jul1987

COMMUNICATION ARTS VOLUME 29, NUMBER 3, JULY 1987

Richard Coyne Editor and designer

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EDITORIAL

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BOOKS

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ADVERTISING

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FoR SALE

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INSTITUTIONAL

Scott Perry Production

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SELF-PROMOTION

Sue Ann Rousseau Administrative assistant

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UNPUBLISHED

Jean A. Coyne Executive editor Patrick Coyne Stephanie Steyer Associate editors/ designers Kurt Klein Advertising and production manager

Nancy Hagemann Circulation manager Vickie Baptista Marie Garcia Betty Willis Circulation

COLUMNS

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EDITOR'S COLUMN

William Rayburn Traffic

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INDEX TO ILLUSTRATORS

Tad Crawford Byron Ferris Mark Fulton Barbara Gordon Jim Johnston Larry Klein Marty Neumeier Rhodes Patterson Wendy Richmond Mill Roseman Dugald Stermer Contributors

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INDEX TO ART DIRECTORS, DESIGN FIRMS, AGENCIES AND CLIENTS

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COMPUTER DESIGN

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FREE LANCE

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BooK R EVIEws

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MATERIALS, AVAILABLE LITERATURE

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CLUBS, CONFERENCES, SEMINARS

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

Wendy Richmond

Barbara Gordon

Communication Arts Magazine (ISSN 0010-3 519) is published eight times a year, January/February, March/ April, May/June, July, August, September/October, November, December,

by Coyne & Blanchard, Inc., 410 Sherman Avenue, Palo Alto, California 94306.

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

No responsibility will be assumed for unsol icited editorial contributions. Manuscripts or other material to be returned should be accompanied by a self-addressed stamped envelope adequate to return material.

Subscription rates : U.S. : one year-$44; two years-$84 Canada : one year-$47 (U.S.); two years- $90 Other : one year-$56 (U.S.); two years-$105.

Single issues: $5 except Illustration Annual (July) $12, Photography Annual (August) $12, Design Annual (November) $16 and Advertising Annual (December) $16.

Send change of address notification at least 45 days prior to effective date, include both old and new addresses.

1987

ILLUSTRATION ANNUAL The pieces reproduced in this Annual are under prior copyright, by the creators or by contractual arrangements with their clients.

They are published here under one-time publishing rights permission as stipulated in the call for entries. Nothing shown in this Annual may be reproduced in any form without obtaining the permission of the creators and any other person or company who may have copyright ownership.

EDITORIAL

Cathie Bleck, illustrator/designer Jim Pavlovich, art director Boston Globe, client Cover for Christmas weekend section . 7 ~ x 10 ~, scratch board and mixed media.

2 Anita Kunz, illustrator Kent H. Barton, art director/designer Sunshine Magazine, News/Sun-Sentinel Co., client Article on middle-class, swinging singles club "Just Another Suburban Orgy:· 10x 10, watercolor.

3 Andrzej Dudzinski, illustrator Wayne Fitzpatrick, art director Science '86, client Article on "Dangerous Thoughts:· how we think and feel can make us sick.

26x20, oil , crayon and Neo Color.

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EDITORIAL

Peter de Seve, illustrator Michael Johnson, art director Florida Trend , client Article "How Birch Research Beat the Gol iath of Radio Ratings:· 11 1f.! x151f.! , watercolor.

2 Mary Grand pre , illustrator Tina Adamek, art director Postgraduate Med icine , McGraw Hill Publ ications, client Art icle "The Federal Government: Keep ing Tabs on the Nation's Fitness:· 17x 16, colored pencil.

3 Tom Curry, illustrator Eileen Goldstein, art director Kathy Massaro, designer Video Magazine, client Article about futuristic video technology " Hang on the Wall TV." 15x15, acrylic.

4 Robert Giusti , illustrator Tom Staebler, art director Karen Gutowsky, designer Playboy, client "The Decline and Fall of Okker Chic:' 11 x13, acrylic on canvas.

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EDITORIAL

Malcolm T. Liepke, illustrator Richard Warner, art director/designer Sports Illustrated, client Article on a different side of naturalist John Audubon.

40x25, oil.

2 Curt Doty, illustrator Tina Adamek, art director Postgraduate Medicine, McGraw Hill Publications, client Article on cardiac arrhythmias,15x10, oil.

3 Greg Spalenka, illustrator Miriam Smith, art director The Newsday Magazine, client Article "Fortune Hunting: The Pursuits of Walter G. Cook:' 12x13, oil and acrylic.

4 Tim Lewis, illustrator Everett Halvorsen, art director Robert Mansfield, designer Forbes, client Article about the founder of U-Haul becoming powerless after he gave his children all the stock in his company "King Lear."

8Y2 x 6 1As, watercolor.

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EDITORIAL

William Cone, illustrator Rudy Vanderlans, art director/designer Emigre Magazine, client Portrait of Gertrude Stein. 15x20, acrylic and oil on chipboard .

2 Alexander Hunter, illustrator/designer Jane Palecek, art director Washington Times, client Article "Fall of the House of Zaccaro:· 11 x14, scratchboard .

3 Gary Kelley, illustrator Phil Waters, art director/designer Los Angeles Times, client Fiction about a reporter and a psychiatrist in Arizona "Was Th is a Murderous Mind?" 16x20, pastel.

4 Scott Mack, illustrator Santa Choplin, art director Florida Magazine, client Article about the death of a grandfather "Extreme Unction:· 9Y2 x11 Y2, oil.

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EDITORIAL

Charles Reid, illustrator Gary Gretter, art director Robert Gray, designer Sports Afield , client Article "The Treasure of Diamondback Creek:' 24x18, oil.

2 Enid Hatton, illustrator Tina Adamek, art director Postgraduate Medicine, McGraw Hill Publications, client Article on lumbar disk disease. 26x27, oil and pastel.

3 Mark Penberthy, illustrator Robert J. Post, art director Cynthia Hoffman, designer Chicago, client Article on how a high-tech public agency moved too slowly to rescue a baby boy from the lost souls who gave him life "A Death in the Morning:•

4 Anita Kunz, illustrator Raul Martinez, art director/designer Rolling Stone, client Article about the decine of Texas. 8 x 4, watercolor.

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EDITORIAL

1, 2 and 3 (single and part of series) Greg Spalenka, illustrator Nancy Duckworth , art director/designer Los Angeles Times Magazine, client 4 (series includes 1, 2 and 3) Greg Spalenka, illustrator Nancy Duckworth, art director/designer Los Angeles Times Magazine, client Article on David Jacobsen's ordeal as a hostage in Lebanon "My Life as a Hostage:· Various sizes, oil and acrylic.

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EDITORIAL

Gerry Gersten, illustrator Nick Meglin/Len Brenner, art directors Nick Meglin/Gerry Gersten, designers Mad Magazine, client Illustration for "The Reagan" Rich Man, Poe Man Dept. (apologies to Edgar Allan Poe). 20x20, pencil on vellum .

2 James E. Tennison, illustrator Lesley Rucker, art director Montfort Concept & Design, design firm Private Clubs Magazine, client An interview with Henry Kissinger. 13x18, oil on canvas.

3 Braldt Braids, illustrator Kerig Pope, art director Playboy, client Fiction about German shepherd named Ana "The Professional Soldier." 20x16, oil on gessoed masonite.

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4 Brian Ajhar, illustrator Thomas Darnsteadt, art director John Newcomb, design director Medical Economics, Drug Topics, client Doctors dispensing drugs out of their offices are viewed dimly by pharmacists.

Cover "Physicians Dispensing Tightening Its Grip:' 15x20, watercolor.

5 Rob Day, illustrator Michael Bilicki, art director Florida Trend, client "A Falling Dollar Gets Mixed Reviews."

14x14, oil.

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EDITORIAL

Kathy Petrauskas, illustrator/art director/designer Bagby Design, Inc., design firm Inside Chicago, client Article on dining out "Inside Dining:'

2 Greg Spalenka, illustrator Bambi Nicklen, art director West, San Jose Mercury News, client Cover portrait of Rodney Coronado, savior of whales, "The Young Man and the Sea:· 17x20, oil.

3 Tom Dolphens, illustrator Bill Gaspard, art director Bill Gaspard/Tom Dolphens, designers Kansas City Star, client Cover story about an elderly couple waiting for their family to return for the holiday "Thanksgiving Grace:· 18x30, oil.

4 Joyce Kitchell, illustrator Jerry Sealy, art director/designer The Plain Dealer Magazine, client Food section article "A spot of tea, love?" 171--2 x22 Y2 , watercolor.

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EDITORIAL

Geoffrey Moss, illustrator Lois Erlacher, art director Lois Erlacher/Marlene Goldman, designers Emergency Medicine, client Cover "Managing Asthmatics:· 18x24, colored pencil and watercolor.

2 Marvin Mattelson, illustrator Sam Howard, art director Scientific American, client Cover "Can the Cheetah Survive?" 8x8, acrylic on rag board .

3 Norman Walker, illustrator Alice Digenhardt, art director PW Communications, Inc., ad agency Creative Living , client Article about restr icting the artistic impulse "The Personality of Creativity." 17x27, oil on paper.

4 John Kascht, illustrator/designer Jane Palecek, art director Washington Times, client Article about Burt Lancaster "Tough Guy." 16Y2 x20Y2, ink wash.

5 Sharon Roy, illustrator/designer Roberta Marcone, art director Insight, client Opinion article "Welfare Spurs Family Breakdown:· 145!ax 95/s, mixed media.

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EDITORIAL

Peter de Seve, illustrator Lois Erlacher, art director Marlene Goldman, designer Emergency Medicine, client Article on treating homeless patients "With Neither Home Nor Health:' 23x16, watercolor.

2 (series) Fred Otnes, illustrator Judy Garlan, art director The Atlantic Monthly, client "Who Do Men Say That I Am?" Cover article on interpreting Jesus in the modern world . Various sizes, mixed media collage .

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EDITORIAL

C.F. Payne, illustrator Peggy Robertson , art director Washington Post, client Cover article on cocaine, the two-faced drug, "Cocaine's Deceit:' 12x12, mixed media.

2 Ralph Giguere, illustrator Judy Garlan, art director The Atlantic Monthly, client Short story "The White Rooster" depicting the fa iling commun ication between a father and son .

The dying white rooster serves as a metaphor for their relationship. 8x8, pencil.

3 John H. Howard, illustrator Gina Davis, art director Esquire , client Fiction about a ghost who tells of her past and visits the present "Voice From the Grave:' 18x14, acrylic on canvas.

4 Gottfried Helnwein , illustrator Rudy Hoglund, art director Time , client Cover on Stephen King "As It saw Eddie looking, its green -black lips wrinkled back from huge fangs .. :· 13x18Y2, gouache.

5 Tim Lewis, illustrator Marjorie Magowan, art d irector Ronn Campisi, designer Computerworld , client Cover " SNA Network Management Tools : Afterthe-fact Problem Solving:' 7 3/,e x 914, watercolor.

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EDITORIAL

Tim Gabor, illustrator Emilie Whitcomb, art director Karin L. Watkins, designer The Robb Report, client " Stop, Thief!" article on alarm systems. 14x17, colored pencil.

2 Marshall Arisman , illustrator Rudy Hoglund, art director Time, client Cover "Nuclear Power: How Safe is Safe?" 22 11.1 x28 11.1, oil.

3 Andrzej Dudzinski, illustrator Su Pogany, art director/designer Campus Voice, Whittle Communications, client Article about the animal rights campus movement "Animal Crackers:· 27 Y.2 x 17, mixed media.

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EDITORIAL

Brad Holland, illustrator Brian Noyes, art director The Washington Post Magazine, client Cover "Ronald Reagan : Prisoner of His Own Dreams:· 13x14, acrylic.

2 Linda Holt Ayriss, illustrator David Ayriss, art director Ayriss Design, design firm Western Foodservice, client Cover. 11 x 21 , acrylic.

3 Robert Risko, illustrator Tom Staebler, art director Kerig Pope, designer Playboy, client Article " Prizzi's Family." 15x20, gouache with airbrush .

4 John Jude Palencar, illustrator Tina Adamek, art director Postgraduate Medicine, McGraw Hill Publications, client Early report on a new drug epidemic " Crack:' 20x20, watercolor.

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EDITORIAL 1 (series) Jack Unruh, illustrator Joe Connolly, art director/designer Boy's Life, client Article "America's Twelve Freshwater Sport Fish:' Various sizes, ink and watercolor.

2 Richard Sparks, illustrator Gary Gretter, art director Robert Gray, designer Sports Afield, client Fiction about an exotic hunting guide "The Man Who Loved Ibex:· 40x30, oil.

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EDITORIAL

Andrzej Dudzinski, illustrator Andrew P. Kner, art director Print, client Visual commentary on the design scene. 24x31 Y2 , oil , crayon and Neo Color.

2 Steve Johnson, illustrator Tara Christopherson , art director Mpls/St. Paul, client "Air Conditioning" a fiction piece about a family and their air conditioner. 13 Y2 x 18, oil on paper.

3 Robert Cunningham , illustrator Debora E. Clark, art director/designer Money Maker, client Article "How You Can Retire Early." 9x12, acrylic.

4 Brad Holland , illustrator Bob Post/Cynthia Hoffman, art directors Chicago, client Cover " Martin Luther King in Chicago, Twenty Years Later : Have We Overcome?" 9x12 , acrylic.

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EDITORIAL

John Ward, illustrator Dan McDonald, art d irector/designer Autosound & Communications, cl ient Article "Car Sound , Not Car Stereo:· 10Y2 x8, acrylic on canvas.

2 Pierre Mion, illustrator Jan Adkins, art director National Geographic, client Titanic on the sea floor, from "Titanic Coverage:· 40x25, acrylic.

3 Steve Pietzsch, illustrator David Harris, art director Dallas City/Dallas Times Herald , client Fiction "Trailer Boy." 12x13, acrylic.

4 Paul Rasporich , illustrator lan Crawford , art director Western Living, client "Family Architecture:· fictional piece on a classical architect's dying trade in a changing city. 15x13, oil.

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EDITORIAL

Matt Mahurin, illustrator Tina Adamek, art director Postgraduate Medicine, McGraw Hill Publications, client Pharmacotherapy for chronic obstructive pulmonary disease.

7Y1ex8Y8, oils on a photograph .

2 Greg Spalenka, illustrator Diana LaGuardia, art director The New York Times Magazine, client Portrait of Gorbachev after Chernobyl "Gorbachev's Dilemma:· 12x15, oil.

3 Charles Bragg, illustrator Tom Staebler, art director Kerig Pope, designer Playboy, client Fiction about a London bookseller who figures out a way to bilk widows "The Bookseller." 12x16, oil.

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EDITORIAL

Kent H. Barton, illustrator/art director/ designer Sunshine Magazine, News/Sun-Sentinel Co., client Article on a preacher who molested women of his church "The Way of All Flesh :' 10x11, scratch board and color dyes.

2 Melissa Grimes, illustrator Su Pogany, art director/designer Campus Voice, Whittle Communications, client "Wild Wild Life" article about the movie True Stories. 25x23, collage.

3 Steve Johnson , illustrator Judy Sell, art director Minneapolis Star &Tribune, client Article "Fall Car Care:· 1214 x17, oil on paper.

4 Marshall Arisman, illustrator Walter Herdeg , art director Graphis, client Cover illustration for article about the artist. 23x29, oil on ragboard .

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5 Terry Widener, illustrator Nina Scerbo, art director Marcia Maphis Jennings, designer Working Mother, client "Whatever Happened to Us" article about a sex therapist. 18x12J.-2 , acrylic.

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EDITORIAL

Seymour Chwast, illustrator David Harris, art director/designer Dallas City/Dallas Times Herald, client Cover illustration for article "New York Men, Dallas Men" comparing the men from the two cities. 9x10, Cello-Tac.

2 Peter de Seve, illustrator Vincent Winter, art director/designer The New York Times Sports Magazine, client Cover " Chasing Dreams of Spring:' 13Y2 x16, watercolor.

3 James Yang, illustrator Cecily Roberts, art director/designer Security Management, cl ient Article "Hungry for Apple Pie" about possible terrorist attacks against American targets in the U.S.A 8Y2 x 11 , pastel , pen and ink, acryl ic.

4 Teresa Fasolino, illustrator Ken Kendrick, art director The New York Times Magazine, cl ient Cover "The Harvard Factor" the university celebrates its 350th anniversary. 26x29, acrylic on canvas.

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BOOKS 1 (series) Elaine Raphael/Don Bolognese, illustrators Michael Mendelsohn, art director Marie-Helene Fredericks, designer The Franklin Library, client Illustrations from The Collected Stories of Katherine Anne Porter. 9x 12, linoleum cuts.

2 Phil Huling, illustrator/designer Frank Metz, art director Simon & Schuster, client Book jacket for A Family Madness, a novel about two families and the madness that invades not only their dreams, but their lives. 414 x514, pencil , ink and oil wash.

3 Wilson Mclean, illustrator Frank Metz, art director Jackie Seow, designer Simon & Schuster, client Book jacket for Child of the Northern Spring, a novel of the Arthurian legend seen through the eyes of Guinevere. 32x19, oil.

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BOOKS

Pamela Patrick, illustrator JohnS. Kauffman, art director Good Books, client Illustration for I Always Liked Land, a story by an old order Mennonite preacher about his life. 16x21, pastel.

