complicated. I simply don't have the time to learn." I looked at the workstation, the ultimate in high technology. This designer had just produced a full-color comp, complete with typography, photography and hand-painted imagery. The workstation's computer had just moved millions of bits, exercised thousands of algorithms, performed computational acrobatics the likes of which no wordprocessor has ever seen.

© Wendy Richmond 1985

Escape, k, s, exit.

148

Illustration Annua/1985

As she put on her coat, I glanced at the screen of the word processor: 20:38:46. I decided to follow her lead.

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Barbara Gordon

SOME OBSERVATIONS ON THE FREE-LANCE SCENE Get a group of free-lancers together and certain topics crop up with regularity. I'd like to give my observations on some of these common subjects.

Waiting for better times . . . Free-lancers keep referring to the "rough, competitive period we're in and speculating about when this will pass and we'll go back to good times."

Anyone reading the business section of their local paper knows that many industries, as well as the free-lance industry, are dealing with slim profit margins, intense competition and, in the extreme, bankruptcies. Many of these hardships were brought about by government deregulation of their industries, which simply means that the forces of the marketplace have been allowed to prevail.

Deregulation is responsible for the lower airfares and the competitive interest rates that financial institutions are offering to woo depositors. Deregulation is great for the consumer, but not so great for the supplier. The free-lance industry was never regulated by the government, but a combination of forces, the vast increase in the number of free-lancers coming into the field (due to the maturing of the baby boomers) and a shrinking of the free-lance pie (due to economic conditions), have had the same effect on the freelance industry as deregulation has had on other industries.

These conditions will stay with us, we are not going through just a temporary, competitive marketplace. This is it. This is business in the eighties. The wise free-lancer will gear up for doing business in this extremely competitive decade.

No one will represent you if you aren't a superstar . . .

Representatives hear this one often and it's not true. One of the real joys and dividends of the "repping" business is discovering and being instrumental in the development of tomorrow's "stars." Admittedly, there are a few representatives who evaluate talent solely on current billings, but the real professionals in the field are constantly on the lookout for gifted artists and photographers who will be tomorrow's luminaries. Free-lancers, no matter how new or inexperienced they may be, should never be hesitant to approach a representative. In the heart of every good representative there lurks a secret hope to be the discoverer of the next Avedon or Rockwell.

The new "drop-off'' policy eliminates the possibility of feedback ... Now that more and more publications and advertising agencies are only allowing free-lancers to drop off their portfolios instead of setting up appointments, this complaint keeps surfacing. It is also coupled with the fear that no one really looks at the portfolio when it is 152

Illustration Annua/1985

dropped off. Our many diverse conversations with several of the top creative and art directors in the business indicates that this is not true. First of all, everyone does appear to view portfolios that are dropped off. In fact, at several of the magazines the art directors told me that, with the drop-off policy, more people viewed the portfolio. It was common for the whole art department to make a ritual of seeing every portfolio, where before only the individual one made an appointment with did the viewing. As to feedback, all of the people contacted said that they would be happy to give feedback on the portfolio, later, over the telephone. They said, however, that it was rare for a free-lancer to call after a drop-off to request such feedback. And, if one is willing to wait, it is usually possible to set up a face-to-face meeting with someone in the art buying department of one of the advertising agencies to not only get feedback but to get referrals as well. I guess the message from all of this is "Ask (by telephone anyway) and ye shall receive (feedback)."

What is the biggest mistake that free-lancers make on a long range basis? ... By far, this seems to be one of the most frequently asked questions that I get. The biggest mistake that most free-lancers make on a long term and continuing basis is that they neglect to build an organization. Most freelancers get so involved with the everyday details of their business that they lose sight of the "big picture." What kind of an organization do I want? What is the direction and philosophy of the business I'm establishing? How do I make it strong and impervious to setbacks? You say, "I'm only one person. How can I be an organization?" You may be one person, but you are head and founder of a business and a direction must be established for that business. A product line or inventory must be established. Goals must be set.

Financing arranged. An organization has access to marketing, financial and legal expertise, is aware of the economic climate and how it relates to business activities, looks for diversification or alternate sources of income like stock photography, private commissions, galleries, prints, etc.

A representative would look to a broad but complimentary mix of talent.

A talent who hasn't built an organization and loses a major account, or a representative who hasn't built an organization and loses a major talent, may not survive these adversities.

We all get wrapped up in day-to-day situations. It's only through constantly keeping one's eye on the goal of building an organization that one can outlast business adversities.

BOOK REVIEWS place it in a context where it might be taken as gospel. Both Lubalin and Dorfsman are diminished by such a claim.

Major league baseball has a far more sensible approach; a player does not even attain Hall of Fame consideration until at least a decade after retirement or death.

HERB LUBALIN ART DIRECTOR, GRAPmc DESIGNER & TYPOGRAPHER Design by Alan Peckolick Written by Gertrude Snyder American Showcase, Inc. Distributed by Robert Silver Associates 307 East 37th Street, New York, New York 10016

$39.95

If this book looks as if it were metaphysically designed by the late Herb Lubalin through means of some sort of seance, it is no accident. His friend and partner for the last twelve years of Lubalin's life has caught the spirit exactly.

Thus, the volume is less an anthology of individual pieces comprising the designer's life's work than it is a monument to his influence. The sum is not greater than its parts, but it does overwhelm them.

That is not a criticism. Graphic design only very occasionally transcends its immediate purpose to stand alone, much after the fact, as something to be admired and enjoyed for its own sake. Work is produced for specific functions, not for the ages. Many of the pieces reproduced in this 184-page book will be remembered with pleasure, many others with nostalgia, a few with bemusement, but only a handful will be pored over in the way we may a painting, photograph or piece of literature. That reaction is not what they were intended for, and it is probably unfair to the memory of a fine designer that we expect them to attain that rank posthumously.

What is important, as well as thoroughly communicated by this book, is the enormous facility and invention apparent in all of Lubalin's work. His symbols, typefaces, editorial layouts and, to a lesser extent, his advertisements are endlessly playful, with a quirky but consistent grace. The book, as a whole, reflects all of that, and for this Peckolick is to be congratulated.

Gertrude Snyder's text, especially the biographical sketch, is obviously a labor of love. Determined as she is not to include one word that could possibly be perceived as mildly critical, her writing is nevertheless highly readable and, for young designers, informative. It is only unfortunate that, considering all the funny stories which circulated about Lubalin during his life, none of the anecdotes found their way into this book; it would have been richer for them.