2 Barron Storey, illustrator Michael Mendelsohn, art director Marie-Helene Fredericks, designer The Franklin Library, client Illustration from Roger's Version by John Updike. 71-2 x 121-2, mixed media.

3 Douglas Fraser, illustrator Sara Eisenman, art director Alfred A Knopf, Inc., client Book jacket for Anywhere But Here, a novel about a mother and daughter leaving the midwest for California. 15x11, alkyds on paper.

4 (series) Greg Spalenka, illustrator Dorothy Schmidt, art director Morris Karol, designer Reader's Digest General Books, client Illustrations from Hound of the Baskervilles. Various sizes, oil.

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BOOKS

Malcolm T. Liepke, illustrator Sharon Phillips, art director St. James Press, client Illustration for Melinda's Way, a story of a divorced woman branching out on her own. 20x28, oil.

2 Douglas Fraser, illustrator Sara Eisenman, art director Alfred A Knopf, Inc., client Cover illustration Wabash, a novel about the struggle of a young couple in a small town during the '30s. 13x20, alkyds on paper.

3 Bill Nelson, illustrator Ken Cook, art director/designer Ken Cook Design Office, design firm Bill Nelson/Taylor Publishing Co., clients Book jacket for Finishing the Hat. Pastel.

4 Tom Curry, illustrator Cheryl Asherman, art director William Morrow & Co., Inc., client Book cover for Monkey King, a novel about a Cantonese family living together in one house. 10x11, acrylic.

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5 Ralph McQuarrie, illustrator Alex Jay/Byron Preiss, art directors Alex Jay, designer Byron Preiss Visual Publications, Inc., client Book cover for Robot Dreams by Isaac Asimov. 15x20, acrylic.

6 Marian C. Zacharow, illustrator Joe Montebello, art director Gloria Adelson, designer Lulu Graphics, design firm Harper & Row, client Book cover for Life and Fate. 12x16, acrylic on canvas.

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BOOKS 1 (series) William Low, illustrator Neil Stuart, art director Viking Penguin, client Book covers for re-issue of John Steinbeck books. Various sizes, acrylic on paper.

2 Bill Nelson, illustrator/art director/designer Bill Nelson Illustration, design firm Bill Nelson/Taylor Publishing Co., client Illustration from a chapter dealing with ventriloquist dummies, "Frowning Charlie:' Colored pencil and airbrush.

3 Richard Jesse Watson, illustrator Joy Chu, art director/designer Harcourt Brace Jovanovich, Inc., client Book jacket for Bronwen, the Traw and the Shape-Shifter, a poem by James Dickey about a young girl who battles her fear of the dark and the ominous Shape-Shifter with her magical trowel. 9}4 x 8Y2, watercolor.

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BOOKS

John Rush, illustrator Gerry Counihan, art director Dell Publish ing Co., Inc., client Book cover for The Wolf Whispered Death, a mystery novel set in the southwest desert about a strange wolf-like creature with supernatural powers. 13x16, gouache.

2 Gary Kelley, illustrator Marty Neumeier, art director Kathleen Joynes, designer Neumeier Design Team, design firm Creative Education , Inc., client Illustration for The Jther Foot by Ray Bradbury. 20x 14Y2, pastels.

3 (series) Douglas Smith , illustrator James Turner, art director/designer Arkham House Pubs., client Illustration from a collection of short stories Dreams of Dark and Light by Tanith Lee. Various sizes, scratch board .

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ADVERTISING 1 (series) Wilson Mclean, illustrator Koji Tanaki, art director Hakuhodo, Inc., ad agency Anheuser-Busch, Inc., client Posters. 20x30, oil.

2 Charley Brown, illustrator David Bartels, art director Bartels & Carstens, ad agency Paragon, client Poster for Westgate Centre. Headline : You'll find what you're looking for. 13x18, oil.

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ADVERTISING

Kunio Hagio, illustrator Marty Gustavson, art director Leo Burnett Company, ad agency United Airlines, client Billboard. Headline: Tokyo. 35x20, mixed media.

2 Bill Mayer, illustrator Nancy Walker, art director/designer Coors Town Point Jazz Festival, client Poster to promote jazz festival. 18x24, airbrush dyes and gouache.

3 Joe Duffy/Sarah Ledgard/Lynn Schulte, illustrators Joe Duffy, art director/designer Fallon McElligott, ad agency The Duffy Design Group, design firm 1st Tennessee Bank, client Poster. 20x36, line art.

4 John Mattos, illustrator Kit Hinrichs, art director Lenore Bartz, designer Pentagram, design firm Computerland, client Ten-year commemorative poster. 9x12, ink.

5 Douglas Fraser, illustrator Greg Clancey, art director Foote, Cone & Belding, ad agency Levi Strauss & Company, client Poster to introduce a line of colored jeans. 29x13, alkyds on paper.

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ADVERTISING

Douglas Smith, illustrator Jeff Boudreau, art director/designer Robinson Associates, ad agency GSX Corporation, client Trade ad concerning GSX solid waste management services.

Headline: Here's Who To Talk To When You Don't Know Where To Turn.

11 Y2 x 15, scratch board and watercolor.

2 James McMullan, illustrator/designer Jim Russek, art director Russek Advertising, ad agency Lincoln Center, client Poster for The Front Page Broadway play. 12 x 18, watercolor.

3 Ambrose Rivera, illustrator Gordon Thomas, art director Creative Services, E.T.S.U., ad agency East Texas State University, client Poster for Texas film festival to promote a series of historical movies for the sesquicentennial. 12 x 18112 , watercolor.

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ADVERTISING

James McMullan, illustrator/designer Jim Russek, art director Russek Advertising, ad agency Lincoln Center, client Poster. 12x18, watercolor.

2 Thomas Blackshear II , illustrator David Bartels, art director Brian Barclay, designer Bartels & Carstens, ad agency Tom Thomas, Anheuser-Busch , Inc., client Poster. Headline: The Monsters of the Midway Are Back. 14x17, acrylic.

3 M. John English , illustrator Jim Pail lot, art director Harmon-Smith, Inc., ad agency Hill's Pet Products, Inc., client Trade ad headline: Prevent obesity in your less active canine patients with new Canine W/d weight control diet. 24x16, oil on canson paper.

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Braldt Braids, illustrator David Bartels, art director/designer Bartels &Carstens, ad agency Anheuser-Busch , Inc., client Football poster for Texas Christian University Horned Toads. 12x12, oil on masonite.

5 John H. Howard, illustrator Mark Larson, art director/designer CBS Records, client Record album cover entitled "Box of Frogs:· 36x36, acrylic on canvas.

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ADVERTISING

Gary Kelley, illustrator/art director/ designer Western Michigan University Theatre , client Season poster. 12x24, pastel.

2 Braldt Braids, illustrator/designer Victor Vorderstrasse/Braldt Braids, art directors BVF+ L Advertising , ad agency Bois Liqueurs USA, client Ad and d isplay headl ine: 12 Different Tastes.

13x17, oil on gessoed masonite.

3 Donald Shaw Stayner, illustrator/designer MorganShaw Design , Inc., design firm Puget Sound Mycological Society, client Poster for "Wild Mushroom Exhibit:' 24x18, watercolor.

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ADVERTISING

Richard Mantel, illustrator/designer Sandra Ruch , art director Richard Mantel, design firm Mobil Corporation , client Poster for PBS mystery program " Brat Farrar."

14Y.? x22 Y.?, acrylic.

2 Theo Rudnak, illustrator Doug Vachon, art director Doug Vachon Design, design firm Atlanta Jazz Festival, client Poster. 14x20, gouache.

3 Kevin Macpherson, illustrator/art director/designer Macpherson Illustration, design firm Phoenix 20/30 Club, client Poster to promote polo fund raiser for the Childrens' Crisis Nursery. 36x30, oil.

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ADVERTISING

Brad Holland, illustrator Allen Weinberg, art director/designer CBS Records, design firm/client Record jacket for "Louis Armstrong and His AII-Stars-Satch Plays Fats:· 7x15, acrylic.

2 Bruce Wolfe, illustrator/art director/ designer San Francisco Chamber Orchestra, client Poster to promote Lake Tahoe Summer Music Festival. 36x22, oil.

3 Mike Reed, illustrator/art director Mike Murray, designer Metacom, client Packaging illustration for books on cassette Lost Horizon. 12 x 10 ~, airbrush and gouache.

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4 Etienne Delessert, illustrator Rita Marshall, art director/designer Marshaii-Delessert, ad agency Mary-Josee Records, client Record jacket for "Henri Des No. 6 LeBeau Tambour." 12 ~ x12 ~ . watercolor and pencil.

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ADVERTISING

Michael Steirnagle , illustrator/art director/ designer Michael Steirnagle Illustrations, Inc., design firm Un iversity of Texas at El Paso, client Record album entitled "Plain Jazz" for the Jazz Lab Band . 17x17, mixed media.

2 John Rush , illustrator David Bartels, art director Bartels &Carstens, ad agency Tom Thomas, Anheuser-Busch, Inc., client Football poster for the University of Idaho Vandals. 17 x 17, oil.

3 Braldt Braids, illustrator Steve Stone , art director Ketchum Advertising, Inc., ad agency Ciba-Geigy Corporation , client Trade ad for cotton herbicide Cotoran .

Headline: 100% Cotton. 10x17, oil on gessoed masonite.

4 Robert Giusti, illustrator Lindsay Moore, art director Celestial Seasonings, Inc., client Packaging illustration for tea " Darjeeling Gardens:· 13x10, acrylic on canvas.

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ADVERTISING

James Marsh, illustrator/designer Tim Peckett, art director Foote, Cone & Belding, ad agency London Transport, client Poster for "Autumn:· first in a series of four seasonal designs depicting various places to visit. 191t2 x291t2, acrylic.

2 Anita Kunz, illustrator Scott Taylor/Paul Browning , art directors/designers Taylor-Browning, design firm The Canad ian Opera Company, client Poster for 1986-87 season . 14x17, watercolor and acryl ic.

3 Seymour Chwast, illustrator/designer Sandra Ruch , art director The Pushpin Group, design firm Mobil Oil Company, client Poster for Noel Coward TV special. 29x46, Cello-Tak.

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MOBIL MASTERPIE<E THEATRE P ESE TS

BEGINS SUNDAY

MARCH 29 9PM <HA HEL13 PBS

HOST: AUSTAIR COOKE

M©bil

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ADVERTISING

Elizabeth Traynor, illustrator Wes Massey, art director/designer Hunt Snodgrass, Inc., design firm Elkay Properties, client Poster promoting Parkfest Festival. 13ll.l x21Y2, scratch board with watercolor dyes.

2 Cynthia Torp, illustrator Ken Herndon, art director/designer Actors Theatre of Louisville, client Poster promoting Humana Festival of new American plays.

72 x 52, acrylic on canvas.

3 Joel Nakamura, illustrator/designer Ellie Costa, art director Ellie's Matches, client Ad illustration for clothing line. 22x15, acrylic.

4 Joe Duffy/Sarah Ledgard/Lynn Schulte, illustrators Joe Duffy, art director/designer Fallon McElligott, ad agency The Duffy Design Group, design firm Donaldson's Department Store, client Poster used for Down Under promotion. 40x30, serigraph on corregated cardboard.

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ADVERTISING

Bill Nelson, illustrator/art director Bill Nelson/Ken Cook, designers Bill Nelson Illustration, design firm Theatre IV, client Poster for a musical dealing with women and their struggles to survive as they made their way across the country. Colored pencil and airbrush.

2 James Endicott, illustrator Janet Levinson, designer Warner Bros. Records, client Record jacket for "Obsession" by Bob James. 8Y2 x 11, watercolor.

3 Rafal Olbinski, illustrator/art director/designer Papermania Studio, design firm City of New York, client Poster for New York Polish American Art Salon. 12x16, acrylic on canvas.

2

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74 Illustration Annual 1987

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ADVERTISING

Robert G. Steele, illustrator John Carter/Dorothy Allard, art directors Evans/Weinberg, Inc., ad agency Beverly Hills Hotel, client Illustration for poster, postcard and national magazine ad. 18x12, watercolor.

2 Andrzej Dudzinski, illustrator Warren Johnson, art director Carmichael-Lynch, Inc., ad agency Network Sytems, client Ad headline : The bigger the networking nightmare, the more simple the choice.

40x20, oil , crayon and Neo Color.

3

4

Robert Giusti, illustrator Miles West, art director Foote, Cone & Belding , ad agency Data General Corporation, client Ad headline: Data General Asks : What will your office systems cost you down the road?

12x12, acrylic on canvas.

4 Bob Conge, illustrator/art director/designer Conge Design, design firm Park Avenue Merchants Association, client Poster promoting annual arts festival.

15x 191-i!, monoprint and colored pencil.

Communication Arts

75

ADVERTISING

Bill Vuksanovich, illustrator David Bartels, art director/designer Bartels & Carstens, ad agency Boyd's Subway Stores, .client Ad headline: Now you can get $250 suits for only $99.99.

13x18, pencil.

2 Thomas Blackshear II, illustrator David Bartels, art director Bartels & Carstens, ad agency Anheuser-Busch, Inc., client Poster for the University of Illinois Fighting lllini Indians. 17x17, oil.

3 (series) Karen Faryniak, illustrator Donna Albert, art director/designer Ketchum Advertising, Inc., ad agency Pennsylvania Tours, client Ad insert. Various sizes, soft pastel, oil pastel and oil paint.

2

76 Illustration Annua/1987

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Communication Arts 77

2

3

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Illustration Annua/1987

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ADVERTISING

Anthony Russo, illustrator Tyler Smith, art director/designer Trinity Repertory Company, client Poster promoting the theater gala.

13 x 18, scratch board .

2 Steve Johnson, illustrator Thorn Sandberg, art director The Kenyon Consortium, ad agency University of Minnesota Film Society, client Poster for the Rivertown International Filmfest.

14x20, oil on paper.

3 Jeff Seaver, illustrator Greg Campbell, art director/designer Ogilvy & Mather, ad agency AT&T, client Trade ad for AT&T office systems integration.

Headline: Why mix and match office systems are flourishing. 12x16, pen and ink.

FOR SALE

4 Jim Buckels, illustrator/designer Jean Wilson, art director Wilson/Kern Associates, design firm/client Poster. 14x36, acrylic.

Communication Arts 79

2

80

Illustration Annua/1987

3

FOR SALE

Charles Spencer Anderson, illustrator/art director/designer Fallon McElligott, ad agency The Duffy Design Group, design firm Synergistic Designs, client Poster for America's Cup Competition . 39Y2 x24, silkscreen .

2 Robert Giusti, illustrator Robert Probst!Mark Barensfeld , art directors Robert Probst, designer Schenker, Probst, Barensfeld , design firm Cincinnati Zoo, client Poster of the exotic cat collection . 24x18, acrylic on canvas.

3 William Hillenbrand, illustrator Barron Krody, art director Scott Frederick/William Hillenbrand, designers Wolf Blumberg Krody, Inc., ad agency Cincinnati Regatta Committee, client Poster for Men 's National Intercollegiate Rowing Championship. 14x29, oil on linen.

4 Christine Foederer, illustrator Hallmark Cards, Inc., client Greeting card . 12J.2 x18, oil.

5 Joe Saffold, illustrator/art director/designer Gallery 14, client Limited edition print. 13x22, oil on board .

4

5

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81

FOR SALE

Malcolm T. Liepke, illustrator/art director GWS Galleries, client Painting. 18x20, oil.

2 Michael Paraskevas, illustrator Kim Tudor, art director Betsy Fields/Michael Paraskevas, designers Magnolia Studio, design firm Stadium Jumping, Inc., client Poster to publicize the Palm Beach/Tampa Horse Show. 23x29, acrylic.

INSTITUTIONAL

3 Sally Wern Comport, illustrator Lisa Hill, art director Wood + Cohen Advertising & Public Relations, ad agency Shands Hospital, client Hospital publication article "Transplant Immunology: A Matter of Balance:· 24 Y2 x11, pencil.

4 Connie Connally, illustrator Kathy Rennels, art director Fahlgren & Swink, ad agency Owens-Illinois Forest Products Company, client Calendar page illustration titled "Great Horned Owl-Night Hunt:• 24x20, pastel.

82 Illustration Annual 1987

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INSTITUTIONAL

Paul Orlando, illustrator Steve Scherrer, art director/designer Maritz Motivation Company, design firm Barbados Board of Tourism, client Cover of brochure to promote travel. 18Y2 x29, oil pastels.

2 Cheryl Cooper, illustrator Michael Melia, art director/designer Melia Design Group, design firm Home Federal Savings & Loan, client Annual report illustration "A Competitive Spirit:' 30x24, oil on canvas.

3 Norman Walker, illustrator Jessica Weber, art director Alan Peckolick, designer Peckolick & Partners, design firm M.C.I. Communications, client Calendar page illustration "Future of M.C.I. Communications:· 15x17, oil on paper.

2

84

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85

INSTITUTIONAL

Sandra Filippucci , illustrator Paul McFarlane, art director Stolz Advertising Company, ad agency St. Mary's Health Center Magazine, client Cover article of company publication "The Voice " about children who watch too much television. 12x16, pastel with collage.

2 (series) Robert Grace, illustrator Karen Malzeke-McDonald , art d irector Tabor Publishing , client Series for the Catholic Church illustrating the seven sacraments.