A minor cavil about this otherwise elegant obituary; one wishes that the publishers, authors, or whoever, wouldn't feel the need to hype their subject (and, in this case, friend) with extravagant praise. For example the jacket and elsewhere quotes Lou Dorfsman as stating, "I think he was probably the greatest graphic designer ever." He is, of course, entitled to his opinion, which becomes more understandable when one considers that Lou and Herb were roommates in and out of school, and were the closest of friends. But it seems a bit premature, if not overblown, to 154

Illustration Annual 1985

There is no doubt that Lubalin was singularly gifted. But for me the lesson of this book, the message that overlays every page, is that he was a tireless, even single-minded, worker as well. Practice may not often make perfect, but without it excellence is impossible. Herb Lubalin was clearly excellent.

-Dugald Stermer MARY CASSATT' OILS AND PASTELS E. John Bullard Watson-Guptill Publications 1515 Broadway, New York, New York 10036

$12.95

"I am not willing to admit that a woman can draw that well." Please note the quotation marks; the above was said

by Edgar Degas, upon viewing a print by Mary Cassatt.

She may not have been the only American impressionist of the French school, but she was certainly the only woman of note, and she has made us forget not only other expatriates from these shores but many other French artists as well.

Watson-Guptill is to be highly praised for providing us with a fresh look at our most brilliant woman artist, that is until Georgia O'Keefe. Of course, even mentioning gender is entirely misleading, as the two stand high in anyone's list of great American painters.

Incidentally, this book is one of a series of six published by W-G, the other subjects being Winslow Homer, Edgar Degas (he of the sexist bemusement), John Singer Sargent, Marc Chagall and James McNeill Whistler. If they are all as well produced (32 color plates in 88 pages) and researched (they were all published in cooperation with the National Gallery), then we have been given a rare gift from the publisher. I know times are hard and getting worse, but still, most of us can spare thirteen dollars apiece for this set of wonders.

-D.S.

OUTSTANDING AMERICAN ILLUSTRATORS TODAY

by Satoru Fujii Co-published by Graphic-sha, Japan, and G. K. Hall & Company 70 Lincoln Street, Boston, Massachusetts 02111

$55.00

With the consultation and help of Marshall Arisman, Mr. Satoru Fujii has compiled the work of 234 American illustrators into one full-color volume. Most artists are given one to two pages upon which to show their work,

'IHE GOlDEN10UCH. The exquisite texture of KIMDURA4D Synthetic Paper can add the golden touch to virtually any design. Art Director Mary DeLucca knows the value of that special feeling. That's why she selected KIMDURA for an mnovative brochure she created for the U.S. National Bank of Oregon.

The brochure's photography depicts a colorful homespun autumn harvest representing the wealth of Oregon's natural resources. The paper's exquisite texture gave the piece a rich, warm feeling.

But, DeLucca was adamant about the importance of the outstanding durability and print fidelity of KIMDURA. "I wanted to prevent cracking, that ugly break in the ink coverage that results from repeated folding. With its durability and reproduction, KIMDURA proved to be a nice presentation tool:' If you'd like a copy of this outstanding brochure entitled "The U.S. Bank of Oregon Collection;' contact your local paper merchant or write Dan Jones at Kimberly-Clark Corporation, 1400 Holcomb Bridge Road, Roswell, Georgia 30076. If you've produced ® something extraordinary on KIMDURA· Synthetic Paper, SYNTHETIC PAPER send it in. The next ad might be about you.

FOR EXTRAORDINARY LASTING IMPRESSIONS. 0 Kin. . It Clute CaporabOn Registered Trademark C 1985 KCC•

Kimdura

KIMDUAA: THE SYNTHETIC PAPER THAT BROUGHT OUT THE NATURAL BEAU1Y OF OREGON.

Bank service brochures, by nature, are intended to be informative, practical and predictable.

So they usually look that way That's why the U.S. Bank ''Oregon Collection'' comes as such a surprise. It may be a first in the financial world: a bank services brochure that actually makes your mouth water.

Aesthetically appealing as well as practical, the brochure features a four-color process photograph of Oregon's products that flips up to reveal a menu of bank services below Morton/Cole & Weber Advertising of Portland created the piece on Kimberly-Clark's KIMDURA®Synthetic Paper for client U.S. ational Bank of Oregon. It was an open and shut case of innovative design and enduring beauty Agency art director Mary DeLucca designed the brochure for repeated use at the customer service desks in branches. "It was a sales tool that you would repeatedly use -open and shut, open and shut. So I wanted a durable paper with good reproduction;' DeLucca recalls.

The photograph's flavor is

@ Kimberfy-Ciartc Corporatl()(l ®Registered Trademark

home-grown and homespun Oregon, to present the bank's close ties with the products and people of the state. Bolts of woolen fabric, a burlap bag brimming with potatoes, scoops of grain, and baskets of yarn mix with clusters of grapes, chunks of cheese, strawberries and fresh seafood in the effective display by photographer Aaron Jones-Lis DeMarco Studios.

Its beauty was worth preserving. ''The bank didn't want the piece to become dog-eared and worn; I wanted to prevent cracking -that ugly break in the ink coverage that often results from repeated folding;' DeLucca says. "With its durability and reproduction, KIMDURA proved to be a nice presentation tool:' DeLucca adds that as an art director, she also appreciates the exquisite texture of KIMDURA. It lends an unusual feel to the brochure. The brochure actually feels like it's special. Unique.

Bonnie Brunk, assistant vice president/advertising and public relations manager for .S. ational Bank of Oregon says, "We wanted to create a menu of hank services that vve offered. ln the photo, we

© 198.5 KCC®

carried through with a menu of Oregon products. It was a good tiein~' Because of the menu theme, the bank originally considered a laminated stock, similar to a restaurant menu. "But we were warned that laminated stock didn't look as first class as we wanted thi piece to be. The agency recommended KlMDURA as a paper stock because of its durability and long life~' And it met the bank's need for a first class presentation tool. Lettering by Mike Duffield and line art illustrations by Craig olmes completed the classy bill of fare.

Jack O'Halloran, sales manager of Oregon Printing Plates, says that when the printing job came in specifying KlMDURA®Synthetic Paper, the printing shop had little experience with the surface.

California Ink Co. supplied an ink additive recommended in the KIMDURA production guide, and the job ran problem-free.

Ernie Blatner of CarpenterOffutt Paper Co. recommends KlMDURA for any project that requires repeated handling like the Bank of Oregon piece. Though KlMDURA is often specified because of its durability and moisture resistance, Blatner says, he also is impressed with other qualities~ 'You get maximum ink holdout and the excellent reproduction;' he says.

Designed for extraordinary lasting impressions, KlMDURA lends itself to an array of printed possibilities, including art brochures, point-of-sale materials, menus and children's books. Anv printed product that demands · unparalleled print fidelity Long life. Even use in inclement weather.

KIMDURA®Synthetic Paper is distributed exclusively through Kimberly-Clark Technical Paper and Specialty Products Group paper distributors. Th di\1.sion offers a wide range of technical paper products which are noted for their diverse properties and are tailored to meet various end-use needs.

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BOOKS

from three to six pieces each. The text, such as it is, is located in a kind of index in the back, one section in Japanese and one in English. Said copy is simply the illustrators' biographies, in alphabetical order.

Most of the familiar names in illustration are included, along with many surprises, most of them pleasant, a few not. Still, for a democratic survey of domestic illustration, one could do a lot worse. Leave it to the Japanese to see us perhaps more accurately than we see ourselves.

A second edition of this book is due out later this year, and maybe this time the addresses of the illustrators will be included. With that addition, "Outstanding American Illustrators Today" may take its place as a truly useful buyer's guide-and it doesn't cost the illustrator anything; he or she just has to be invited.

-D.S.

Briefly Noted: Color Processing and Printing by Ann Brandeis, IN-CAMERA SPECIAL EFFECTS by Mike Stensvold, and TEcHNIQUES OF PoRTRAIT PHOTOGRAPHY by Bill Hurter (Prentice-Hall, Inc., Englewood Cliffs, New Jersey 07632, $9.95, each). This series of paper-bound volumes, together

entitled the "Master Class Photography Series," is a reasonably-priced-especially considering full-color examples throughout-advanced guide to the subject of color photography. This is the recommended bargain of the month.

THE SOCIETY OF ILLUSTRATORS TwENTY-SIXTH ANNUAL OF AMERICAN ILLUSTRATION (Robert Silver Associates, 307 East 37th Street, New York, New York 10016, $49.95).

Somehow it seems longer than twenty-six years . It must be said that the Society has vastly improved the production values of its annuals, including printing everything that was originally in color the same way; in that, it has finally caught up with the other illustration books in this country.

Also the judging seems to have gotten much better, in that a wider variety of styles and approaches to what illustration can be is represented throughout the categories, especially in editorial. On the down side, everything you see herein is at least two-and-a-half years old. The next step is for the Society to figure out how to close up that time gap somewhat; the annual comes out only after the next year's show has been chosen, exhibited, awarded and nearly forgotten.

-D.S.

we know how you feel about making changes).

Even an idea as good as the penser to keep new blades at X-ACTO®knife can stand some your fingertips. And a built-in revisions. Like a rear-release , disposal chamber to keep used mechanism for faster, safer blades away from fingertips . All bfade remova [ Ancfa new _. ofwhich should enable you name: The XX-PRESSTM ! to eliminate unnecessary kn ife.

JVJ/:Jow! interruptions - when mak1ng We've even gned our unnecessary revisions.

100-count bulk pack for the Some things, after all, will professional. With a Blade Disnever change.

© 1985 Hunt-X-ACTO, Inc.

(MD l)I\INv IT \.)p

!)

Communication Arts

157

MATERIALS "CHAMELEONS" PENCILS

Welcome to the toy department. We have here notice from the usually sobersided Eberhard Faber, Inc., of a new line of pencils, the "Chameleons." We were also sent a sample for our enjoyment, a pencil like any other wooden pencil, except that its barrel was a particularly unattractive bland brown. However, upon one's touch or grasp, it changed colors from irridescent blue to purple, with some greens around the edges. Upon release, the barrel gradually turned back to its original non-commital color. This is just the thing to use when drawing while on acid, or some other similar substance. If you wish to purchase this marvel, which, incidentally comes in three other colors, you may trade a buck for it at your local toy or stationery emporium, but don't ask for mine; I'm still staring at it in wonder. You might, however, write Eberhard Faber, Inc., at Crestwood, Wilkes Barre, Pennsylvania 18773.

COMPASSES

On a more practical note, Staedtler would like us to know that it is celebrating its 150th Anniversary Jubilee by announcing, once again, its complete range of drawing instruments, mainly those to aid in making circles. After a century and a half, it's high time that "Staedtler quality

and craftmanship are available in drawing instruments for student drafting, vocational/technical schools, college level and pro." The line of compasses come in five different bows, variously using polyester, brass, and nylon, and they are claimed to be so well made that they are virtually free of "wobble, flex and play." For information and literature about this fine line of Mars Drawing Instruments, write J.S. Staedtler, Inc., Department MDI, Post Office Box 7102, Canoga Park, California 91304.

"GUIDE LIGHT" TABLE

Guide Light Graphic Arts Light Tables is offering its Standard Model for $260.00, including all delivery charges, or for $250.00, delivered, cash with order. This table features a 15" x 23" glass working surface, 5000° Kelvin (91 CRI) instant start fluorescent light source, exclusive light diffuser, fiberglass-resin and aluminum construction, and four straight edge ruler scales allowing for T-square usage on all sides for pasteup or stripping. The company is also offering an eight-page brochure entitled "Guide Light Table Pasteup Techniques for Mechanical and Commercial Artists." This should prove helpful to those who have been questioning the advisability of producing mechanicals on light tables over traditional wood or composition opaque surfaces (CA is produced on light tables). For more information on the product, or for the brochure, write Guide Light, P. 0. Box 7838, New York, New York 10150.