Shown are: The sacrament of the sick, matrimony and commun ion . 19x14, acrylic and pastel.

2

86 Illustration Annua/1987

Communication Arts

87

INSTITUTIONAL

Tom Curry, illustrator/art director Laura Perkins, designer Trammell Crow Company, client Invitation for party in a building built over the fossil remains of giant mastodons. 13x13, acrylic.

2 John Collier, illustrator Randy Robinson, art director/designer Kuhn & Wittenborn, ad agency AMC Entertainment, client Annual report illustration "Three Girls at the Movies:' 23x16, pastel.

3 (series) Braldt Braids, illustrator Ucho Carvalho/Ricardo Van Steen, art directors Ucho Carvalho/Ricardo Van Steen/Mario Cohen, designers CVS Communications, design firm Pirelli Brazil, client Calendar illustrations. 20x10, oils on gessoed masonite.

2

88 Illustration Annua/1987

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Communication Arts

89

90 Illustration Annua/1987

2

INSTITUTIONAL 1 (series) Daniel Schwartz, illustrator Rachel Katzen, art director/designer Corporate Graphics, Inc., design firm The Travelers Corporation, client Annual report cover and illustrations. Various sizes, watercolor.

2 Guy Billout, illustrator Robert Miles Runyan, art director Douglas Joseph, designer Robert Miles Runyan & Associates, design firm MICOM Systems, Inc., client Annual report illustration "Choices:· 6xH~e. watercolor & airbrush .

3 Donald Demers, illustrator Francesca Mastrangelo, art director/designer Angel Graphic Design, design firm HCA Portsmouth Regional Hospital, client Poster produced for hospital patrons to commemorate the opening of a new seacoast psychiatric facility. 72x48, oil on canvas.

3

Communication Arts

91

INSTITUTIONAL

Don Weller, illustrator Ken White/Lisa Levin, art directors Ken White/Petrula Vrontikis, designers White +Associates, design firm First Interstate Bancorp, client Annual report cover. 15x20, pen and ink with color overlays.

2 David Lesh, illustrator Deborah Pinals, art director/designer Critt Graham+ Associates, design firm Citizens & Southern Bank, client Annual report illustration on high level of employee teamwork in building relationships. 1OJ..2 x 12, mixed media.

3 Melissa Grimes, illustrator Richard Whittington, art director/designer Whittington, Meis & Narro, design firm Mclane and Company, client Halloween candy catalog . 24x20, collage.

4 Kristopher Copeland, illustrator Dawn Kunker, art director Dawn Kunker/Maureen O'Farrell, designers Corporate Graphics, Inc., design firm Automatic Data Processing , Inc., client Annual report illustration. 17x 11 , oil.

92 Illustration Annua/1987

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Communication Arts 93

INSTITUTIONAL

Thomas Blackshear II , illustrator/designer Jack Williams/Jerry Pinkney, art directors U.S. Postal Service, client Postage stamp depicting the first settler in Chicago. 4 Y4 x? J.-2 , gouache and colored pencil.

2 David Csicsko, illustrator Cheryl Watson, art director/designer Dayton Hudson Department Store Company, design firm/client Cover illustration for Jubilee sale . 19x23 34, cut paper and airbrush.

3 Michael Maydak, illustrator Darlene Hartman, art director Lockheed Missiles & Space Co., Inc., client Tent card for security awareness program . 14Y4 x 13%, watercolor.

4 Daniel Maffia, illustrator Mike Shenon , art director Barbara Collins, designer Mike Shenon Design , design firm Stanford Med icine, client Illustration for article on research into the opium poppy " Nature's Link Between Pleasure and Pain:· 52x72 , oil on canvas.

2

3

94

Illustration Annua/1987

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2

96

Illustration Annua/1987

3

INSTITUTIONAL

Ken Goldammer, illustrator Barry Slavin, art director John Siebert, designer Slavin & Associates, Inc., design firm Illinois Restaurant Association, client Poster for food festival "Taste of Chicago:· 32x21, acrylic.

2 Bill Nelson, illustrator/designer Tim McCabe, art director Printing Industries of Virginia, client Brochure illustration supporting job opportunities in the industry "If you're polished in management, we have many shoes to fill:' Colored pencils.

3 4

Gary Kelley, illustrator Jill Salisbury, art director/designer Hill and Knowlton, ad agency Carlos/Pfeiffer/Salisbury, design firm Monsanto, client Company publication article discussing biotechnology "Learning to Communicate with Mother Nature:' 16x14, pastel.

4 Kelly Stribling, illustrator Ann Barrington, art director Eddie Nunns, designer Neiman-Marcus, design firm/client Cover of Christmas. catalog . 24x36, gouache, acrylic and compressed charcoal.

Communication Arts 97

98 Illustration Annua/1987

2

INSTITUTIONAL

Charley Brown, illustrator David Bartels, art director Bartels & Carstens, ad agency Paragon, client Catalog cover for Westgate Centre. 24x30, oil.

SELF-PROMOTION

2 C.F. Payne, illustrator Richard Solomon , art director Carol Carson, designer Self-portrait for promotional ad . 4112 x 9112 , mixed media.

3 Joe Spencer, illustrator Henry Vizcarra/Dave Fleming, art directors Joe Spencer/Henry Vizcarra/Dave Fleming , designers Ninety Degrees, design firm/client Promotional poster. 40 x 24 ~ , acrylic.

3

Communication Arts 99

SELF-PROMOTION

R. Gregory Michaels, illustrator Pam Voyles, art director/designer Voyles and Company, Inc., design firm Nationwide Papers, client Promotional poster for sales personnel and customers. 22 x 26, Prismacolor pencil.

2 Adam Mathews, illustrator/art director/ designer Promotional mailer. 11 x 13Y2, gouache, acryl ic and colored pencil.

3 Tim McClure, illustrator Self-portrait. 18Y2 x20 5/e, oil pastel on paper.

4 Gregory C. Miller, illustrator 22 x 28, watercolor

100

Illustration Annua/1987

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102 Illustration Annua/1987

SELF-PROMOTION

Chris Willey, illustrator/art director/designer 20x16, oil.

2 Frank Riccio, illustrator/designer Richard Lebenson/Kathleen Creighton , art directors E.&F. Construction Company, client Illustration commissioned to hang in company headquarters. Used for self-promotion ad in RSVP. 53x34, oil on canvas.

3 Mike Hodges, illustrator John Cooper, art director John Cooper/Mike Hodges, designers John Cooper & Associates, design firm Fort Worth Society of Creative Communications, client Announcement poster for club's annual summer picnic.

9x15, acrylic.

Communication Arts

103

SELF-PROMOTION 1 (series) C. Michael Dudash , illustrator/ art director/designer Calendar illustrations. Various sizes, oil on paper and linen.

Communication Arts

105

SELF-PROMOTION

Sara Schwartz, illustrator/art director/designer Pope Pius XII gave aid to Nazi Walter Rauff. 15x17, colored pencils.

2 Stewart G. Suchit, illustrator David Connolly, art director/designer Silas H. Rhodes, creative director School of Visual Arts Press, Ltd ., design firm Promotional mailer. 11 x8 Y2 , oil on panel.

3 Marshall Arisman, illustrator Terry Taylor, designer Graphic Communication Society of Oklahoma, client Poster promoting artist's appearance. 23x29, oil on ragboard .

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SELF-PROMOTION

Glenn Harrington, illustrator Promotional mailer. 16x20, oil.

2 Jeff Moores, illustrator Christmas card. 7Y2 x9 Y2 , watercolor.

3 Thea Rudnak, illustrator Greg Bauer, art director Bob Malecki, designer William Mills & Associates, ad agency Charleston Communicating Arts Association, client Poster for the Coastal Creative Best Exhibit.

22x16Y2, gouache.

4 Glenn Batkin, illustrator/art director Mohr Creative Group, designer/design firm Illustration for company publication featuring a new illustrator/member. 13x30, dyes and bleach.

Communication Arts

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2

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110 Illustration Annua/1987

SELF-PROMOTION

Seymour Chwast, illustrator/designer Marilyn Hoffner, art director The Pushpin Group, design firm Cooper Union, client Poster for retrospective show. 25 x 36, linoleum print and Cello-Tak.

2 Debra White, illustrator Edward Booth-Ciibborn , art director Louise Fili, designer American Illustration, client Call for Entries poster. 10x13, oil and collage.

UNPUBLISHED

3 Tom Lulevitch, illustrator/art director/designer 14x9, color film, pen and ink. © Tom Lul evitch 1987

4 Bill James, illustrator 16x21 , pastel. © Bil l James 1987

5

5 Buddy Hickerson, illustrator "At The Track:' 19Y2 x25, pastel and colored pencil. © Buddy Hickerson 1987

Communication Arts

111

UNPUBLISHED

Chuck Pyle, illustrator "Tea Smoked Duck:' 14x22, oil. © Chuck Pyle 1987

2 James E. Tenn ison, illustrator/art d irector " Buster Crabbe:' 12x12, oil on canvas. © James E. Tennison 1987

3 John K. Hom, illustrator/designer 24 x 36, acryl ic. © Joh n K. Hom 1987

2

112

Illustration Annua/1987

3

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2

114

Illustration Annua/1987

3

UNPUBLISHED

Jim Harris, illustrator Illustration tor book Rana de Lagoon. 20x12, gouache/ acrylic on illustration board. © Jim Harris 1987

2 Gregory Harlin, illustrator/designer Rob Wood, art director 30x20, colored pencil. © Gregory Harlin 1987

3 Christine Foederer, illustrator 12x16, oil. © Christine Foederer 1987

4 Robert G. Steele, illustrator 10x8, watercolor. © Robert G. Steele 1987

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UNPUBLISHED

Timothy Jonke, illustrator 12x12, oil © Timonthy Jonke 1987

2 Nicholas Wilton , illustrator Doug Lloyd/Nicholas Wilton, designers 24x36, acrylic © Nicholas Wilton 1987

3 David Maloney, illustrator 7%x 10o/s, pen and acrylic on film. © David Maloney 1987

4 Miriam Lippman, illustrator "Cutting Hair." 18x24, oil on mason ite. © Miriam Lippman 1987

2

116 Illustration Annua/1987

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4

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117

UNPUBLISHED

Scott Webber, illustrator 14Ys x 18%, gouache , ink, oil, acrylic and gesso. © Scott Webber 1987

2 David M. Beck, illustrator 23x16, mixed media. © David M. Beck 1987

3 Rene Milot, illustrator/art director/designer "Works:' 13Y2 x23, oils on canvas. © Rene Milo1 1987

2

118 Illustration Annua/1987

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119

UNPUBLISHED

Bob Buccella, illustrator Part of a series on blues singers.

10¥.! x 1214, acrylic and .gouache. © Bob Buccella 1987

2 William V. Cigliano, illustrator/art director 16x20, mixed media on board. © William V. Cigliano 1987

3 Gary Head, illustrator 18x24, oil. © Gary Head 1987

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120

Illustration Annua/1987

3

E xHIBITS is a book that was truly created to fill a need. Anyone who will be involved in designing, commissioning or fabricating exhibits, on any scale, should have it. Larry Klein has done an impressive, intelligent job of organizing avast amount of information and quality examples into a book that is both practical and stimulating. In essence, this book was begun in 1980 when I commissioned Larry to write an article for CA on exhibit design.

Since he had an established reputation as one of the finest commercial and museum exhibit designers in the country, much of this was drawn from his own experience and supplemented by his contacting other outstanding exhibit designers for information and examples of their best work.

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

EXHIBITS- PLANNING AND DESIGN

by Larry Klein With introductions by Albert H. Woods and Harold J. Skramstad, Jr.

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

Dick Coyne, Editor, Communication Arts

Designed by Walter Bernard.

Published by Madison Square Press Over 100 exhibits by 45 internationally known designers including Barry Howard, Jo'hn Follis, Herb Rosenthal, David Strong, Bruce Burdick and Chermayeff & Geismar.

252 pages, full-color.

275 photographs, hardbound 10"x 10!'

Containing diagrams, charts, blueprints and a resource section.

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

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

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

0 Payment of $45.00 is enclosed. CA will pay postage.

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WRITING T

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~~Having talent

is one tlting, letting tlte 11fforlcl lrno11tf ahut it is anotlter. ~~ Michael Schwab

"I got my feet wet with a one page ad."

"Then I went for a big splash with spreads ."

"When I was a kid growing up in Oklahoma, I'd look to the big names in graphic arts and think, wouldn't it be great to be like them.

"I wanted to do as much as I could to become a success. I went to the best schools - SVA and Art Center. I studied everything from ancient architecture to Alfred Hitchcock.

"However, having talent is one thing, and letting the world know about it is another. I knew the only way to make the right people aware of my work was to advertise in the most powerful medium in the industry. The Creative Black Book.

"Although their price was frightening, I wasn't interested in anything less than the best. So I put together my first ad for The Black Book. I turned my studio upside down designing that ad. I still do- every year. I know the importance of self-promotion and the force of those pages.

"Seven years later, I feel as if I'm on top of the world- very inspired and excited, getting work from places I dreamed of. I just got back from a week with a client in Milan, can you believe it? I'm also planning to be in Dusseldorf soon to sign posters I just fmished. Not to mention all the calls I keep getting from cities like New York, Chicago, Atlanta, that sound like this, 'We've always wanted to work with you.'

"Thanks to a lot of hard work, I got a good start. Thanks to The Creative Black Book and even more hard work, I got what I wanted.

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EDITOR'S

COLUMN

DICK COYNE

T

HE 1987 ILLUSTRATION ANNUAL WAS juried on April 12th and 13th in Palo Alto. The jurors selected 212 entries from the 5,596 submitted. 156 artists are represented.

Because I have described our jurying procedure many times before, I'll just cover it briefly here for the benefit of you who have not read it in the past Annuals.

The jurying was done in two stages, screening and finals.

All five jurors worked together in both stages. For the screening, the jurors were instructed that they did not have to be concerned with the final selection, only decide that an entry warranted further consideration. We worked in two conference halls, each equipped with projection equipment and five rows of tables where print entries were spread out by category on the tables.

Screening began with a carousel of slides. Each juror indicated his or her opinion by checking an "in" or "out" column on a prepared scoring sheet. After the carousel was finished , the jurors made selections from the work on the tables. Any juror could put an entry in the finals by picking it up from the table. A member of our staff would take that entry and put it into the " in" container. After all the jurors were satisfied that they didn't wish to pick up any more entries, they moved to the other hall and repeated the process. Then our staff would remove the remaining entries and spread out a new group.

This continued through the first day and up to lunchtime on the second. Indicative of the quality of work submitted, over 1600 entries were put into the final voting.

The slide entries that were screened in were reset in carousels and new scoring sheets prepared. Final voting was also done by checking "in" or "out" columns.

Print and large transparencies were spread out on the tables by category. This time there were two paper cups to the right of each entry. The cups were upside down with a slot cut in the bottom. A white cup was for " in" votes, a red cup for "ouC' Each juror voted on every piece by putting a small ceramic tile in the slot of the appropriate cup. Each juror had a different tile color. If one of them inadvertently missed voting on an entry, a check of the tile colors told us who to call back for a vote.

After all the jurors had completed their voting, they moved to the other hall for a carousel and more print entries.

In the first hall, our staff turned all of the entries over and the cups were lifted and the scores recorded on the B Form taped to the back. Then a new group was set up on the tables. The procedure was repeated until the voting was completed a little after five o'clock. When the votes were tabulated, four "in" votes put an entry into the Annual.

130 Illustration Annua/1987

I'd like to express our appreciation to the jurors for their conscientious effort in making the selections.

Tina Adamek is the executive art director of Postgraduate Medicine and The Physician and Sports Medicine, medical journals based in Minneapolis and owned by McGraw-Hill.

She has recently designed the format for a new publication, Your Patient and Fitness. Tina is a graduate of the Minneapolis College of Art & Design.

Janice Fudyma, a graduate of Syracuse University, is a partner and creative director of Bernhardt Fudyma Design Group, New York, which she co-founded in 1974.

Gary Gretter is the art director of Sports Afield magazine.

He also has done magazine redesign for clients such as Darkroom Photography, Outward Bound and Trailer Life, as well as book jacket designs for New York Times Books.

Ken Parkhurst opened the Los Angeles design office, Ken Parkhurst & Associates in 1970. Their work is in several museum collections, including the Museum of Modern Art, New York, and Die Neue Sammlung, Munich. Parkhurst was a founding member of the Los Angeles chapters of the Society of Illustrators and the AlGA. Don Ivan Punchatz studied at the School of Visual Arts and Cooper Union. After periods as assistant television art director for Warwick & Legler, New York, medical illustrator and hospital training film producer for the U.S. Army, and art director for Ketchum MacLeod & Grove, Pittsburgh, he shifted his professional direction to full-time illustrator in 1966. He has also taught a course in advanced illustration at Texas Christian University since 1970.

0

My last column closed with a promise to continue the discussion of factors that could influence the future of design and advertising. I will, in the Sept/Oct issue when I'll have a few more pages available.

The August issue will be the Photography Annual.