"RADAR" ERASERS

~~~ ~~~~ I don't like your face, suit,

boss or company. But your proposal is on Classic®Linen so we'll talk

Never having had the opportunity to name a product, the process of selection remains a mystery. I can only assume it is entirely unlike that of naming one's children, an activity I have shared in four times. That assumption is made largely because I cannot imagine considering anything like "Radar" as a name for anything not remotely concerned with a "radio detecting and ranging device used to locate planes and ships and to bomb precisely." Yet here we have a line of erasers yclept "Radar," for no discernable reason, excepting perhaps perversity. These are, as far as we can tell from the description, ordinary erasers, "professional quality . . . made of a lightweight, non-abrasive, nonglossing composition. Designed for use on such varied surfaces as film, paper, vellum and tracing cloth ..." They also come in two sizes-medium and large. For more information, write Alvin & Company, Inc., P. 0. Box 188, Windsor, Connecticut 06095. "Dear Mr. Alvin: Why did you name your baby eraser 'Radar'?"

CIRCLES UNLIMITED

Neenah Paper Classic Linen - a good paper

158

~ ~ 1985 K.C.C.

to make the most of a tough job.

® Registered Trademark of Kimberly·Ciark Corporation

@ Kimberty-Ciaric Neenah Paper Div1sion

Illustration Annua/1985

From Anagrafic Systems comes word of the Design Pro, an amazing drawing tool " for the design and execution of ellipses, circles, ovals, squares and rounded corners. And all these designs can be executed in infinitely concentric, pinstripe patterns." This tool rests on its own 18" x 20" base, is calibrated in inches, centimeters and picas, can

JAMES McMuLLAN, A.I.G.A. ne of America's foremost illustrators, James McMullan has brought his personal vision to a broad spectrum of interpretive work ranging from illustrations for Esquire and Sports Illustrated to an animated film for PBS , now a classic, and posters, such as this for Anna Christie.

McMullan's contribution to the graphic arts has included not only his insights as illustrator, designer, and author, but also his ongoing contribution of time and expertise to the A.I.G.A., America's national graphic design organization.

Through an active , interrelated program of competitions, publications, and services to designers, AlGA fosters excellence in graphic design.

AlGA members receive- free of charge - AlGA Graphic Design USA, a 384-page annual (retail $50.00) that presents the year's best design work, the quarterly Journal of Graphic Design with articles of interest on designers, design issues and design practice, and the Code of Ethics for Graphic Designers. There are discounts on entry and hanging fees to AlGA competitions and eligibility for AlGA group health , life and disability insurance. Members will also be eligible for discounted rates for our National Conference which will be held at the Massachusetts Institute of Technology in Boston in September 1985.

The AlGA is national. Committed professionals have fonned AlGA chapters in Boston, Cleveland, Los Angeles, New York , Philadelphia, San Francisco, Texas and Washington.

Additional chapters are being formed.

We're hoping to grow-and grow stronger- by inviting graphic design and graphic arts professionals to join us.

0

Join America's National Graphic Design Organization. , -------------------------------l I

0 YES , I am interested in joining the AlGA. Please send membership information and an AlGA application form .

I

NAM E

ADDR ESS

CITY

I

I I I I

STATE

AlGA

Z IP

Mailto:

The American Institute of Graphic Arts 1059 Third Avenue, Ne w York , New York 10021 Tel. 212-752-0813

I

L- ----------- - ------ - ----- -- ---~~

MATERIALS

be used with Rapidograph pens, blades or pencils, and is precise enough for fine mechanical and camera ready artwork. For information on this tool, write Anagrafic Systems, Inc., 1399 South Seventh East, Salt Lake City, Utah 84105.

CoLORED FoAM BoARD

Bienfang has just introduced a new line of foam board available in nine standard colors: black, yellow, orange, red, blue, green, gray, brown and tan, the reverse side being white. The board is made in two thicknesses, 118 11 and 3/16 11 , and in addition may be ordered in special colors matched to customers' specifications. For information on Bienfang Colored Foam Board, write Hunt Manufacturing Company, 230 South Broad Street, Philadelphia, Pennsylvania 19102.

SCALE MODEL CAMERA

Definitely an idea whose time has come: This new camera, developed by Charrette under license from Polaroid Corporation, was invented to provide designers and model makers with a tool that more nearly meets their needs.

Conventional cameras cannot seem to avoid distortion, blurring, poor depth of field, as well as difficulty in approximating accurate perspective when photographing

scale models. The Charrette Scale Model Camera was specifically designed to allow "architects, landscape architects, engineers, designers, model makers, interior designers and their clients to instantly visualize their models at human scale (My emphasis)." The camera uses 3 Y4 11 x 4Y4 11 Polaroid Type 667 film, features a small base and a body shaped like an inverted periscope, allowing it much more flexibility than conventional cameras. The shutter is operated by an electronic remote control module, eliminating blurring caused by hand-operated cameras. The depth of field stretches from 2 \12 11 to infinity, allowing one to visualize how, say, a building might look in relation to its environment. This camera marks the Charrette company's most sophisticated product in its twenty-year history, and company officials confidently predict much more of the same in the future. For information, write Sal Abramo, Marketing Communications Manager, Charrette, 31 Olympia Avenue, Woburn, Massachusetts 01888.

ART FILES

"Solve massive advertising agency congestion problem" reads the first line of the press release. I immediately had the mental image of tens of thousands of account executives being swept into the streets. Alas, no, as this is but the announcement of a new filing cabinet from Durham Manufacturing Company. These files, made of steel and painted "in standard colors such as IBM Beige," are designed with adjustable shelves to accommodate artwork, mechanicals, photography and the like which, as the release states, cause massive congestion. (A simpler solution might be to return all the illustrations and photographs to their rightful owners, the illustrators and photographers who created them.) Nevertheless, these cabinets are useful for the purpose, being 27 V4 11 x 36 11 x 20 11 , stackable, and with full backs and four adjustable vertical dividers. For information, write The Durham Manufacturing Company, 84 Main Street, Durham, Connecticut 06422. After all, they're not the ones who keep your artwork.