•

2

THE JURY 1 Janice Fudyma 2 Gary Gretter 3 Tina Adamek 4 Ken Parkhurst 5 Don Ivan Punchatz

Photographs by K. Gypsy Zaboroskie

3

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131

INDEX TO ILLUSTRATORS

Anderson, Charles Spencer The Duffy Design Group 701 4th Ave. S. Minneapolis, MN 55415

81

Arisman, Marshall 27, 38, 106 314 W. 100 St. Apt.31 New York, NY 10025

B Barton, Kent H. 38 11021 Lakeview N., Dr. Pembroke Pines, FL 33026 Balkin, Glenn 109 140 E. 17th St., 3G New York, NY 10003 Beck, David M. 118 1433 W. Rascher, Apt. 3W Chicago, IL 60640 Billout, Guy 91 225 Lafayette St., Suite 1008 New York, NY 10012 59, 76, 94

Bleck, Cathie 4 303 E. 71st St., #4A New York, NY 10021 Bolognese, Don 43 53 Irving St. New York, NY 10003 Bragg, Charles 37 9713 Santa Monica, Suite 216 Beverly Hills, CA 90210 Braids, Braid! 17, 59, 60, 66,88 Wykeham Rd .

P.O. Box 1145 Washington, CT 06793 Brown, Charley 53, 99 1217 Broderick St. San Francisco, CA 94115 Buccella, Bob 120 1004 E. Haddonview Apts.

Westmont, NH 08108

132

c Chwast, Seymour 40, 69, 111 The Pushpin Group 215 Park Ave. S., 13th Fir. New York, NY 10003 Cigliano, Will iam V. 120 1525 W. Glenlake St. Chicago, IL 60660 Collier, John 88 2309 Willow Creek Lane Lawrence, KS 66044

Ayriss, Linda Holt 28 1838 N. Madison Ave. Pasadena, CA 91104

Blackshear, Thomas II 1428 Elm Dr. Novato, CA 9494 7

de Seve, Peter 6, 23, 40 461 W. 21st St. Apt.#3 New York, NY 10011

Buckels, Jim 79 304 15th St, Des Moines, lA 50309

A Ajhar, Brian 17 151 First Ave., #3 New York, NY 10003

Illustration Annua/1987

Comport, Sally Wern 220 Beach Place Tampa, FL 33606

82

Cone, William 11 3755 Fillmore, #9 San Francisco, CA 94123

Cooper, Cheryl 84 525 22nd Ave. N. St. Petersburg, FL 33704 Copeland, Kristopher 715 Glendale St. Paul, MN 55114

92

Curry, Tom 6, 46, 88 302 Lake Hills Dr. Austin, TX 78733

D Delessert, Etienne 65 P.O. Box 1689 Lakeville, CT 06039 Demers , Donald 91 P.O. Box 4009 Portsmouth, NH 03801

Dudash , C. Michael 105 P.O. Box 12 Waitsfield , VT 05673

Grace, Robert 86 7516 Lamar, #81 Prairie Village, KS 66208

Dudzinski, Andrzej 4, 27, 33, 75 52 E. 81 Street New York, NY 10028

Grandpre, Mary 6 475 Cleveland Ave. N., #111 St. Paul, MN 55104

Duffy, Joe 55, 70 The Duffy Design Group 701 4th Ave. S. Minneapolis, MN 55415

Grimes, Melissa 38, 92 901 Cumberland Rd .

Austin, TX 78704

H

English, M. John 59 Rt. 1, Box 212A Kearney, MO 64060

F Faryniak, Karen 76 1406 E. Washington St. Allentown, PA 18103 Fasolino, Teresa 40 233 E. 21st St. New York, NY 10010

Csicsko, David 94 612 N. Michigan Ave. Suite #715 Chicago, IL 60611 Cunningham, Robert 177 Waverly Place New York, NY 10014

Goldammer, Ken 97 405 N. Wabash Suite 4410 Chicago, IL 60611

Endicott, James 72 3509 N. College Newberg, OR 97132

82

33

Giusti, Robert 6, 66, 75, 81 340 Long Mountain Road New Milford, CT 06776

Doty, Curt 9 4 S. Portland, #2 Brooklyn, NY 11217

E

Conge, Bob 75 28 Harper St. Rochester, NY 14607 Connally, Connie 8826 Kingsley Dallas, TX 75231

Dolphens, Tom 18 3520 Locust Kansas City, MO 64109

Giguere, Ralph 24 322 S. 11th St. Philadelphia, PA 19107

Filippucci, Sandra 86 Larchmont Acres East, 614C Larchmont, NY 10538 Foederer, Christine 81, 115 5510 Holmes Kansas City, MO 64110 Fraser, Douglas 45, 46, 55 805 Garden St. Hoboken, NJ 07030

G Gabor, Tim 27 230 Gorham St., Apt. #1 Lowell, MA 01852 Gersten , Gerry 17 1380 Riverside Dr. New York, NY 10033

Hagio, Kunio 55 6151 N. Sauganash Ave. Chicago, IL 60646 Harlin, Gregory 115 Stansbury, Ronsaville, Wood Inc. 17 Pinewood St. Annapolis, MD 21401 Harrington, Glenn 109 193 Sixth Ave .

Brooklyn , NY 11217 Harris, Jim 115 2310 E. 101st Ave. Crown Point, IN 46307 Hatton, Enid 13 46 Parkway Fairfield, CT 06430 Head, Gary 120 3432 Gillham , #13 Kansas City, MO 64111 Helnwein, Gottfried 24 Schloss Burt Brohl Aus Der Burg 2 54 75 Burt Brohl , Germany Hickerson, Buddy 111 5752 Caruth Haven, #248 Dallas, TX 75206 Hillenbrand, Will iam 81 3417 Erie Ave., Apt. 421 Cincinnati, OH 45208

(continued on page 138)

Mohawk Superfine Artemis Irish Linen Navajo & Fieldstone Mohawk Vellum Mohawk Poseidon Tomohawk Mohawk Satin Ticonderoga Mohawk Crystal

INDEX TO ILLUSTRATORS

Hodges, Mike 103 3613 Noble Ave .

Richmond , VA 23222

Johnson, Steve 33, 38, 79 1219 Monroe St. , NE Minneapolis, MN 55413

Holland, Brad 28, 33, 65 96 Greene St. New York, NY 10012

Jonke, Tim 116 1847 CasaGrande Pasadena, CA 91104

Hom, John K. 112 1645 Amberwood Dr., #16 S. Pasadena, CA 91030

K Kascht, John 20 635 A St. NE Wash ington , DC 20002

Howard, John H. 24 , 59 336 E. 54th St. New York, NY 10022

Kelley, Gary

11 , 50, 60, 97

301 ~ Main St.

Cedar Falls, lA 50613

Hul ing, Phil 43 33 E. 22nd St. New York, NY 10010

Kitchell, Joyce 18 2755 Eagle St. San Diego, CA 92103

Hunter, Alexander 11 8th St., NE, #2 Washington , DC 20002

Kunz, Anita 4, 13, 69 230 Ontario St. Toronto, Ont., Canada M5A2V5

J James, Bill 111 15840 SW 79th Ct. Miami , FL 33157

L Ledgard, Sarah 55, 70 701 4th Ave. S. Minneapolis, MN 55415 Lesh , David 92 5693 N. Meridian St. Indianapolis, IN 46208 Lewis, Tim 9, 24 184 St. Johns Place Brooklyn , NY 11217 Liepke, Malcolm T. 9,46, 82 30 W. ?2nd St., #2B New York, NY 10023 Lippman , Miriam 116 2121 E. 24th St. Brooklyn , NY 11229

Macintosh Versi on - $695.

Project Billing IBM PC Version - $795.

Satori Software 2815 Second Ave. Suite590 Seattle, WA 98121 206/443-0765

PROJECT BILLING SOF T WAR E ProJect Bllllltf Is a time billlltl pacta11 speclflcallr lieSllllll tor all atMCIIS aN ,.,lc lleSIIHfS. It tracks all aSJeCts Of Jlllr PrDJect 11111111 lltCIUIII"' IJulltets tor time and erpeltse, actual costs Mlf 11111111 out amounts tor botJt """leree Mil u-

peiiSeS, altll project profitabllltr. .,. It automaflcallr marts up erpenses, ami Prints customlzell piMuctlrHJ I'IIJOrts Mlf CIIMt billS. AM It Is 11cre111111r usr to use, teatur111 rrln*'rrs altd pull-fltrrn mMUS. .,. A Sillclal multi-user nrslolt Is also arallable. Call er rrrlte tor adllltltal l1ttormatlo1t.

I

Ill fi I ll

138 Illustration Annua/1987

Mayer, Bill 55 240 Forkner Dr. Decatur, GA 30030 McClure, Tim 100 7719 Eastern Ave., D Dallas, tX 75209 Mclean, Wilson 43, 53 902 Broadway New York, NY 10010 McMullan, James 57, 59 James McMullan Inc. 222 Park Ave. S., #10B New York, NY 10003

Lulevitch , Tom 111 101 W. 69th St., #4D New York, NY 10023

McQuarrie, Ralph 46 993 Spruce St. Berkeley, CA 94 707

Macpherson, Kevin 63 1001 N. Central, #270 Phoenix, AZ 85004

Billing

Maydak, MichaelS. 94 7310 Joshua Circle Pleasanton, CA 94566

Low, William 49 31 Ocean Parkway, #2C Brooklyn , NY 11218

M Mack, Scott 11 4403 Holly St. Kansas City, MO 64111

Project

Mattos, John 55 1546 Grant Ave .

San Francisco, CA 94133

Maffia, Daniel 94 44 N. Dean St. Englewood , NJ 07631 Mahurin, Matt 37 77 Bleeker St. New York, NY 10012 Maloney, David 116 P.O. Box 720731 Houston, TX 77272 Mantel, Richard 63 99 Lexington Ave. New York, NY 10016 Marsh, James 69 21 Elms Rd London SW4 9ER England Mathews, Adam 100 1323 Rodman St. Philadelphia, PA 19147 Mattelson, Marvin 20 37 Cary Rd Great Neck, NY 10021

Michaels, R. Gregory 651 Simmons Ave. Kirkwood, MO 63122

100

Miller, Gregory C. 100 359 San Miguel Dr., Suite 201 Newport Beach , CA 92660 Milot, Rene 118 221 Balliol St., Su ite 1723 Toronto, Ont., Canada M4S1C8 Mion, Pierre 35 National Geographic Magazine 17th & M Streets, NW Washington , DC 20036 Moores, Jeff 109 72 S. Maple Ave. Springfield , NJ 07081 Moss, Geoffrey 20 315 E. 68th St. New York, NY 10021

N Nakamura, Joel 70 85 N. Raymond Ave. Pasadena, CA 91103 Nelson, Bill 46, 49, 72, 97 107 E. Cary St. Richmond, VA 23219

0 Olbinski, Rafal 72 111-39 76 Rd ., #E1 Forest Hills, NY 11375

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

Toyo ink and the Toyo color system are no exception .

From the culture that produced Hiroshige and Hokusai, you would expect nothing less than the most subtle and brilliant colors. And that's precisely what Toyo gives you. A broader palette of colors to choose from. A more sophisticated range of colors to work with .

Over700 colors in all.

And Toyo inks don't just look beautiful, they also print beautifully.

With excellent trap.

A sharp dot. Extreme stability on press. And a great balance between fast setting and a high gloss.

What's more, the Toyo ink system is every bit as intelligently conceived as it is beautiful. It lets you create over 90% of the available colors with just 14 base inks, including the 4 process colors. (But then, what else would you expect from a country that has made a virtual revolution of efficiency?) .

For all these reasons and more, Toyo inks have consistently been used in the world's finest art books and folios.

Now, Toyo inks and the Toyo color system are available in the USA.

COLOR COMMUNICATION SYSTEMS, LTD., 108 Access Road, Warwick, Rl 02886 Toll free (800) CCS-TOYO

In Texas (214) 320-0321

(401) 738-8853

TOYO Color Finder Set PRICE $130.

TOYO Process Color Chart PRICE $89.95.

I NDEX TO I LLUST RATORS

Orlando, Paul 84 4202 Herbert St. Louis, MO 63134

Rivera, Ambrose 57 9755 Scyene Rd ., #2111 Dallas, TX 75227

Steirnagle, Michael 66 3576 McKinley Blvd. , Su ite 100 Sacramento, CA 95816

White, Debra 111 4 S. Portland Ave ., #2 Brooklyn , NY 11217

Otnes, Fred 23 26 Chalburn Rd. West Redding , CT 06896

Roy, Sharon 20 426 8th St., NE Washington, DC 20002

Storey, Barron 45 852 Union St. San Francisco, CA 94133

Widener, Terry 38 10161 Cas a View Dallas, TX 75228

p

Rudnak,Theo 63,109 Wooden Grubbs & Bate 1151 W. Peachtree St. Atlanta, GA 30309

Stribl ing , Kelly 97 5616 Spring Valley, #267 Dallas, TX 75240

Willey, Chris 103 3202 Windsor, 2 East Ka1sas City, MO 64123

Suchit, Stewart G. 106 155 22nd Ave. Paterson , NJ 07513

Wilton, Nicholas 116 1416 Bath St., #A Santa Barbara, CA 93101

Palencar, John Jude 28 6763 Middlebrook Blvd.

Middleburg Hts., OH 44130 Paraskevas, Michael 82 157 Tuckahoe Lane Southampton , NY 11968 Patrick, Pamela 45 398A Burrows Run Chadds Ford, PA 19317 Payne, C.F. 24, 99 6333 Goliad Dallas, TX 75214 Penberthy, Mark 13 47 Greene St. New York, NY 10018 Petrauskas, Kathy 18 1221 N. Dearborn, #P6S Chicago, IL 60610 Pietzsch , Steve 35 3057 Larry Dr. Dallas, TX 75228 Pyle , Chuck 112 146 Tenth Ave .

San Francisco, CA 94118

R Raphael , Elaine 43 53 Irving St. New York, NY 10003 Rasporich, Paul 35 #28, 1168 Pendrell St. Van couve r, B.C., Canada V6E 1L4 Reed , Mike 65 1314 Summit Ave .

Minneapol is, MN 55403 Reid , Charles 13 81 Clapboard Hill Rd .

Greens Farms, CT 06436 Ricc io, Frank 103 33 Eames Blvd .

Black Rock, CT 06605 Risko, Robert 28 201 W. 11th St. New York, NY 10014

140

Illustration A nnua/1987

Rush , John 50,66 123 Ked zie St. Evanston , IL 60202 Russo, Anthony 79 373 Benefit St. Providence , Rl 02903

s

T Tennison , James E. 17, 112 Cobb & Friend 2811 McKinney #224 Dallas, TX 75204

Saffold, Joe 81 719 Martina Dr., NE Atlanta, GA 30305

Torp, Cynthia 70 P.O. Box 767 Prospect, KY 40059

Schulte, Lynn 55, 70 701 4th Ave . S. Minneapol is, MN 55415

Traynor, Elizabeth 70 1042 High Point Dr. Atlanta, GA 30306

Schwartz, Daniel 91 48 E. 13th St. New York, NY 10003

u

Schwartz, Sara 106 130 W. 67th St., Apt. 22G New York, NY 10023 Seaver, Jeff 79 130 W. 24th St. New York, NY 10011 Smith , Douglas 50, 57 73 Winthrop Rd .

Brookline, MA 02146 Spalenka, Greg 9, 15, 18, 37, 45 165 Perry St. , 1B New York, NY 10014 Sparks, Richard 30 2 W. Rocks Rd .

Norwalk, CT 06851 Spencer, Joe 99 11201 Valley Spring Lane N. Hollywood , CA 91602 Stayner, Donald Shaw 60 MorganShaw Design , Inc. 87 Wall St. , Suite B Seattle, WA 98121 Stee le, Robert G. 75, 115 14Wil motSt. San Francisco, CA 94115

Wolfe, Bruce 65 206 El Cerrito Ave. Piedmont, CA 94611

y Yang , James 40 6106 Breezewood Dr., # 203 Greenbelt, MD 20770

z Zacharow, Marian-Christopher 109 Waverly Place , #4R New York, NY 10011

Unruh , Jack 30 2706 Fa irmount Dallas, TX 75201

EDITOR'S NOTE Every effort has been made to ensure that cred its accurate ly comply with information suppl ied to us. If, for any reason , a misspell ing , om ission or other error has occurred , notify us with in th irty days and we w ill be able to issue corrected award certificates.

v Vuksanovich , Bill 76 3224 N. Nord ica Chicago, IL 60634

w Walker, Norman 20, 84 37 Stonehenge Rd. Weston , CT 06883 Ward , John 35 43-36 Robinson St., Apt. 5H Flushing , NY 11355 Watson , Richard Jesse P.O. Box 1470 Murphys, CA 9524 7 Webber, Scott 118 833 Stratford Ave .

S. Pasadena, CA 91030 Weller, Don 92 P.O. Box 726 1398 Aer ie Dr. Park City, UT 84060

49

46

Consult these leading Merchants for more information about VINTAGE®papers.

ALABAMA Birmingham • Mac Papers, Inc. Huntsville Area • Athens Paper Co. Montgomery • Mac Papers, Inc. ARIZONA Phoenix • Ingram Paper Co. • Unisource • Zellerbach Paper Co. Tucson • Unisource ARKANSAS Fort Sm ith • Carpenter Paper Co .

Little Rock • Fine Papers, Inc. CALIFORNIA Fresno • Unisource • Zellerbach Paper Co .

Los Angeles • Ingram Paper Co. • LaSalle Paper Co. • Nationwide Papers • Unisource • Zellerbach Paper Co. Sacramento • Unisource • Zellerbach Paper Co. San Diego • Ingram Paper Co .