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

What does it take to give your drawings the impact you're looking for?

Penstix from Alvin. When it has to be black, it has to be Penstix. Black "India Drawing Ink" density makes drawings and sketches come alive.

Ink flows instantly ... draws uniform lines ... three line widths, 0.3mm, O.Smm, 0.7mm . .. works on almost any surface.

Write or call for FREE literature containing more information about Penstix and the complete line of Alvin products.

Corporate Headquarters P.O. Box 188CA Windsor, CT 06095 (203) 243-8991

Divisions in Dallas, TXand Sacramento, CA. For drafting, engineering and graphic arts supplies.

ALVIN WE DRAW PERFECTION

160

Illustration Annual 1985

Engraving ... is the subject of a new series of promotional brochures published by the Engraved Stationery Manufacturers Association, an organization of various engraving suppliers to the trade. It was also published in cooperation with Gilbert Paper Company, Mohawk Paper, Rising Paper, Strathmore Paper Company and Fox River Paper Company, all leading makers of fine grades of business papers. Each folder features the papers of a single paper company, suitably engraved. For copies of the series, write the Engraved Stationery Manufacturers Association, P. 0. Box 120539, Nashville, Tennessee 37212. (continued on page 164)

'~yone who sees and

sky red because they

paints a sky green and

know it's blue. Those

pastures blue ought to

of us who aren't artists

be sterilized!'

must color things the

-Adof(Hitler

way they really are or people might think we're stupid!'

-Jules Feitfer

Art is an inspiration. A break from the masses to express an individual freedom. A good paper doesn't limit creative zeal, but instead, becomes a vessel to transport it. For a full line ofgrades equally suited for imaginative use, contact your Appleton Papers merchant.

APPLETON PAPERS INC.

Four times a year a panel of graphic arts judges gathers to evaluate entries in the Appleton Pape rs Creative Production Competition .

-i"

.··)~.'

All specifiers , users and distributors are eligible to submit entries. An entry must utilize in whole , or in part, an Appleton Papers Graphic Arts grade and must be submitted in its final , printed format . An entry form (or facsimile) must be taped to the back of each piece . Additional entry forms may be obtained through authorized Appleton Papers Graphic Arts merchants or Appleton Papers .

The pane l of judges will base their evaluations on the following criteria: overall impression , design for intended use, strength of design , paper selection , and quality of printing and typography.

A sing le Award of Excellence , three Awards of Merit and six Awards of Achievement will be given in each category. At the end of the year all Award of Excellence winning entries wil l be published in a full -color cata log. The catalog will be distributed internationally.

Subm ission of any entry acknowledges the right of Appleton Papers to use the entry for exhibition or publication.

Appleton Papers is not responsible for damage, loss or return of any entry. If a piece is to be returned . special arrangements must be made in advance of submission .

------------, Design Firm/ Agency :_ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ __ Address :_ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ __ Client: _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ __ Address :_ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ __ Printer:_ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ __ Address :_ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ __

Entries should be sent to : Appleton Papers Inc. Graphic Arts Competiti on PO . Box 359 Appleton , WI 54912 Entries must be received

by Appleton Papers before the following deadlines: Winter February 1 Spring May 1 Summer - August 1 Autumn - November 1 Entries not received by the above deadlines will be eliminated .

The categories of competition are : A.) Annual Reports B.) Brochures - product, service , facilities . institutional , etc .

C .) Folders D.) Covers- books , magazines . catalogs , etc .

E.) Posters F.) Miscellaneous - anything not specifically covered in the above , such as menus. calendars . ad inserts, packaging , p.o .p., cards , etc.

Entrants must clearly specify the category a piece is to be entered into.

Paper Merchant:_ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ __ Address :_ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ __ Appleton paper stock used :_ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ __ Category:_ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ __ Competition : D Winter

DSpring DSummer D Autumn Entry submitted by:_ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ __

APPLETON PAPERS INC. GENERAL OFFICES : P.O . BOX 359 , APPLETON , WI 54912

(type or pnnt cl early name and co mpany)

Phone number of person submitting entry: _ _ _ _ _ _ _ _ _ _ _ __ If entry form is not filled out completely, piece will be disqualified .

Printed on App leton's Tounst Royale. Gloss Cover. 80 lb.

CA back issues Some of the back issues are still available. They're all fairly recent because time has always managed to deplete our inventory.

There are several hundred extra copies of some of the issues in this recent period (1 977 on), a hundred or less of others, and none of a few. That's why we have to reserve the right to refund the money on any that have sold out on a first-come, first-served basis. All orders must be accompan ied with payment.

We pay the postage, second class mail, so allow up to three weeks to get the magazines. Foreign orders will take longer.

Issues not listed are no longer available.

JUL/AUG, 1977 The ART Annual1977 . .

NOV/ DEC, 1977 CA-77 , Annual Exhib ition

JUL/AUG, 1982 The ART Annual 1982.

0 0 0 0 0 0. $12

SEP/OCT, 1982 Michael Manwaring . . . Bruce Stromberg .

Tyler Smith ... Richard Nodine ... Marshall Arisman ... Phi llip Snyder's Christmas Cards ...

Barbara Gordon/Free-Lance Scene The Designer and the Technology Explosion Aspen '82 . . ... ..... ......... .$5

00 0 0 0 0.$18

0 0 0 0 0 0 0 0 0. $12

0 0 0 0 0 0 0.$18

0 0 0 0. $12

NOV/DEC, 1978 CA-78 , Annual Exhibition

0 0 0 0 .$18

NOV/DEC, 1980 CA-80, Annual Exhibition

MAY/JUN . 1982 William Rivell i .. . Sheila Levrant de Brettevi lle ..

Bill James ... Vickers & Benson . . . Photomontages by Scott Mutter ... Ford , Byrne & Associates ... Portfolio of Trademarks ... ..... .. $5

NOV/DEC, 1982 CA-82 , Annual Exhibition

JUL/AUG, 1978 The ART Annual1978 ..

NOV/DEC, 1979 CA-79, Annual Exhibition

JAN/FEB, 1982 Gernsheimers/Partners Design Studio ... Carol Wald ... Jerry Herring . . Sahlan Cherpitel .

Michael Schwab . .. Bank of Kuwait Identity Program ... Corporate photography panel ..... $5

00

..

$18

0 0 0 0 0 0. $18

JUL/AUG, 1981 The ART Annual 1981 . .. . . ...... . .. . ... $12 SEP/OCT, 1981 Lou Dorfsman ... Kinuko Y Craft ... Dick Durrance II ... Levis Billboard Trucks ... Corporate Annual Reports . " Reveal ing Illustrations," James McMu llan ... Atari Design ... Letter. . .. .. ... $5 heads ..

NOV/DEC, 1981 CA-81 , Annua l Exh ibition 0 0 0 0 0 0 0 0. 0 0. 0 0. $18

JAN/FEB, 1983 Japanese Design Richard Saul Wurman/ Access Press ... Sharleen Pederson . . Graph ic Designer 's Product ion Handbook C lint Clemens ... Index to Volume 24 . . ... . . .. $5 MAR/APR, 1983 The Gap Between Designers and Top Management . .. Borders, Perrin and Norrander ... Bi ll Nelson ... The Coys ... Robert Llewellyn .

Posters ... Why a Computer . . . . .$5 MAY/JUN . 1983 Ken Wh ite ... Leo & Diane Dillon ... North Charles St reet Design Organization ... Lanny Somme se . . Ph illips photographers Alvin Lustig Abercrombie & Bastiansen remembered Computer-aided graphic design ......... $5 JULIAUG, 1983 The ART Annual 1983 ............... ... $12 SEP/OCT, 1983 Tad Crawford .. . Short run pri nting . . . Jack Summerford .. . Teresa Fasoli no ... Primo Ange li .

Light Language ... Consensus on type ... Corning Glass Work s ... Annals of design ... Forecast . . .$5 of adverti si ng bi llings .

NOV, 1983 CA-83 , Part One : Design

0.$15

DEC, 1983 CA-83 , Part Two: Advertising ...

. .$15

JAN/FEB, 1984 Tad Crawford .. . Designing the L.A. Olympics . ..

Gary Kelley ... Johnson & Simpson ... Annals of Design (2) .. . Lance Hidy . .. Index to Volume 25 . . . . . . . . . . . . . . . . .$5 MAR/APR, 1984 . The CA Annual 25th Anniversary Issue Judges . .. Judging Process ... lmagesetters .

The Free-Lancer-Client Relationsh ip .. . . . . .$5 MAY/JUN . 1984 Anspach Grossman Portugal ... Braldt Brai ds . .. Daniel Bittman . .. Chuck Kuhn . .. Hixo. Inc. ... Vincent Daddiego/ Roll Over Vivaldi ... Herb Rosenthal 's fountains . .. Robert Parker/Copy and Graphics . . . .$5 JUL. 1984 Illustration Annual.

AUG , 1984 Photography Annual .

0 0 0 0.$12

0 0. .. 0 0. $12

SEP/OCT, 1984 An ita Kunz .

A/Greenberg Associates .

Gregory Heisler ... Bill Robles . . . Larry Bender ... Computer Graphics fo r Design and Production/Bruce Hurn . . ..... $5 NOV, 1984 CA-84 , Part One : Design ... 0 0. 0 0 0 0 0 0 0 0. $15 DEC, 1984 CA-84 , Part Two: Advertising . .

. 0 0.. $15

JAN/FEB, 1985 Deborah Sussman . Arthur Meyerson .

Wilson Mclean Weymouth Design Tad Crawford Index to Art posters Volume 26 . . . . . . . . . . . . . . . . . .. .... $5 MAR /APR , 1985 A Day in The Life Of . . Carlos Llerena Aguirre .

Samata Associates , Inc ... . Dave Davidson .

Marvin Mattelson ... The Martin Agency . . . .$5 Candid Photographs of Arthur Fiedler .

MAY/ JUN . 1985 Tad Crawford ... Annals of Design (3) ... Chuck O'Rear . . . Apple Computer . . . Robert Heindel's Ballet . . ... $5

A form to order past issues is in the back of the magazine.

MATERIALS

Watermarks . . . Gilbert Paper Company has recently published a booklet on the subject of private watermarks, the stationery equivalent of personalized license plates.

All manner of information on the positioning, purchasing, design and manufacturing of these devices is covered.

For a copy, ask your Gilbert dealer, or write Gilbert Paper, 430 Ahnaip Street, Menasha, Wisconsin 54952.

Art Papers . .. Rising Paper Company has introduced a new sampler swatch of its art papers in pads. Also included is a chart describing each sheet's characteristics and uses. Unfortunately, we have no mention here of the company's mailing address, so perhaps you might ask your art supplies dealer for the sampler.

Simpson on Quality ... In this latest offering from Simpson Paper Company, designer (of the brochure in question) Michael Vanderbyl pays homage to designer (of the work illustrated in the brochure) Massimo Vignelli.

With those two skills at work, it is unsurprising that this brochure, touting Simpson's Sequoia Matte, is most attractive. For a copy, see your Simpson dealer.

'' ... may be the most

professional art school in America.''

Tough faculty, tough assignments, tough deadlines, tough criticism, terrific placement!

Portfolio Center The Professional Approach to Art Direction, Graphic Design, lliustration, Copywriting, and Advertising Photography.

®

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

Word & Image ... This new publication, subtitled "A Journal of Verbal/Visual Enquiry," appears to promise much of interest. It is truly international in content and perspective (its country of origin is the United Kingdom, and the Editorial Committee is literally from all over the map), and intends to address issues as diverse as advertising, "Painting as Sign," poems on painting, children's art and writing, maps and mapping and "Meaning in Architecture" among many topics scheduled.

The topic for the first issue is Ut pictura poesis, leaning heavily, of course, on the Italian Renaissance. This publication is issued quarterly, and subscriptions for the individual cost $40.00 (for the institution, $80). Address inquiries in the U.S., Canada and Mexico to Taylor & Francis, Inc., 242 Cherry Street, Philadelphia, Pennsylvania 19106-1906. Highly recommended.

Yahoo! ... The celebratory acknowledgement is for J. S. Staedtler, Inc. , in the throes of its 150th Birthday Jubilee.

The announcement states, "Officially founded in 1835, Staedtler's history can be traced as far back as 1662." We are not about to dispute that claim, as 1835 is certainly a sufficiently ancient birthday to celebrate. Staedtler has thus jammed our mailbox with a myriad of press releases, brochures and booklets promoting its fine line of drafting and drawing tools, as well as product expansion into audio visual supplies, art materials and writing instruments. We suggest that you write to congratulate the company, and request a copy of its abbreviated history, along with catalog sheets and releases; the address is J. S. Staedtler, Inc., 21034 Osborne Street, Post Office Box 7102, Canoga Park, California 91304-7102. Not to keep you in suspense, in 1662, records of Germantown, Pennsylvania, report that there was a pencilmaker named Friedrich Staedtler, late of Franconia, near Nuremberg, Germany.