• Nationwide Papers • Unisource • Zellerbach Paper Co. San Francisco • Nationwide Papers • Ponderosa Paper Co .

• Seaboard Paper Co .

• Unisource • Zellerbach Paper Co. San Jose • Unisource COLORADO Denver • Carpenter Paper Co .

• Nationwide Papers CONNECTICUT Hartford Area • Rourke-Eno Paper • Wilcox-Walter-Furlong Paper Co. West Haven • Rourke-Eno Paper DISTRICT OF COLUMBIA Washington • Garrett-Buchanan Co. • Frank Parsons Paper Co. , Inc. FLORIDA Jacksonville • Mac Papers, Inc. Miami • Mac Papers, Inc. • Saxon Paper Corp. of Florida Orlando • Mac Papers, Inc. Tallahassee • Mac Papers, Inc. Tampa • Mac Papers, Inc. GEORGIA Atlanta • Dillard Paper Co .

• Mac Papers, Inc. Columbus • Mac Papers, Inc. HAWAII Ewa Beach • Ingram Paper Co. Honolulu • Unisource • Zellerbach Paper Co. IDAHO Boise • Lewis & Cla rk Paper Co .

• Unisource • Zellerbach Paper Co. ILLINOIS Chicago • Bradner Smith & Co .

• Forest-Atwood Paper Co .

• LaSalle Messinger Paper Co .

• Moser-Schmidt Paper Co. • Whitaker Carpenter Paper Co. Peoria • Bradne r Smith & Co .

Rock Island • C.J. Duffey Paper Co. • Leslie Paper Co .

INDIANA Indianapolis • Cordage Papers, Indianapolis Div. • Ris Paper Co. South Bend • Moser-Schmidt Paper Co .

• Ris Paper Co. IOWA Des Moines • Leslie Paper Co. Sioux City • Carpenter Paper Co. of Nebraska KANSAS Topeka • Nationwide Papers Wich ita • Southwest Paper Co .

KENTUCKY Lexington • Athens Paper Co .

Louisville • Athens Paper Co .

• Nationwide Papers LOUISIANA New Orleans • Marks Paper Co. MARYLAND Baltimore • White-Rose Paper Co. , Inc. Columbia • Garrett-Buchanan Co. Landover • Frank Parsons Paper Co ., Inc. MASSACHUSETTS Springfield • Rourke-Eno Paper Woburn • Rourke-Eno Paper Worcester • Rourke-Eno Paper MICHIGAN Detroit • American Paper Co. • Seaman-Patrick Paper Co. Grand Rapids • Quimby-Walstrom Paper Co. , Inc. Lansing • Butler Paper Co .

MINNESOTA Duluth • Duluth Paper & Specialities Co. • Falk Paper Co .

Minneapolis-St. Paul• C.J . Duffey Paper Co. • Inter-City Paper Co .

• Leslie Paper Co .

• Wilcox Paper Co .

MISSOURI Joplin • Butler Paper Co. Kansas City Area • Butler Paper Co. • Leslie Paper Co. • Nationwide Papers Springfield • Nationwide Papers St. Louis • Beacon Paper Co .

• Nationwide Papers • Tobey Fine Papers MONTANA Billings • Carpenter Paper Co .

NEBRASKA Omaha • Field Paper Co .

NEVADA Las Vegas • LaSalle Paper Co .

• Unisource • Zellerbach Paper Co .

Reno • Unisource • Zellerbach Paper Co .

NEW HAMPSHIRE Concord • Rourke-Eno Paper NEW JERSEY Kenilworth • Lewmar Paper Co .

Union • J .B. Papers, Inc. West Caldwell • Hudson City Paper Co .

NEW MEXICO Albuquerque • Nationwide Papers NEW YORK Albany • Seneca Paper Binghamton • Seneca Paper Buffalo • Seneca Paper New York • Allan & Gray Corp.

• Ailing & Cory Co. • Andrews/ Nelson/Whitehead • Gould Paper Co .

• Willmann Paper Co. , Inc. Rochester • Seneca Paper Co .

Syracuse Area • Seneca Paper NORTH CAROLINA Asheville • Henley Paper Co. Charlotte • Henley Paper Co. • Mac Papers, Inc. Greensboro • Henley Paper Co .

Hickory • Henley Paper Co .

Raleigh • Henley Paper Co .

OHIO Cincinnati • Cordage Papers, Cincinnati Div. Cleveland • Copco Papers, Inc. • Cordage Papers, Brewer-Chilcote Div. Columbus • Copco Papers, Inc. Dayton • Cordage Papers, Dayton Div. Toledo • Commerce Paper Co. OKLAHOMA Oklahoma City • Carpenter Paper Co. Tulsa • Carpenter Paper Co.

OREGON Portland • Unisource • Zellerbach Paper Co. PENNSYLVANIA Allentown • Garrett-Buchanan Co .

Lancaster • Garrett-Buchanan Co .

Philadelphia • Garrett-Buchanan Co. Pittsburgh • General Paper Corp. Div. Cincinnati Cordage & Paper Co. Reading • Garrett-Buchanan Co .

RHODE ISLAND East Providence • Rourke-Eno Paper SOUTH CAROLINA Columbia • Mac Papers, Inc. Greenville • Henley Paper Co. • Mac Papers, Inc. SOUTH DAKOTA Sioux Falls • The Paper Company TENNESSEE Bristol • Karl M. Harrop Co ., Inc. Chattanooga • Athens Paper Co .

Knoxville • Cordage Papers, Knoxville Div. Memphis • Roach Paper Co .

Nashville • Athens Paper Co .

• Dennis Paper Co. TEXAS Arlington • Nationwide Papers Austin • Monarch Paper Co .

Dallas • Monarch Paper Co. • Nationwide Papers El Paso • Nationwide Papers Fort Worth • Monarch Paper Co. • Nationwide Papers Houston • Monarch Paper Co .

• Nationwide Papers San Antonio • Monarch Paper Co. • Nationwide Pape rs UTAH Salt Lake City • Carpenter Paper Co . of Utah • Unisource • Zellerbach Paper Co. VIRGINIA Chesapeake • B.W. Wilson Paper Co ., Inc. Richmond • B.W. Wilson Paper Co., Inc. WASHINGTON Kent • Unisource Seattle • Paper Mills Agency • Zellerbach Paper Co .

Spokane • McGinnis Independent Paper Co ., Inc. • Unisource • Zellerbach Paper Co. WEST VIRGINIA Huntington • Cordage Papers, Huntington Div. WISCONSIN Appleton • Central Wisconsin Paper Co ., Woelz Paper Div. • Leslie Paper Co. • Reliable Paper Co. DePere • Butler Paper Co. Madison • Butler Paper Co .

• Leslie Paper Co. • Moser-Schmidt Paper Co. Milwaukee • Bradner Smith & Co .

• Butler Paper Co .

• Central Wisconsin Paper Co ., Woelz Paper Div. • Jim Walters Papers • Leslie Paper Co. • Reliable Paper Co. • Wisconsin Paper & Products Co. Wausau • Central Wisconsin Paper Co. Wisconsin Rapids • Butler Paper Co .

CANADA Alberta , Calgary • CIP-Daxion , Inc. • Coast Paper Edmonton • CIP-Daxion, Inc. • Coast Paper British Columbia, Vancouve r • Coast Paper Manitoba, Winnipeg • Inter-City Papers, Ltd .

Saskatchewan, Regina • CIP-Daxion, Inc. Saskatoon • Coast Paper Ontario, Toronto • Select Papers

VINTAGE Gloss. Basis 25 x 38 , 100-Pound Text

Potli\tch

Potlatch Corporation Northwest Paper Division Cloquet, Minnesota 55720

II Used to be that after I'd finished looking at dozens of stock "images" that I couldn't use, I'd call Comstock for some stock photos that I could.

Comstock's photos are different. Shot strictly for stock. All fully model released. All shot by some of the world's most talented pros. In fact, over the last ten years, they've put together over 1,000,000 photos.

So now, like thousands of other art directors worldwide, I've smartened up.

Now I call Comstock first. ' ' For a free full-color catalog write: Comstock, 32 East 31 St., New York, N.Y. 10016 oreal/ (toll free) 1-800-225 -2727 or(212) 889-9700 inN. Y.S .

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

A AMC Entertainment 88 AT&T 79 Actors Theatre of Louisville 70 Adamek, Tina 6, 9, 13, 28, 37 Adelson, Gloria 46 Adkins, Jan 35 Albert, Donna 76 Allard, Dorothy 75 American Illustration 111 Anderson, Charles Spencer 81 Angel Graphic Design 91 Anheuser-Busch, Inc. 53, 59, 76 Arkham House Pubs. 50 Asherman, Cheryl 46 Atlanta Jazz Festival 63 The Atlantic Monthly 23, 24 Automatic Data Processing, Inc. 92 Autosound and Communications 35 Ayriss, David 28 Ayriss Design 28

B BVF+L Advertising 60 Bagby Design, Inc. 18 Barbados Board of Tourism 84 Barclay, Brian 59 Barensfeld, Mark 81 Barrington, Ann 97 Bartels & Carstens 53, 59, 66, 76,99 Bartels, David 53, 59, 66, 76,99 Barton, Kent H. 4, 38 Bartz, Lenore 55 Batkin, Glenn 109 Bauer, Greg 109 Beverly Hills Hotel 75 Bilicki, Michael 17 Blackshear II, Thomas 94 Bleck, Cathie 4 Bois Liqueurs USA 60 Booth-Ciibborn, Edward 111 Boston Globe 4 Boudreau, Jeff 33 Boyd's Subway Stores 76 Boys' Life 30 Braids, Braldt 60 Brenner, Len 17 Browning, Paul 69 Buckels, Jim 79 Leo Burnett Company 55

c CBS Records 59, 65 CVS Communications Campbell, Greg 79

144

88

Illustration Annual 1987

Campisi, Ronn 24 Campus Voice, Whittle Communications 27, 38 The Canadian Opera Company 69 Carlos/Pfeiffer/Salisbury 97 Carmichael-Lynch, Inc. 75 Carson, Carol 99 Carter, John 75 Carvalho, Ucho 88 Celestial Seasonings, Inc. 66 Charleston Communicating Arts Association 109 Chicago 13, 33 Choplin, Santa 11 Christopherson, Tara 33 Chu, Joy 49 Chwast, Seymour 69, 111 Ciba-Geigy Corporation 66 Cigliano, William V. 120 Cincinnati Regatta Committee 81 Cincinnati Zoo 81 Citizens & Southern Bank 92 Clancey, Greg 55 Clark, Debora E. 33 Cohen, Mario 88 Collins, Barbara 94 Computerland 55 Computerworld 24 Conge, Bob 75 Conge Design 75 Connolly, David 106 Connolly, Joe 30 Cook, Ken 46, 72 Ken Cook Design Office 46 Cooper, John 103 John Cooper & Associates 103 Cooper Union 111 Coors Town Point Jazz Festival 55 Corporate Graphics, Inc. 91,92 Costa, Ellie 70 Counihan, Gerry 50 Crawford, ian 35 Creative Education, Inc. 50 Creative Living 20 Creative Services, E.T.S.U. 33 Creighton, Kathleen 103 Critt Graham + Associates 92 Curry, Tom 88

D Dallas City/Dallas Times Herald 35, 40 Darnsteadt, Thomas 17 Data General Corporation 75 Davis, Gina 24 Dayton Hudson Department Store Company 94

Dell Publishing Co., Inc. 50 Digenhardt, Alice 20 Dolphens, Tom 18 Donaldson's Department Store 70 Duckworth, Nancy 15 Dudash, C. Michael 105 The Duffy Design Group 55, 70,81 Duffy, Joe 55, 70

E E. & F. Construction Company 103 East Texas State University 33 Eisenman, Sara 45, 46 Elkay Properties 70 Ellie's Matches 70 Emergency Medicine 20, 23 Emigre Magazine 11 Erlacher, Lois 20, 23 Esquire 24 Evans/Weinberg, Inc. 75

F Fahlgren & Swink 82 Fallon McElligott 55, 70, 81 Fields, Betsy 82 Fili, Louise 111 First Interstate Bancorp 92 1st Tennessee Bank 55 Fitzpatrick, Wayne 4 Fleming, Dave 99 Florida Magazine 11 Florida Trend 6, 17 Foote, Cone & Belding 55, 69,75 Forbes 9 Fort Worth Society of Creative Communications 103 The Franklin Library 43,45 Frederick, Scott 81 Fredericks, Marie-Helene 43, 45

G GSX Corporation 33 GWS Galleries 82 Gallery 14 81 Garlan, Judy 23, 24 Gaspard, Bill 18 Gersten, Gerry 17 Goldman, Marlene 20, 23 Goldstein, Eileen 6 Good Books 45 Graphic Communication Society of Oklahoma 106 Graphis 38 Gray, Robert 13, 30 Gretter, Gary 13, 30 Gustavson, Marty 55

Gutowsky, Karen

6

H HCA Portsmouth Regional Hospital 91 Hakuhodo, Inc. 53 Hallmark Cards, Inc. 81 Halvorsen, Everett 9 Harcourt Brace Jovanovich, Inc. 49 Harlin, Gregory 115 Harmon-Smith, Inc. 59 Harper & Row 46 Harris, David 35,40 Hartman, Darlene 94 Herdeg, Walter 38 Herndon, Ken 70 Hill and Knowlton 97 Hill, Lisa 82 Hillenbrand, William 81 Hill's Pet Products, Inc. 59 Hinrichs, Kit 55 Hodges, Mike 103 Hoffman, Cynthia 13, 33 Hoffner, Marilyn 111 Hoglund, Rudy 24, 27 Hom, John K. 112 Home Federal Savings & Loan 84 Howard, Sam 20 Huling, Phil 43 Hunt Snodgrass, Inc. 70 Hunter, Alexander 11

Illinois Restaurant Association 97 Inside Chicago 18 Insight 20

J Jay, Alex 46 Jennings, Marcia Maphis Johnson, Michael 6 Johnson, Warren 75 Joseph, Douglas 91 Joynes, Kathleen 50

K Kansas City Star 18 Karol, Morris 45 Kascht, John 20 Katzen, Rachel 91 Kauffman, JohnS. 45 Kelley, Gary 60 Kendrick, Ken 40 The Kenyon Consortium Ketchum Advertising, Inc. 66,76 Kner, Andrew P. 33

38

79

Save $100 •

Alfred A. Knopf, Inc. 45, 46 Krody, Barron 81 Kuhn & Wittenborn 88 Kunker, Dawn 92

L LaGuardia, Diana 37 Larson, Mark 59 Lebenson, Richard 103 Levi Strauss & Company 55 Levin, Lisa 92 Levinson, Janet 72 Liepke, Malcolm T. 82 Lincoln Center 33, 59 Lloyd, Doug 116 Lockheed Missiles & Space Co., Inc. 94 London Transport 69 Los Angeles Times 11 Los Angeles Times Magazine 15 Lulevitch , Tom 111 Lulu Graphics 46

M M.C.I. Communications 84 Macpherson Illustration 63 Macpherson, Kevin 63 Mad Magazine 17 Magnolia Studio 82 Magowan, Marjorie 24 Malecki, Bob 109 Malzeke-McDonald, Karen 86 Mansfield, Robert 9 Mantel, Richard 63 Maritz Motivation Company 84 Marsh, James 69 Marshaii-Delessert 65 Marshall, Rita 65 Martinez, Raul 13 Mary-Josee Records 65 Massaro, Kathy 6 Massey, Wes 70 Mastrangelo, Francesca 91 Mathews, Adam 100 McCabe, Tim 97 McDonald, Dan 35 McFarlane, Paul 86 Mclane and Company 92 McMullan, James 33, 59 Medical Economics, Drug Topics 17 Meglin, Nick 17 Melia Design Group 84 Melia, Michael 84 Mendelsohn, Michael 43, 45 Metacom 65 Metz, Frank 43 MICOM Systems, Inc. 91 William Mills & Associates 109

Milot, Rene 118 Minneapolis-St. Paul 33 Minneapolis Star & Tribune 38 University of Minnesota Film Society 79 Mobil Corporation 63 Mobil Oil Company 69 Mohr Creative Group 109 Money Maker 33 Monsanto 97 Montebello, Joe 46 Montfort Concept & Design 17 Moore, Lindsay 66 Morcone, Roberta 20 MorganShaw Design, Inc. 60 William Morrow & Co., Inc. 46 Murray, Mike 65

N Nakamura, Joel 70 National Geographic 35 Nationwide Papers 100 Neiman-Marcus 97 Nelson, Bill 49, 72, 97 Bill Nelson Illustration 49 Network Systems 75 Neumeier Design Team 50 Neumeier, Marty 50 City of New York 72 The New York Times Magazine 37,40 The New York Times Sports Magazine 40 Newcomb, John 17 Newsday Magazine 9 Nicklen, Bambi 18 Ninety Degrees 99 Noyes, Brian 28 Nunns, Eddie 97

•

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0 O'Farrell, Maureen 92 Ogilvy & Mather 79 Olbinski, Rafal 72 Owens-Illinois Forest Products Company 82 p PW Communications, Inc. Paillot, Jim 59 Palecek, Jane 11, 20 Papermania Studio 72 Paragon 53, 99 Paraskevas, Michael 82 Park Avenue Merchants Association 75 Pavlovich, Jim 4 Peckett, Tim 69 Peckolick, Alan 84 Peckolick & Partners 84

Off software that will keep your business running smoother, more profitably.