"Peel & See/" .. . (sic). Kimberly Clark has put out a new brochure describing and demonstrating its new business envelopes with peel and seal flaps. I know that it "eliminates the current moistening procedure (licking) that is both distasteful and inconvenient to millions of users," but I still cannot get terribly excited. For a copy of the brochure containing this breakthrough, ask your Kimberly-Clark merchant, or write the company at 1400 Holcomb Bridge Road , Roswell, Georgia 30076.

Champion Imagination 25 ... Designer Jim Miho, in describing his efforts on this edition in Champion Paper's "Imagination" series, says, "it is the definitive one in the series," adding that "Maybe there will be another comet after Haley's (sic; the name has two l's) that will be more spectacular. But who knows for sure now?" You can be the judge; just ask your Champion dealer for a copy.

-Dugald Stermer

164

Illustration Annua/1985

Artists must feel as confident about their materials as they do about their talent and skills.

The materials with which they create must accurately portray-even enhance -their inspiration.

Using only pure artesian well water (pH 7.2) and state-of-the-art techno!-

ogy, Rising manufactures papers that inspire confidence. This National Historic Landmark mill has been supplying archival quality papers for nearly a century.

And now, Rising Art Papers are available in pads.

STONEHENGEgil

OIARCOAL DRAWING. Neutral pH laid finish paper with a toothy surface for pastel and charcoal work.

eutral pH. A super white plate finish bristol.

GALLERY 25 ~M Neutral pH, rag content. A true multi-purpose paper.

For the purest, most permanent art papers made today, specify Rising. In pads.

For all artists and all media. And

100% rag, acid-free. White and Warm White. For print making and drawing.

PHOTOLENE~M

Rising pads are designed to be durable and permanent. Each pad is backed with an archival quality matboardRising's acid-free Conservamatgil

PARCHMARQUEgp A unique parchment paper with an aged appearance . Surface sized for calligraphy work. Two colors: Champagne and Natural.

Matching notes and envelopes available.

ARTIST DRAWING BRISTOL

ARCHIVAL PARCHMENT.

Neutral pH. Specially formulated for pen and ink and marker.

Surface treated to resist picking from tape . Plate and Vellum finish . One ply and two ply.

100% rag, neutral pH bond paper. Recommended for graphite.

MIRAGE gil 100% rag, acid-free bristol for the finest pen and ink work. Plate and Vellum finish .

MARKER LAYOUT 100% rag, plate finish, translucent thin paper for layout work.

Bleed resistant to markers and pens.

~

RISING

(0 RISING PAPER CO. HOUSATONIC. MASS. 01236

CLUBS, CONFERENCES, SEMINARS AlGA

AMERICAN PAIR PROFILES 5" AND COLORS 6" AVAILABLE

Anodized

Colors STANDARD AND RADIUS Silver Gold Pewter Copper Brown Black Satin Silver Satin Gold Satin Pewter Satin Bronze Satin Black CANVAS Silver Gold Pewter Copper Brown Black

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$2.20$2.70 $3.70 2.30 2.80 3.80 7" 2.40 2.90 3.90 8" 2.50 3.00 4.00 9" 2.60 3.10 4.10 10" 2.70 3.20 4.20 11 , 2.80 3.30 4.30 12" 2.90 3.40 4.40 13" 3.00 3.50 4.50 14" 3.10 3.60 4.60 15" 3.20 3.70 4.70 16" 3.30 3.80 4.80 17" 3.40 3.90 4.90

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Frame Prices Effective December 17. 1984.

• CANVAS priced same as RADIUS .

• SHADOW BOX, RADIUS PLUS, are priced same as CANVAS PLUS. • A pair is two equal frame sections. Two pair make one frame.

• Add 10¢ per inch for pairs between 30 and 70 inches.

• Frames custom cut to any fraction of an inch - priced to the next inch.

• Frame price includes all assembly hardware, 2 hangers, 8 spring clips.

SHADOWBOX Call TOLL-FREE 1-800-537-0944 RADIUS PLUS (9:00 a.m.-5:00p.m. EST) CANVAS PLUS Use MasterCard, Visa, or American Express.

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OUR 12th YEAR

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1340 Tomahawk Dr ive

7'~"'- Maum e e. Ohio 43537

166

Illustration Annual 1985

The American Institute of Graphic Arts will hold its first national conference on graphic design at M.I. T. in Boston, September 26-28, 1985. The conference, "Toward an American Graphic Design Community," is chaired by Colin Forbes. The keynote speaker is Tom Wolfe. Participants will be David Brown, Ivan Chermayeff, Jim Cross, Lou Danziger, Bob Gill, Milton Glaser, Nancye Green, Steven Heller, Jerry Herring, Ken Hiebert, Katherine McCoy, Phil Meggs, Nicholas Negroponte, Tom Ockerse, Chris Pullman, Paul Rand, Paula Scher, Alan Siegel, Deborah Sussman, Massimo Vignelli, Richard Saul Wurman. The conference will address professional practice, technology, history, theory and design education; celebrate American graphic design excellence; provide a professional and social meeting ground for designers; further development of AlGA as a national professional association. Partially supported by a grant from the National Endowment for the Arts, the conference fee will be $325 for non-AlGA members, $275 for AlGA members and $175 for qualified students. Total attendance will be limited to 1,000. More information and attendance applications are available by calling or writing AlGA, 1059 Third Avenue, New York, New York 10021, (212) 752-0813.

BRNO, CZECHOSLOVAKIA

The Organization Committee of the Biennale of Graphic Design has started preparations for the twelfth Biennale.

The exhibition of advertising graphics, posters and corporate identity designs will take place in Brno from June 18 to September 21, 1986. Artists who wish to obtain entry forms and further information should send their name and address to: Secretariat of the XII Biennale of Graphic Design, Husova 14, 662 26 Brno, Czechoslovakia by October 31, 1985. The submissions must reach the Secretariat by January 15, 1986.

BOSTON

Design Management Institute will sponsor the tenth annual design management conference, September 15-19, at the Harbor View Hotel on Martha's Vineyard. Speakers will be Edward de Bono, Betty Edwards, Jack Flavey, Richard Overlock Howe, Jay Maisel, James Brian Quinn, Deane Richardson, Edward Tufte, Shu Ueyama, John Jerde, Deborah Sussman and Paul Prejza. The cost of $1,060 includes lodging for four nights, all meals, refreshment breaks and conference materials. For registration information, contact: Susan Sandomirsky, DMI, 621 Huntington Avenue, Boston, Massachusetts 02115, (617) 232-4496.

Attendance at the conference is limited. Registration will be confirmed after receipt of the conference fee . Both

~ow ••• Ideas & 'Iechnique in Graphic Design

ITS GREAT! Just the effect I want ... but how was it done?

How..

Find out in How ••• the new how-to magazine from the publishers of PRINT Visit with How .•• the world's top graphic designe rs. Look over their shoulders. See how they work on important assignments. Share in their talent, expertise and professional knowledge. Sit in on the working sessions with the best in the business. Learn from those with years of experience.