DesignSoft will track time and expenses for all active jobs in your office. Within seconds, you can produce status reports and summaries for any number of jobs.

Print invoices in a format you design, track receivables , payables, aging, and income.

For a limited time, you can get DesignSoft for only $395.00, $100.00 off the regular price.

20

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Commumcation Arts

145

INDEX TO ART DIRECTORS, DESIGN FIRMS, AGENCIES AND CLIENTS

Pennsylvan ia Tours 76 Pentagram 55 Perkins, Laura 88 Petrauskas, Kathy 18 Phillips, Sharon 46 Phoen ix 20/30 Club 63 Pinals, Deborah 92 Pinkney, Jerry 94 Pirelli Brazil 88 The Plain Dealer Magazine 18 Playboy 6, 28, 37 Pogany, Su 27, 38 Pope, Kerig 6, 28, 37 Post, Bob 33 Post, Robert J. 13 Postgraduate Med icine , McGraw Hill Publications 6, 9, 13, 28, 37 Preiss, Byron 46 Byron Preiss Visual Publications, Inc. 46 Print 33 Printing Industries of Virginia 97 Private Clubs Magazine 17

Probst, Robert 81 Puget Sound Mycological Society 60 The Pushpin Group 69, 111

Russek Advertising 33, 59 Russek, Jim 33, 59

s

A Reader's Digest General Books 45 Reed , Mike 65 Rennels, Kathy 82 Rhodes, Silas H. 106 Riccio, Frank 103 The Robb Report 27 Roberts, Cecily 40 Robertson , Peggy 24 Robinson Associates 33 Robinson , Randy 88 Rolling Stone 13 Roy, Sharon 20 Ruch,Sandra 63,69 Rucker, Lesley 17 Runyan, Robert Miles 91 Robert Miles Runyan & Associates 91

Saffold, Joe 81 St. James Press 46 St. Mary's Health Center Magazine 86 Salisbury, Jill 97 Sandberg, Thorn 79 San Francisco Chamber Orchestra 65 Scerbo, Nina 38 Schenker, Probst, Barensfeld Scherrer, Steve 84 Schmidt, Dorothy 45 School of Visual Arts Press, Ltd. 106 Schwartz, Sara 106 Science '86 4 Scientific American 20 Sealy, Jerry 18 Security Management 40 Sell, Judy 38

81

Seow, Jacki e 43 Shands Hospital 82 Shenon , Mike 94 Mike Shenon Design 94 Siebert, John 97 Simon & Schuster 43 Slavin & Associates, Inc. 97 Slavin, Barry 97 Sm ith , Miriam 9 Sm ith , Tyle r 79 Solomon , Richard 99 Spencer, Joe 99 Sports Afield 13, 30 Sports Illustrated 9 Stad ium Jumping, Inc. 82 Staebler, Tom 6, 28, 37 Stanford Med icine 94 Stayne r, Donald Shaw 60 Steirnagle, Michael 66 Michael Steirnagle Illustrati ons, Inc. 66 Stolz Advertising Company 86 Stone, Steve 66 Stuart, Neil 49

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Sunshine Magazine, News/ Sun-Sentinel Co. 4, 38 Synergistic Designs 81

u

T Tabor Publishing 86 Tanaki, Koji 53 Taylor-Browning 69 Taylor Publishing Co. 46,49 Taylor, Scott 69 Taylor, Terry 106 Tennison, James E. 112 Un iversity of Texas at EIPaso 66 Theatre IV 72 Thomas, Gordon 33 Thomas, Tom, Anheuser-Busch, Inc. 59,66 Time 24, 27 Trammell Crow Company 88 The Travelers Corporation 91 Trinity Repertory Company 79 Tudor, Kim 82 Turner, James 50

v

United Airlines 55 U.S. Postal Service 94

Vachon, Doug 63 Doug Vachon Design 63 Vanderlans, Rudy 11 Van Steen, Ricardo 88 Video Magazine 6 Viking Penguin 49 Vizcarra, Henry 99 Vorderstrasse, Victor 60 Voyles and Company, Inc. 100 Voyles, Pam 100 Vrontikis, Petrula 92

w Walker, Nancy 55 Warner Bros. Records Warner, Richard 9 Washington Post 24 The Washington Post Magazine 28

72

Washington Times 11,20 Waters, Phil 11 Watkins, Karin L. 27 Watson, Cheryl 94 Weber, Jessica 84 Weinberg, Allen 65 West, Miles 75 West, San Jose Mercury News 18 Western Foodservice 28 Western Living 35 Western Michigan University Theatre 60 Whitcomb, Emilie 27 White + Associates 92 White, Ken 92 Whittington, Meis & Narro 92 Whittington, Richard 92 Willey, Chris 103 Williams, Jack 94 Wilson, Jean 79 Wilson/Kern Associates 79 Wilton, Nicholas 116 Winter, Vincent 40

Wolf Blumberg Krody, Inc. 81 Wolfe, Bruce 65 Wood + Cohen Advertising & Public Relations 82 Wood, Rob 115 Working Mother 38

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

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_ _ _ _ Zip

COMPUTER DESIGN

W ENDY RICHMOND

SYSTEM INCOMPATIBILITY Y LIVING ROOM HAS CHANGED dramatically in the past twenty-four hours.

Yesterday I went with a friend to a huge warehouse sale of audio-video components.

I had no intention of buying anything. I used to have a simple record player. Now I have a huge TV with giant rabbit ears, a VCR, a receiver, a turntable, a tape deck, a CD player, and four separate remote controls.

M

clients are buying page layout software, and they are asking, with more and more frequency, that designers spec pages of type and graphics in a software program instead of on paper.

Four remote controls! I get the Today show when I want to listen to David Bowie. This morning I called the salesman who sold me the stuff.

The reality is that you can save a lot of time, money, and corrections and still get your typeshop's expertise by sending text files. The dream is that you can get the same things when you send page files. There are substantial obstacles in between.

"Why do I have four separate remote controls? They all look the same. Why can't I use just one?"

"Because~' Heavy sigh. "They're not compatible~'

Designers are advisors. Now they have to advise their clients about using personal computers in production.

They also have to explain to their clients when and why a personal computer is not appropriate.

Obstacle One: Page Description Languages

A friend was designing an annual report for one of her regular clients. They used personal computers to write their copy and, with their encouragement, she used the computer to make comps.

Most typeshops can accept an enormous range of word processing formats; they have equipment that will translate all the different formats into one that works with their typesetting equipment.

She always hated specing tables, so she decided to try using the computer. Maybe she could even send the disk to the typesetter and avoid marking up the manuscript altogether. She tried a simple table, and proofed it on the laser printer. It looked OK, but she had to see it typeset; this was an annual report, and it had to be perfect. She sent the disk to her typeshop. When she got the job back, it didn't look quite like the printout. Nor did it look like her type shop's usual level of quality.

So she marked xeroxes of the repro with corrections like "Add 112 point lead here" and "tighter overall letterspacing~' and figured that she had saved a lot of time and money on the typesetting; these were minor corrections.

Page layout software is incredibly more complicated than straight text because it includes type specifications, placement, graphics, overlaps, reverses, rotations, patterns ... Each headline, rectangle and tint screen is represented by a myriad of codes. These codes describe the page in a language that the computer system can read.

Her typeshop called back and said, "You have to make those corrections yourself on the computer and send us a new disk file~' She was surprised, and said, "But you've always been able to make those corrections easily before~' "This job is set on a different system than the one we normally use for your jobs. They're not compatible~' In the past few columns I've talked about the changes that personal computers are causing for designers.

Clients use word processing software and regularly send designers manuscripts on disks instead of paper. Now 148 Illustration Annua/1987

There are many different "page description languages" such as Postscript, Interpress, and DDL. Unlike word processing files, it's not so easy to translate one page description langauge to another. A page that has been created with a page description language has to be typeset on equipment that supports the same language.

The typesetter has to "speak the same language" as the page layout program.

Most of the high quality typesetting systems that typeshops currently use speak only one, if any, of these page description languages.

Obstacle Two: The Database.

A typeshop's most valuable asset is its database. Each time a typeshop gets a new typeface, they must add their own refinements: kerning pairs, various tracks, etc.

Those refinements come from their customers' demands, complaints, requests, and knowledge about typography, all of which go into that database. The typesetting

Draw better figures from better figure reference.

Set 1: Fairburn Figures & Hands.

Every art director and illustrator knows the frustration of not having the right piece of figure reference available when he needs it. Too often this mean hunting through morgues and magazines, taking Polaroids, or even hiring a photographer and models.

Now you can save those valuable working hours and improve your figure drawing.

Set 1: Fairburn Figures and Hands contains

nearly 10,000 shots in three volumes; 1. Males; 2. Females; 3. Situation Poses and Hands. Beautiful people, plain people. Fat and thin, old and young.

Each set consists of three spiral bound plastic covered 15" x 10" books and is priced at $160.00. We pay postage in the U.S. and Canada.

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3304 adult males. 3288 females. 3328 ethnic models and character types.

Indexed by age groups 18 to 80. Models shot from three angles. The ugliest and most beautiful faces you'll ever need are here. $160.00 per set of 3 books.

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1 1

I II I I I

Sendme: D Set 1: Figures & Hands at $160.00 per set.

D Set 2: Faces and Heads at $160.00 per set.

D Set 3: Children at $160.00 per set.

D All three sets for $435.00.

D Please send more information.

My check for$ _ _ _ _ is enclosed.

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Sorry, no C.O.D.'s

WENDY RICHMOND

systems that typeshops use for high quality typesetting are designed specifically to handle that huge database of details.

The software programs don't have that database of typographic refinement yet. And because the page layout software and the typesetter are incompatible, your typeshop can't make refinements to the job you created on your personal computer. The typeshop must offer two distinct and separate services: hands-on or handsoff. You choose one or the other.

Obstacle Three: Wait and See Designers are getting a barrage of advice about using personal computers for electronic publishing from computer companies, computer magazines, and computer stores. Why do designers have to learn from people who know so little about typography?

Is it fair, then, for designers to expect direction from their type suppliers, the people who do know about type?

MAKE IT TO mE TOP Mead wants your best work for our 37th annual Top 60 Competition for Excellence in the Graphic Arts.

RECOGNITION: Entries are judged every month for excellence in concept, design, and printing. And every month an independent panel of experts picks 15 winners: five Awards of Excellence, and ten Awards of Merit. The five best from each month make up the Top 60 Show at the end of the year. Four Top of the Top Awards will be selected from the 60 winners. The entire show will be exhibited

by Mead Distributors throughout the country.

ELIGIBILITY: Theres no entry fee and just one simple rule. Any printed piece is eligible as long as its printed on one of these Mead coated papers: Mead Mark I, Mead Mark V, Black &White, Mead Offset Enamel, Moistrite Matte, Black &White Web, Mead Web, Moistrite Matte Web, Northcote Enamel, Escanaba Enamel.

HOW TO ENTER: Enter through your Mead Distributor, or by calling 1-800-345-MEAD.

Typeshops are watching the developments in personal computers closely, and they are waiting. Waiting for better quality, faster output, compatibility between systems. But most of all they are waiting for their customers to ask for new services. As one typesetter said, "If they don't need it, I don't need ie' Right now the operators in typeshops work primarily with mainframe systems. But the obstacles of incompatibility and lack of quality will soon disappear, and personal computers will be the operators' new workstations. The typeshops who support customers in their exploration of new tools now are establishing a solid connection for the future.

This afternoon the salesman from the warehouse sale called me back. "There's a remote control that will work with all my different components. The only trouble is~' he said, "you have to program it yourself, and it's really complicated~' I've decided to keep my toys and live with four separate remote controls for now. I'll just have to be careful about where I point them.

•

Beckett Cambricm For thefiner things in life.

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Beckett Cambric provides the perfect setting for any printing, with a banquet of colors in text and cover weights, duplex combinations and matching writing weight.

Beckett Cambric's linen-like finish provides good ink holdout which

gives a subdued gloss-without the glare of a coated sheet. It scores and folds neatly, die cuts cleanly and responds well to any graphic treatment.

Specify Beckett Cambric on your next job-and discover the elegant difference this paper can make.

The Beckett Paper Company • Hamilton, Ohio We improz'f! your image.

Other draw and paint programs also let you add captions. But none of them can put those captions next to the sharpes; cleanest lines and curves on the map.

With its poweiful curve drawing capabilitieSy Adobe Illustrator makes short work of the most technical drawings. Andgives you camera ready output right at your desk.

Share your drawing with other users. And if anyone wants to change it-no problem-the Adobe Illustrator cangive you another perfect original. Fast.

Start with a blueprint orjust a dream and the Adobe Illustrator can help you build out the rest.

Straight and true.

For producing the finest detailSy all kinds of line weightsy even typeset captions with precise contro4 no other program can touch it.

Bones of the Left Hand-Palmar Surface

WITH THE NEW ADOBE ILLUSTRATOK. Introducing Adobe lliustrator.lM A new software program designed to produce high quality illustration with the smoothness of a french curve, the versatility of a pencil and the speed of a computer.

Unlike other draw and paint programSy theAdobe Illustrator uses lines and curves to form an image) instead ofdots. So ther~s really no limit to the ideas you can hatch. Or cross-hatch.

Change is the name of thegame in logo design.

And the Adobe Illustrator can make changes in a fraction ofthe time it would take by hand.

And not a big fraction) either.

Here's how it works.

Unlike other programs, the Adobe illustrator doesn't build an illustration dot by dot. It uses precise lines and curves instead.

Secondly, nothing has to be drawn from scratch. You and your Macintosh Plus~ SEJM or II~ can start with the scanned image of a photograph, logotype, blueprint, something from your scrap file, even a rough sketch.

Once in the computer, this scanned image becomes your guide. You trace over it to construct the new image. Then, once you have the image you want, you can manipulate it in ways possible only with a computer-scale it, rotate it, even combine it with other Adobe illustrator images.

From an artistic point of view, then, the Adobe illustrator is a powerful, new medium.

But it's also a powerful new production tool. One that automates the art production process.

Imagine, if you will, getting camera ready art out of a Macintosh. (We did. You're looking at it.)

Or being able to change that art radically-as easily as you'd edit a letter-and getting new art, literally, within minutes.

Imagine keeping every image in small electronic "art files~' and being able to recall, refme, combine or change images, at any time, in any way.

Without any of the usual production headaches.

And just picture what you can do when you combine the Adobe illustrator with the most popular page layout systems.

It also drives each and every PosTSCRIPT~equipped ~rinter, from the Apple®LaserWriterlM to Linotype's®Linotronic 300 typesetter.

So the problem of getting high resolution has finally been resolved.

To see for yourself, call (800) 29ADOBE,(800) 85-ADOBE in California, or (415) 852-0271 from Canada for the location of the nearest Adobe dealer. You'll get a demonstration that'll really draw your interest.

Adobe Illustrator is a trademark and POSTSCRIPT is a rfi!istered trademark ofAdobe Systems Iru:urpi!rated.

Other brand or uct names are trademarks or istered trade1narks o their · holden.

A dobe Systems Incorporated, 7/70 Embarcadero 94303.

ro~

uPalo ~

&;:'"\~-

'V~~

"""" ,., •.,... ".

FREE

LANCE

BARBARA GORDON

HERE WAS STANDING ROOM ONLY AT a recent Manhattan meeting of reps, artists, photographers and art buyers to discuss what the art buyers and art directors liked and didn't like about representatives. Some of the things have been said before but, since a lot of the same complaints resurface year after year, some things cannot be said often enough.

T

On the positive side, just about all of the art directors and art buyers at the meeting said that, essentially, they liked to do business with representatives. Reps usually made their jobs easier, especially in the price and usage situations that are becoming more and more a part of our business.

The things that art buyers and art directors did not like about representatives are the same things that no one likes about bad salespeople: insensitivity, lack of knowledge about the product they sell; hard sell tactics; reps who called them day after day asking "have you got any work for me?"; reps who brought them samples that were not pertinent to accounts they were working on.

However, they also did not like reps to call them and ask, "What accounts do you work on?" The agency people felt, as one art buyer put it, "Reps should do their homework, find out what clients the agency handles and plan their calls and portfolios accordingly."

Once a rep showed them a portfolio, they didn't want the rep to call back a month later with the same portfolio.

And in fact if the representative did not have anything new,' they s~ggested the rep didn't have to call at all.

Of particular annoyance was the uninformed representative who could not answer questions about how a particular photograph or painting was executed, or for what client the work was done.

Once again, the same complaints were made about annoying telephone calls: people who call and do not properly identify themselves; people who get too chatty on the phone before asking "Is this a convenient time to talk?" Art buyers and art directors want anyone trying to sell them on the telephone to state their business briefly and succinctly. No one has time to verbally spar and play games on the telephone.

They don't like to see mediocre work. Apparently there are representatives carrying mediocre work and trying to pass it off as something better. The agency people stated that this was part of the reason for the " drop-off" policies that have been instituted at so many ad agencies and publishing houses. As one art director said, " I got tired of saying: 'That's a nice piece; or 'That's a great shot; 156 Illustration Annual 1987

while looking at one bad portfolio after another. What else can you say when a rep or artist is standing there with a bad portfolio? It's easier to have a 'drop-off' policy.

Then you don't have to say anything and can just skim over the bad portfolios ~' How do they want representatives to sell to them?

It starts with good work. No matter how busy they are, there isn't an art director or art buyer living who does not want to see a good portfolio. An effective representative owes it to himself or herself to seek out and represent only the best artists he can find; and also to work with that talent to put together the best possible portfolio they can present to the marketplace.

The agency people admitted that there are certain reps whom they believe do seek out the best and most innovative talent; and they are more receptive when one of these particular reps call about viewing a portolio.

Art directors and art buyers also appreciate representatives who pre-screen a portfolio for a specific call. As one art buyer said, "It really helps me when the rep edits a portfolio for my specific client. It not only saves me time, it often helps that rep get the assignmene' A good representative will tailor the portfolio to each specific selling situation. It takes more time to do this but, in today's competitive selling climate, one simply cannot use the same portfolio or same samples in every selling situation.

They want representatives who will keep them informed of new things their artists and photographers are doing by means other than the sales or telephone calls. They suggested promotion pieces, advertisements in directories, or just sending a note with a Polaroid example of something new that the talent had done that might interest them.

The art directors and art buyers also reminded us that reps, artists and photographers are only a few of the suppliers who call on them. They are also pursued by printing salesmen, retouchers, designers, free-lance art directors and a whole array of salespeople trying to sell them products and services.

The bottom line was: "My time is valuable. If you don't respect my time, you won't get any of it. Show me only the best work. Tailor it to my specific accounts and needs.

Let me view it at my convenience, even if that means dropping it off. Keep me up-to-date on your talent's work without annoying me ~' Sounds harsh? Maybe, but think about it.

When we're the customer, don't we want the same thing?

DULLER. WHY IN THE WORLD WOULD ANYONE WANT TO MAKE THEIR WORK DULLER. IT'S LUDICROUS, HERETICAL. WELL,

MAYBE NOT. SOMETIMES, YOU SEE, BY MAKING YOUR WORK DULLER, YOU CAN SAVE IT FROM BEING DULL. YES, BY CHOOSING A

HIGH-QUALITY DULL PAPER LIKE

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RIGHT AT YOUR FINGER TIPS. THE EXCELLENT SMOOTHNESS OF THIS PAPER. WARREN LUSTRO DULL IS SO SMOOTH AND UNIFORM IT

ALLOWS FOR AN UNBROKEN FILM OF INK. THUS, YOUR WORK REPRODUCES THE WAY YOU ENVISIONED IT. THE DETAILS ARE SHARP.

THE TONES WARM. THE COLORS RICH. AND THE SUBJECT EXPLODES WITH AN INTENSITY AND MAGNIFICENCE

IT MAY NEVER HAVE KNOWN BEFORE. CASE IN POINT: THE POMEGRANATE-RED FISH ON THIS PAGE. NO LONGER

A TINY, QUIET CREATURE, IT'S BEEN TRANSFORMED INTO A SCREAMING, TRUCULENT, SIX-INCH MONSTER

OF A FISH. WARREN LUSTRO DULL. WARREN CAN CHANGE THE WAY YOU SEE THINGS. ~

IN CHOOSING A PAPER, THERE IS ONE QUESTION YOU MUST ASK FIRST. HOW RELIABLE IS IT? WELL, WHEN IT COMES TO WARREN

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AND IN BASIS 60, 80, AND 100 COVER WEIGHTS.

S.D. WARREN COMPANY, A SUBSIDIARY OF SCOTI PAPER COMPANY 225 FRANKLIN STREET, BOSTON, MA 02110 © 1987 S.D. WARREN COMPA NY, A SU BSIDIARY O F SCOTT PAPER COMPANY, PR INTED IN U.SA. ON LUSTRO DULL 80 LB. TEXT

87-56

the lower half of this page strongly demonstrates, Bienfang Parchment Papers are durably constructed to stand up to multiple erasures and refinements.

This feature is just one of many that make the Bienfang Designer Series America's #I conceptual launching pads. in deference to the makers of the paper at the top, we'd prefer not to comment on its perfonnance. Why rub it in?

•

BOOK REVIEWS THE NORTH LIGHT HANDBOOK OF ARTIST'S MATERIALS

by Ian Hebblewhite. (Published by North Light Books, 9933 Alliance Road, Cincinnati, Ohio 45242, $24.95 plus $2.00 postage.) In his introduction, Ian Hebblewhite states: "Artists face a big problem in that the quality of some ready-made materials on sale today is poor.

Recently, for example, a world famous art gallery did comparative tests on internationally known brands of oil paints. It found that, of all brands tested, a well-known brand available on virtually every continent had the most destructive effect on supports, due to its high content of drying oils:' I suppose you could think of this book as the Consumer Reports of the artist materials industry. Mr. Hebblewhite has compiled a reference book to help artists know what materials are available on the market, what their relative qualities and uses/limitations are and who manufactures them. 272 pages include comparative charts, listings, illustrations and text divided into five sections, supports, studio furniture and equipment, drawing and calligraphy instruments, brushes and painting equipment and color and media. Artists may also find this book useful for discovering materials they never knew existed or solutions to previously unsolvable problems.

ILLUSTRATORS 28 Edited by Arpi Ermoyen. (Published for the Society of Illustrators by Madison Square Press, Inc., 10 East 23rd Street, New York, New York 10010, $49.95 plus $2.55 postage. New York residents add 8lf4% sales tax.) If you want to see what was happening in illustration in 1985, this weighty volume offers 645 color reproductions of the Society's 28th annual exhibition, selected from the 8,000 entries submitted. An index of artists and clients is included for reference.

THE ART OF RUPERT GARCIA by Ramon Favela. (Published

by Chronicle Books, One Hallidie Plaza, San Francisco, California 94102, $14.95.) Mr. Garcia first came to prominence as a poster artist while a student at San Francisco State College in the 1960's. Using solid fields of bright colors, common to pop and commercial art at that time, Garcia made strong political statements against racism and war. This 96-page book chronicles that period and continues into his more recent work which has become less political, with more surface experimentation.

Portraits of Frida Kahlo, Diego Rivera and Picasso are a few of the reoccuring themes that are particularly interesting.

How TO WRITE, ILLUSTRATE, AND DESIGN CHILDREN'S BooKs by Frieda Gates. (Published by Lloyd-Simone Publishing Company, distributed by Library Research Associates, Inc., Dunderberg Road, RD 5, Box 41, Monroe, New York 10950, $23.50.) This book serves as a good introduction to the process, but it shouldn't be considered a replacement for professional assistance. Information on dealing with publishers and preparation for printing is invaluable to a novice author.

u

c

D

A

Anational nenvork of designers involved in higher education

Adesign competition judged by some of the best in the business

An annual national conference featuring world-class designers

Ajob-posting serviCe. regional workshops. and much more

VERY BRIEFLY NOTED: SOURCE BOOKS

University

and College

Designers

Association

THE SAN DIEGO CREATIVE DIRECTORY. (Published by Alex and Susan Farnsley, P.O. Box 83627, San Diego, California 92138, $26.95.) 304 pages.

Return to: UCDA National Office 2811 Mishawaka Avenue South Bend. IN 46615 (219) 288-UCDA

RSVP XII: THE DIRECTORY OF CREATIVE TALENT. (Published by Richard Lebenson and Kathleen Creighton, P.O. Box 314, Brooklyn, New York 11205, $16.95.) 251 pages, 170 in color.

THE ARIZONA PORTFOLIO 1987. (Published by Hubbard and Hubbard, Inc., The Arizona Portolio, P.O. Box 44971, Phoenix, Arizona 85064, $34.00.) 242 pages.

Name Title Institution Street City Telephone (

State _ _ Zip

1987 CHICAGO TALENT SOURCEBOOK. (Published by Alexander Communications, distributed by Robert Silver Associates, 307 East 37th Street, New York, New York 10016, $50.00.) 500 pages.

-Patrick Coyne

160 Illustration Annua/1987

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

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

At Graphic Composition, Inc. we ~k\l?the disguises and get right

to work. Our skilled artisans ~-====--::-:::;:::?T~:=:~==::=;,-,.!!~=:::;J~III•RI••' don't pretend to be anything but .. lli.:::::~~~-...:'lla what they really are .luperher o e s.

Rnd their daring daily feats, like 24·hour turnarounds, telecom~u.nications and dependable

d~\ivery schedules would convince the Man of Steel to turn in his uniformr

Anyway, who needs comic books, when we offer one of the largest typeface libraries in the countryr Let's get another thing straight-or curved, wavy, neoned-you name it. If you want action, you have to take action. !io give us a try, and we'll give you our best shot. Quickly.

GRAPHIC COMPOSITION,INC. P.O. Box 585, Dept. C3. Menasha, WI 54952 1-800-262-TYPE nationwide 1-800-472-TYPE in Wisconsin 1-414-739-3152

• MACtac Graphic FilinS enhance your good taste.

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Post Office Box 260 Menasha, W1scons1n 54952-0260

c 1987 Gilbert Paper Printed on Gilbert• Bond Wave, While, 80 lb. Cover

r--------------------------------------1 If you would like to receive promotional literature on Gilbert's bonds, please fill out this form (or a facsimile) and send it to Gilbert Paper today.

Name _____________________________ Title _ _ _ _ _ _ _ _ _ _ _ _ __ Company _ _ _ _ _ _ _ _ _ _ _ __

Please check which category is most appropriate : D Design/Art Studio D In-house Agency D Advertising Agency D Printer

D Other (specify) _ _ _ _ _ _ _ _ __

Street Address _____________________ City _ _ _ _ _ _ State _ _ Zip _ _

Are you a principal specifier of premium correspondence paper fouour company?

DYes

GiiOOrt~

arreoo~ Advertising Department, Dept. CA

UNo

Please list the names and titles of others within your company who specify premium correspondence paper (please print):

P.O. Box 260

Menasha, Wisconsin 54952

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

MATERIALS

BROADEN YOUR HORIZONS~ A

DGEF INSTRUCTOR VERTICAL FILING SYSTEMS It seems like product releases of a similar nature come in batches and this month is no exception.

Safco Products Company has announced a roll back in prices on their vertical filing system. Sheldon Gough, Safco's graphic storage products division manager, put it in astute marketing terms, "The roll back in prices was to keep Safco's competitive edge in the marketplace~' Offered in three different applications, a mobile stand on casters, a pivot wall rack and a drop/lift wall rack, all of Safco's vertical filing systems are based on a hanging clamp that can hold as many as 100 sheets or up to 20 pounds each and are guaranteed for 10 years. Four available sizes are 24, 30, 36 and 42 inches. Constructed of heavy gauge welded steel, all feature Safco's ever popular "Tropic Sand" baked-on enamel finish. For more information, or to suggest other color schemes, contact Safco Products Company, 9300 West Research Center Road, New Hope, Minnesota 55428, or phone (612) 536-6700.

The Hamilton Planhorse instant retrieval system sounds more like a computer memory than a vertical file rack.

Hamilton's system is also based on their "unique" clamp that can also hold up to 100 sheets. Two "customdesigned" wing nuts apply pressure to the spring loaded clamp sides and when loosened, the clamps open "automatically." All this is done without any electricity.

Two mobile trolleys are available. Model 1000 holds up to twelve clamps and model2000 holds up to 24 clamps.

To get more information, write to Hamilton Industries, Two Rivers, Wisconsin 54241, or call (414) 793-1121.

The Mobus vertical plan filing system can hold up to 1500 36x48 inch drawings in an enclosed cabinet without clamps but using a large pin mechanism developed in Germany. Free literature and additional information are available from Dale/Dompro Ltd., 2660 Sabourin, St. Laurent (Montreal), Quebec, Canada H4S 1M2, or call collect (514) 336-8851.

Foster Manufacturing Company has introduced their version of a vertical rack storage system based on a series of hanging clear plastic envelopes with closing velcro flaps. The envelopes come in six different sizes and can hold up to five pounds of material each. They hang from a modular steel rack design that can be expanded in all directions. Optional casters are also available. More information and a free catalog are yours by writing to Foster Manufacturing Company, 414 N. 13th Street, Philadelphia, Pennsylvania 19108 or call 800-523-4855. In Pennsylvania call (215) 625-0500.

If you're a professional visual communicator at the top of your field . . .

If you enjoy the responsibility of sharing your expertise with other working professionals ...

And, If you're still looking for new challenges ...

We've got one to offer.

Dynamic Graphics Educational Foundation, the world's leading provider of hands-on professional training for visual communicators, Is looking for top professionals who have the desire and ability to communicate their know-how.

As a DGEF Instructor, you'll have an opportunity to sharpen your skills and experience as you share your knowledge with professionals nationwide . . . and around the world.

Your association with DGEF will bring other rewards, as well. You'll gain visibility In the industry and carry the distinction of representing the foremost training resource for visual communicators.

If your expertise Is in the areas of graphic design, print production, Illustration, computer graphics, AV production or graphics management. we'd like to hear from you.

Please send a letter and resume of your background to: Director DGEF 6000 N. Forest Pk. Dr. Peoria, IL 61614

Take

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

Portfolio (Q] Center Please send me information on: 0 Photography D Commercial Art 0 Copywriting Name ______________________________ Address - - - - - - - - - - - - - - - - City _ _ _ State _ _ _ _ Zip_ _ _ __ Phone - - - - - - - - - - - - - - C A 4

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

165

MATERIALS

ERASER HoLDER

COMPUTERIZED SIGN SYSTEM

If you're in the market for that just right graphic statement, Staedtler has produced a refillable plastic eraser holder called Radett. " ... the fashionable, fun eraser for 1987." A simple click-stop pushbutton advances the eraser as it's used and when it's not used, there is a built-in pocket clip. (I guess the nerdy pocket clip look is back.) Make your statement in seven stylish colors, pearl pink, pearl white, pearl blue, red, yellow, black and white. Radett is available at office product stores. For more information contact J. S. Staedtler, Inc., P.O. Box 7102, Canoga Park, California 91304, or call (818) 882-6000.

Banacom, referred to as the "McSigns" of the industry, has created a computerized signwriting system capable of producing multi-colored, laminated paper signs and banners in several typefaces. The system can also print company logos and other graphics which can be stored for future use. Print sizes range up to 24 inches high.

To find the Banacom Instant Sign center nearest you, contact Banacom, 18662 MacArthur Blvd., Suite 290, Irvine, California 92715, or call (714) 476-8866.

VIDEO STILL IMAGE RECORDER

Polaroid has introduced the FreezeFrame video image recorder that produces instant color prints or instant 35mm slides from your VCR. Polaroid claims the quality of output is superior to direct screen photography or thermal video image recorders. Their suggested applications include replacing a storyboard with a "photoboard:' creating a slide presentation from a video and producing hard copy as a reinforcement to an educational video.

You may think of others. To see a demonstration write to Polaroid Corporation, Electronic Imaging Marketing, 575 Technology Square-2S, Cambridge, Massachusetts 02139, or call 800 225-1618.

ROTATING DRAWING BOARD

Under our unusual product of the month category, Foster Manufacturing has produced the Turn-A-Matic R52 which, if I understand the press release, is a lazy susan built into a drawing table that has a sliding horizontal rule. I think the idea is to angle the piece of art instead of using a triangle so you can always draw in a horizontal position regardless of what angle you need.

The 20 112 inch aluminum disc turns 360 degrees in 15 and 30 degree increments and a lever controls rotation in 3 positions, brake, free and index. If you think you can use this, write to Foster Manufacturing Company, 414 N. 13th Street, Philadelphia, Pennsylvania 19108 or call 800-523-4855 . In Pennsylvania call (215) 625-0500.

ADVERTISING MUSEUM VIDEO

The American Advertising Museum in Portland, Oregon, has released an eight-minute video featuring the museum's major exhibits, includes interviews with museum visitors and highlights the library and some of the classic television commercials. Cassettes are available for $15 by contacting the American Advertising Museum, 9 Northwest Second Avenue, Portland , Oregon 97209.

166 Illustration Annua/1987

PORTABLE VIEWER

For those creatives on the go, the Matrix division of Leedal Inc. has produced the SV-2B Attache Viewer which looks like an attache case. When opening the case you are confronted by an 11 x 18 inch viewer lit by two 5000°K color correct fluorescent tubes, and storage space for slides or other collateral material. The case locks for security, comes with a black grain finish and, according to the press release, "It is truly a system for the person that needs to look like a professional ~' If this is your need, contact Leedal Inc., 1918 South Prairie Avenue, Chicago, Illinois 60616, or call (312) 842-6588.

HoT FoiL TRANSFER MARKER

Under our novelty item of the month heading comes Hot Tools Inc.'s lightweight foil transfer tool that transfers permanent gold leaf, aluminum and bronze foils onto a wide variety of materials including leather, vinyl, plexiglass, plastic and paper. The marker looks like a wood burning tool, heats up in about a minute and uses interchangeable tips. Their release states it is "Ideal for labelling prototypes, books, design patterns and other items that are handled frequently or require a special signature~' Your special signature can be had by writing to Hot Tools Inc., Charles F. Loutrel, Sales Manager, 24 Tioga Way, P.O. Box 615, Marblehead, Massachusetts 01945 , or calling (617) 639-1000.

PAPER SHREDDER

With document shredding back in the headlines, Michael Business Machines has produced the Ideal Destroyit compact paper shredder designed for use right at your desk. Documents can be shredded with clips and staples in place insuring confidential (or incriminating) information will stay out of the hands of others.