How ••• describes in easy-to-understand text a nd step-bystep illustrations how graphic designers, artists a nd photographers create their designs and pictures. You will be taken from original concept and thumbnails through roughs and mechanicals to the finished piece.

Discover how new processes, new tools and mate rials are used by today's successful art directors, production designers, type directors, color engravers, printers, computer designers - everybody who creates the images seen in the mass media.

How .•• is the only full-color, national magazine devoted to pre-press graphic techniques and processes. Learn new ways of solving problems, whether you are starting out in the field or are already an experienced professional. P a rticularly understand the new technical developments - computer graphics, digitized typography, color scanners, etc., - and how they can help you get better results, often in less time and for less money.

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How ••• talks to you. Whether you are a one-person studio, a free lancer, or working in a multi-staffed agency, you'll always find profitable design presentations and productive know-how technical information not currently dealt with in any other magazine in your field .

Published bi-monthly in 8~ x 11 format with 96 pages.

• Printed in color throughout • Sequential photographs show the procedure used in creating a design • Detailed diagrams and drawings illustrate the underlying features • All illustrations have captions explaining the various steps of the design projects • Each issue is indexed for easier information retrieval.

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CLUBS, CONFERENCES, SEMITNARS

registration and fee must be received by August 23. To register after this date call DMI to confirm availability of space.

ICOGRADA The International Council of Graphic Design Associations will hold their meeting on September 2-5, 1985 at the new Palais des Congress in Nice, one of the most famous resort towns on the French Riviera. This year's Congress has as its theme "Graphic Design in Everyday Life." To be accepted by the Congress Secretariat the registration form must be accompanied by the appropriate payment (check or copy of Bank transfer order, to be made only in French francs, 2,200 FF) made out to ICOGRADA Nice 85.

The closing date for registration is August 15. Write to Secretariat, ICOGRADA Nice 85, 2 Avenue Hoche, 75008 Paris, France.

SAN FRANCISCO The recently elected president of the San Francisco Art Directors Club is Arlene Horwitz-Wah . She is principal of her design firm, Graphic Descriptions. Other new officers are: vice president Sally Slevin, art director Phoenix Leasing; treasurer Dan Morse, vice president Rapid Typographers; secretary Marilyn Tahlm art director I designer Ford Aerospace and Communications Corporation. Other board members are: Vita Otrubova, Laura Parker, Catherine Cardarelli, John Buchholz, Gerry Brady, and Nina Harris. SFADC, 633 Masonic, San Francisco, California 94117.

SEGD The Society of Environmental Graphics Designers will hold its fifth annual national design conference at Cranbrook Academy in Bloomfield Hills, Michigan, on August 16, 17 and 18. For information about the conference and membership contact Marianne Thompson, Executive Director, SEDG, 2200 Bridgeway Blvd., Sausalito, California 94965, or call (415) 332-3151.

Livermore, California 94550. Telephone (415) 422-4904.

Accommodations are available at the hotel for special meeting rates. Workshops will be presented on conceptual and design development; creation and restoration of major exhibitions; illustration in a mass market science publication; editing and design of textbooks; application of computers to design; techniques for preparing effective biomedical visuals; publication design using grid systems; development of effective charts and graphs and use of pictorial symbols; technical illustration and airbrush rendering; use of color for clarifying science and achieving effective color reproductions; overview of computer animation from basics to commercial production.

UCDA The 15th annual University and College Designers Association conference will be held in Chicago, September 22-25.

The program will be presented at the Chicago Marriott Hotel. Major speakers at the conference include: Tanaka Ikko, Seibu Group; Michael Manwaring, Office of Michael Manwaring; Katherine McCoy, Cranbrook Academy; and Julius Friedman, Images. In addition, the conference will feature approximately fifteen workshops and seminars dealing with illustration, photography, computer graphics, typography and design trends. If you would like to receive conference registration materials, please contact: UCDA National Office, 2811 Mishawaka Avenue, South Bend, Indiana 46615, or call (219) 288-UCDA. UTAH

The Utah Advertising Federation has a new slate of officers: president Craig Ogan, Gillham Advertising; first vice president Jim Buckley, TV Guide; second vice president Jim Brown, Gardiner Advertising. The board of directors includes: Cindy Johnson Beebe, Kirt Burton, Dennis Guiver, Diane Johnson, Dan Mickelsen, Nancy Mitchell, Joel Morris, Craig Taylor, Joanne Wiseman and Gary Woodhouse.

WARsAw, PoLAND

SPECTRUM '85 A conference on The Art and Technology of Illustrating Science is being sponsored by the Lawrence Livermore National Laboratory and the University of California September 3-6 at the Hyatt on Union Square in San Francisco. The deadline for registration is August 3 and is limited to 300 participants. The $300 fee includes a Tuesday evening reception, activities from 8:00 a.m. to 5:00p.m., Wednesday through Friday, including lunches, coffee breaks, and a Thursday evening dinner banquet. For registration materials contact John Schuster, Conference Chairman, Spectrum 85, Lawrence Livermore National Laboratory, University of California, P. 0. Box 808, L-664, 168 Illustration Annual 1985

The 11th International Poster Biennale will be held from June 6th to August 24th, 1986. The event is sponsored by the Ministry for Art and Culture of the Polish People's Republic, Central Office for Art Exhibitions, Union of Polish Graphic Designers. The theme for the posters is "1986-International Year of Peace." Admitted posters will be exhibited and judged within three categories: posters on ideological issues; posters on cultural topics; commercial posters. Official entry forms will be sent to artists who mail their names and addresses to reach the Biennale office before November 15, 1985. Poster Biennale, Plac Malachowskiego 3, 00-96 Warsaw, Poland.

DAVID LESH ILLUSTRATOR 5693 North Meridian Street Indianapolis, Indiana 46220 1.317.253.3141