Depending on the volume of your paperwork, MBM offers several sizes up to the "Shred'n Baler" system.

A current price list is available by writing to Michael Business Machines, 54-2148th Street, Maspeth, New York 11378, or calling (718) 482-8610.

LITERATURE FoR YouR FILES A ~equest on y~ ur letterhead to the fo llowing companies will bnngyou the literature described .. .free, unless otherwise noted.

Golden Quill Awards ... Gilbert Papers' long running (since 1936) letterhead competition has announced its call for entries. The competition is judged on a quarterly basis in four regional areas. Entries are accumulated during each quarter of the year, ending March, June, September and December. Of course entries must be printed on Gilbert Paper. Entry forms are available from your local Gilbert merchant or by writing to Gilbert Paper, Attn: Advertising Manager, 430 Ahnaip Street, P.O. Box 260, Menasha, Wisconsin 54952.

Trends in Package Design For the '90's ... is the most recent survey by the Package Design Council International Inc. Survey respondents included independent desi~n consultants and client firms. Topics covered included business policies, projected growth areas, government regulations, design firm services and changing graphic trends. I wish they had included a copy with the press release. The survey is available free to PDC members and $65 per copy to non-members. Send your check to Package Design Council International, Inc., P.O. Box 3753, Grand Central Station, New York, New York 10017.

Hopper Cambray Prints .. .features " frameable" works

by Stephen Alcorn, Peter Good, Sally Andersen-Bruce and David Itchkawich, collected in a portfolio to highlight Georgia-Pacific's Hopper line of paper. Since they only sent me a photo of the cover, I can tell you the cover looked nice. An actual copy of the portfolio is available from your Hopper paper merchant or by writing to Sally Nathans, Georgia-Pacific Corporation, Printing Paper Division, lOth floor, 133 Peachtree Street, Northeast, Atlanta, Georgia 30303. If all that won't fit on your envelope, try calling (404) 521-4000.

Pencil Puzzle ... In a novel approach to show that their King James Cast Coat will score, fold and die-cut without cracking, James River has published a puzzle of die-cut pieces that fold into six pencil shapes and interlock into " ... a colorful desktop sculpture:' I doubt many would want to leave it on their desks but it was fun to put together. My attempt to assemble it didn't look quite as good as the enclosed picture, but then again it never does. To see how yours compares, contact your paper merchant that distributes King James Cast Coat.

Ultra White .. . is the name ofthe business papers portfolio designed by Milton Glaser for Paper Sources International, the U.S. distributor of British-made paper Conqueror Ultra White. Claiming to be the whitest brightest letterhead ever made, Mr. Glaser has created a series of hypothetical companies such as White Knuckles Flying School, Whitemeat Poultry Farms and White Elephant Antiques to highlight this new paper.

You might consider having a pair of sunglasses handy when viewing your copy, which is available from your Paper Sources International merchant.

Halftones & Duo tones . .. is the second volume in a series of reference guides created by James River called the Creative Printing Series. This one features over thirty reproductions of four photographic subjects to illustrate the general principles involved in halftone reproduction. Examples include comparisons of screen rulings, square and elliptical dot images, the effects achieved by various ink colors and the same halftone reproduced in warm, matte and dense black inks. Some comparison is lost due to the softness of the uncoated stock (Curtis, Brightwater) it's printed on, but there is good information here. To get your copy, contact your paper merchant that distributes Curtis Brightwater.

Your Neenah Paper merchant. Ready to help you meet any design challenge.

Neenah Popzr

Neenah. WI 54956

@ Klmberfy-Qortr Caporatoo

~~;:Jr~~

* Registered Trademark of Kimberly-Clark

Communication Arts

167

MATERIALS

PROOF. .. is a board game to show off the abilities of Springhill bristol, from International Paper, to stand up to various printing colors and techniques. Unfortunately, there isn't really a game to play, it's just a paper promotion. For a complimentary copy, contact your local International Papers merchant. Call1-800 223-1268 (in New York, (212) 536-6149) for the name of the merchant in your area.

Texoprint ... a latex saturated paper developed 35 years ago by Kimberly-Clark, is now available in an uncoated version. Texoprint is moisture resistant, folds easily and is designed to be written on with pencil or pen. KimberlyClark suggests you use it for score cards, tickets, ski tags and binder covers. You may think of something else.

Samples and more information are available by contacting your local paper merchant or calling David Hudson, Kimberly-Clark product manager, at (404) 587-8873.

Image Mark ... the latest gimmick by Westvaco's envelope division, " ... can give regular envelope paper the appearance of having a mill run watermark-a feature usually associated with expensive rag content paper."

Upon close inspection of the samples, what Westvaco calls an "exclusive process:' looks just like a tinted varnish printed on the envelope. To see for yourself, contact your Westvaco paper merchant or write to Westvaco Envelope Division, Advertising Department, 2001 Roosevelt Avenue, P.O. Box 3300, Springfield, Massachusetts 01101-3300, or call1-800 628-9265, in Massachusetts call1-800 332-3836.

Japan: the new tradition ... is a new Simpson papers pro-

motion created to highlight its Teton papers. Designed

by Cross Associates, who I think are producing the best designed paper promotion today, the six-inch portfolio highlights the work of eleven Japanese designers from various artistic disciplines. The opening statement by Nagatake Asano, director of the Tokyo National Museum sets the tone, "There is no distinct separation of art from life in Japanese tradition. There is only life, and the art of Japan cannot be extracted from it~' Well worth the effort of contacting your Simpson Paper merchant or writing Simpson Paper Company, One Post Street, San Francisco, California 94104, or call (415) 391-8140.

-P.C.

• ~·-·@ · · · · · ··· · · · ~ · -- · ~ · ~ · · · · · · · ~ NE\N

Mice 1j;pe ... is a bi-monthly newsletter created to " ... fill

the desperate need of desktop designers for the authentic typographic history, practice, and principals~' The publication also previews alphabets available as downloadable Laserwriter (Postscript) fonts, from Alphabets, Inc., the publisher's company, and any other firms that are producing quality typographic alphabets. This is the first well designed piece I've seen using a desk-top publishing system and the publisher/designer/author, Peter Fraterdeus should be commended. I sincerely hope individuals involved in computer publishing will take the time to get to know the beauty of letterforms and understand how a good typographical composition can make your message more impactful. Not a bad publication for non-computer based graphic designers either. A year's charter subscription is available for $30 but I noticed a trial offer of a free issue by writing Mice Type, Peter Fraterdeus, publisher, Alphabets, Inc., 804 Dempster Street, Evanston, Illinois 60202, or call (312) 328-2733.

Is all new, over 300 page, eighteen l:$ectlon best seller Is packed with product Information presented In striking detail. completely redesigned from front to back, the M-1 will help you find what you're looking tor quickly and easily.

Featuring an impressive tour-color cover and an extremely detailed Index, the M-1 Is logically organized by product category.

For your copy of the new M-1 Catalog, write or call Alvin and Company.

P.O. Box 188CA • Windsor, CT 06095 (203) 243-8991. Divisions In Dallas, TX and Sacramento, CA.

~ ALVIN... ASK FOR IT! Communication Arts

169

CLUBS, CONFERENCES, SEMINARS COMPUTER CONFERENCE

AAAA

Computer Art & Design Conference sponsored by the National Computers Graphics Association will be held August 10-14 at the School ofthe Art Institute of Chicago.

Special sessions will be held for artists, designers, architects, interior designers, art and design educators and computer graphics equipment vendors. To receive the pre-registration form call the registration hotline: 1-800-225-NCGA, or write National Computer Graphics Association, Section for the Arts, P.O. Box 3412, McLean, Virginia 22103.

The American Association of Advertising Agencies elected its board of directors for 1987-88. The officers, directors-at-large and regional representatives make up a 23-member board representing association members nationwide. Chairman is Charlotte Beers, chairman and chief executive officer ofTatham-Laird & Kudner, Chicago; vice chairman is William V. Weithas, chairman and chief executive of SSC&B Lintas Worldwide, New York; secretary-treasurer is Lee Lynch, chairman and chief executive officer of Carmichael-Lynch, Minneapolis.

Leonard S. Matthews will continue in his post as president and member of the board of directors, AAAA, 666 Third Avenue, New York, New York 10017.

AlGA The second national AlGA Conference will be held on September 3, 4, and 5, 1987 in San Francisco. Conference fees will be $375 for non-members, $300 for members, and $175 for students. The St. Francis Hotel on Union Square will be the headquarters hotel with rooms available at the special rates of$98, $118, and $138, single or double occupancy. Sessions will take place at the Masonic Auditorium on Nob Hill. The conference will begin at 5:30 on Thursday with a reception at the St. Francis followed by an awards presentation at the Masonic. There will be a full day of sessions on Friday followed in the evening by a private cocktail reception at the Exploratorium, an ingenious museum of interactive exhibits relating to human perception. Following Saturday's program, there will be a special education session and an informal meeting on the AlGA. The conference will be chaired by Bruce Blackburn, president of the AlGA, and he will be assisted by Matthew Carter, Nancye Green, April Greiman, Steven Heller, Caroline Hightower, Tibor Kalman, Jonas Klein, Sharon Helmer Poggenpohl, Alan Siegel, Marc Treib, Richard Saul Wurman, Jerry Herring, James Stockton and Henry Wolf. Make your check or money order payable to AlGA Conference and mail to AlGA National Graphic Design Conference II, 1059 Third Avenue, New York, New York 10021.

TYPE 1987

An international conference on typography and design, sponsored by the Type Directors Club, will be held at the Grand Hyatt in New York from October 9-12. 500 designers are expected to meet for seminars, lectures and workshops during the Columbus Day weekend. Conference arrangements are being handled by Conference Management Corp., a professional conference organizer.

For more information call (203) 852-0500, extension 253.

The full fee of$695 is due in advance, make check payable to Type Directors Club and mail to: Type 1987, Registration, CMC, 200 Connecticut Ave., Norwalk, Connecticut 06856.

SEGD The Society of Environmental Graphic Designers elected new officers: president John Muhlhausen, Muhlhausen Design & Associates, Roswell, Georgia; vice president Thomas Casey, Greenboam & Casey, New York; vice president Donald Meeker, Meeker & Associates; and vice president Sonia Swigart, director of signage design at Smith Hinchman & Grylls Associates, Detroit, Michigan.

SEGD, 47 Third Street, Cambridge, Massachusetts 02141.

TOOLS OF THE TRADE

October 9, 10 and 11, 1987, are the dates for the annual Tools of the Trade show to be held at the Pasadena Convention Center. Syd Mead will be a featured speaker.

His works, including Blade Runner, Tron, Star Trek, among others, have been exhibited internationally. Over 160 exhibit booths will feature art, drafting and related supplies directed toward artists, engineers, illustrators, photographers and printers. For pre-registration and advance workshop information write: Naomi Blacher, TOT, P.O. Box 876, Temecula, California 92390 or call (714) 676-5566.

170 Illustration Annua/1987

BRNO, CZECHOSLOVAKIA

The Organization Committee of the Biennale of Graphic Design has started preparations for the thirteenth Biennale. The exhibition of advertising graphics, posters and corporate identity designs will take place in Brno from June 15 to September 25, 1988. Artists who wish to obtain entry forms and further information should send their name and address to: Secretariat of the XIII Beinnale of Graphic Design, Husova 14, 662 26 Brno, Czechoslovakia by October 31,1987. Submissions must reach the Secretariat by January 15, 1988.

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

There are several hundred extra copies of some of the issues in this recent period (1977 on), a hundred or less of others, and none of a few. That's why we must reserve the right to refund your money on any that have sold out on a first-come, first-served basis. All orders must be accompanied with payment.

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

$18

CA-77 Advertising & Design Annual

JULLAUG 1978

$12

The Art Annual1978 Illustration & Photography

NOV/DEC 1978

$18

CA-78 Advertising & Design Annual

NOV/ DEC 1979

$18

CA-79 Advertising & Design Annual

NOV/ DEC 1980

$18

CA-80 Advertising & Design Annual

JUL/ AUG 1981

$12

$5

Lou Dorfsman; Kinuko Y. Craft; Dick Durrance II; Levi's Billboard Trucks; Corporate Annual Reports; " Revealing Illustrations" by James McMullan; Atari Design; Letterheads

NOV/ DEC 1981

$18

CA-81 Advertising & Design Annual

JAN/ FEB 1982

$5

NOV/ DEC 1982

JANLFEB 1983

SEP/ OCT 1983

Will iam Rivelli; Sheila Levrant de Bretteville; Bill James; Vicker!: & Benson; Photomontages by Scott Mutter; Ford, Byrne & Associates; Portfolio of Trademarks

JUL/ AUG 1982 The Art Annuall982 Illustration & Photography

$12

MAR/APR 1984

$18

$5

$5

25th Anniversary Issue; The CA Annual Judges; Judging Process

$5

$5

$12

$12

$5

$5

$5

$12

The Art Annual1983 Illustration & Photography

$5

Short-Run Printing; Jack Summerford; Teresa Fasolino; Primo Angeli; Light Language; Consensus on Type; Corning Glass Works; Annals of Design (!); Forecast of Ad Billings

$12

Photography Annual

$5

SEPLOCT 1986

$5

CA-86 Advertising Annual

$16

DEC1986

$5

$5

$12

$12

Photography Annual

SEP/OCT 1985

$12

Illustration Annual

NOV1986

Illustration Annual

AUG1985

$5

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

CA-86 Design Annual

Annals of Design (3); Chuck O' Rear; Apple Computer; Robert Hei ndel's Ballet

JUL1985

MAY/JUNE 1986

$16

A Day in the Life of... ; Carlos Llerena Aguirre; Samata Associates, Inc.; Dave Davidson; Marvin Mattelson; The Martin Agency; Candid Photographs of Arthur Fiedler

MAYLJUN 1985

$5

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

$16

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

MAR/APR 1985

$5

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

Statue of Liberty Exhibit; Douglas Smith; Colossal Pictures; Louise Fili; James Sebastian; Frankenberry, Laughlin & Constable; The American Advertising Museum; Next

CA-84 Advertising Annual

JAN/FEB 1985

JAN/ FEB 1986

AUG1986

CA-84 Design Annual

DEC1984

$16

JUL1986

Anita Kunz; R/Greenberg Associates; Gregory Heisler; Bill Robles; Larry Bender; Computer Graphics for Design and Production/Bruce Hurn

NOV1984

DEC 1985

MAR/ APR 1986

Anspach Grossman Portugal; Braldt Braids; Daniel Bittman; Chuck Kuhn; Hixo, Inc.; Vincent Daddiego: Roll Over Vivaldi; Herb Rosenthal's Fountains; Robert Parker: Copy & Graphics

SEP/OCT 1984

$16

CA-85 Advertising Annual

Photography Annual

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

MAY/ JUN 1982

$16

Designing the L.A . Olympics; Gary Kelley; Johnson & Simpson; Annals of Design (2); Lance Hidy; Index to Vol ume25

AUG 1984

The Gap Between Designers and Top Management; Borders, Perrin & Norrander; Bill Nelson; The Coys; Robert Llewellyn; Posters; Why a Computer

JUL/ AUG 1983

JAN/ FEB 1984

NOV 1985 CA-85 Design Annual

Illustration Annual

Japanese Design; Richard Saul Wurman: Access Press; Sharleen Pederson; Graphic Designer's Production Handbook; Clint Clemens; Index to Volume 24

MAY/ JUN 1983

$16

CA-83 Advertising Annual

JUL1984

CA-82 Advertising & Design Annual

Gernsheimers/Partners; Carol Wald; Jerry Herring; Sahlan Cherpitel; Michael Schwab; Bank of Kuwait Identity; Corporate Photography Panel

$5

$5

Michael Manwaring; Bruce Stromberg; Tyler Smith; Richard Nodine; Marshall Arisman; Phillip Snyder's Christmas Cards; The Designer and the Technology Explosion; Aspen '82

MAR/ APR 1983

The Art Annual Illustration & Photography

SEP/ OCT 1981

SEP/OCT 1982

DEC1983

MAY/JUNE 1984

Issues not listed are no longer available.

NOV/ DEC 1977

NOV 1983 CA-83 Design Annual

$5

Barry Mose r; Chronicle Books; Stan Mack; Paul Davis/ Faces; Voyages of the Royal Viki ngs; John Waters Associates; Lester Beall: A Look Back; ADAC/Sacramento

$16

JAN/FEB 1987

$5

Heinz Centennial Annual Report; Richard Hamilton Smith; Dyer/Kahn; Wieden & Kennedy; Charleen Kinser Designs; Twenty-seven Chicago Designers; Magazine on Wheels; "Hold the Red Ink, Merger on the Right" by Rick Meyerowitz; Index to Volume28

MAR/APR 1987

$5

Museum Design Competition; Levine, Huntley, Schmidt and Beaver; Jeffrey J. Smith; Barbara Bordnick; Sibley/Peteet; Car Emblems

MAY/ JUN 1987

$5

John Van Dyke; GSD&M; Kathryn Kleinman; Alan Cober Sends His Best; Esprit Bed & Bath; Color Predictions; Michael Mabry; San Francisco Design Discussion; Ardeshir Mohasses

SEE BACK OF MAGAZINE FOR AN ORDER FORM.

Communication A rts

171