jul1988

COMMUNICATION ARTS VOLUME 30, NUMBER 3, ILLUSTRATION ANNUAL 1988

Editor and designer Richard Coyne

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ADVERTISING

Executive editor Jean A. Coyne

27 BooKs

Associate editors/designers Patrick Coyne Stephanie Steyer

46 INSTITUTIONAL

Production Manager Scott Perry Production William Rayburn Advertising Nancy Hagemann

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EDITORIAL

108

FoR SALE

116 SELF-PROMOTION

Circulation Vickie Baptista Nina Bland Irris Marashian Betty Willis

121

Traffic Z.W Griffith

138

EDITOR's CoLUMN

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

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DESIGN TECHNOLOGY

154

FREE-LANCE

Barbara Gordon

158

ADVERTISING

Maxwell Arnold

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INDEX TO ILLUSTRATORS

170

INDEX TO ART DIRECTORS, DESIGN FIRMS, AGENCIES AND CLIENTS

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BooK REVIEws

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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

UNPUBLISHED

COLUMNS

Wendy Richmond

Communication Arts Magazine (ISSN 0010-3519) is published eight times a year, January/February, March/ April, May/June, July, August, September/October, November, December,

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

Copyright 1988 by Coyne & Blanchard, Inc. Second class postage paid at Palo Alto, California and additional off1ces.

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

Send change of address notification at least 45 days prior to effective date, 1nclude both old and new addresses.

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

Single 1ssues: $6 except Illustration Annual (July) $12, Photography Annual (August) $12, Des1gn Annual (November) $18 and Advertising Annual (December) $18.

Outside North America, single cop1es of CA Annuals are d1str1buted exclusively by RotoV1s1on SA, Route Su1sse 9, CH-1295 Mies, Switzerland; phone (022) 55 30 55, Fax (022) 55 40 72, Telex 419 246 rov1 ch.

1988

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.

ADVERTISING

Richard Sparks, illustrator Jerry De money, art director Mobil Oil Company, client Poster for PBS series " Fortunes of War." 30 x 40, oil on canvas.

2 Seymour Chwast, illustrator/designer Bill Freeland, art director/designer The Pushpin Group, design firm LaGuardia Community College, client Student recruitment poster. 25 x 38, pen and ink and Cello-Tak.

3 Robert Giusti, illustrator Pilar Gremminger, art director Pilar & Co., design firm Continental Airlines, client Poster promoting travel to Mexico.

30 x 16, aery! ic on canvas.

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ADVERTISING

Robert VanNutt, illustrator Allen Weinberg , art director/designer CBS Records , client Record album cover. Rudolf Serkin variations and fugue on a theme of J.S. Bach . 14 x 14.

2 Dan Craig , illustrator Bob Upton, art director/designer Des igned Marketing , design firm The Minnesota Zoo, client Poster for special exhibit of Chinese Golden Monkeys. 36 x 24, acrylic.

3 Gary Kelley, illustrator/designer John Hall, art director Dartmouth College , Hopk ins Center, client Anniversary poster. 17 x 22 , pastel.

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ADVERTISING

Nick Gaetano, illustrator Van Early, art director/designer McKinney & Silver, ad agency Norwegian Caribbean Lines, client Poster announcing new cruise ship Seaward.

18% x 37 ~. acrylic.

2 Mark A. Fredrickson , illustrator David Bartels, art director/designer Bartels & Carstens, ad agency Piedmont High School, client Poster for school bird calling contest, 16 x 25, airbrush acrylic.

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Ken Goldammer, illustrator Lawrence Gilmour, art director Ketchum Advertising/San Francisco, ad agency Ciba-Geigy, client Ad headline : How to care for cotton while it's still wet behind the ears. 19 x 36, acrylic.

4 Bill Nelson, illustrator Allen Weinberg, art director CBS Records, client Record album cover entitled "Different Drummer."

27 x 14, gouache.

5 Ted Young, illustrator/art director/designer Jay Gleason Advertising, ad agency Troy Group, design firm Bowling Proprietors Association of America, client Poster for annual convention and trade show.

17 x 29, pastel.

Communication Arts 9

ADVERTISING

1 (series) Brad Holland, illustrator Bob Czernysz, art director/designer Young & Rubicam, Inc., ad agency Time, client Ad headlines: Rise to the Olympic challenge; Time and the Olympics.

Because they span the world ; People at the top keep watch on the world . 18 x 24, acrylic on Masonite.

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Communication Arts

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ADVERTISING

Jack Molloy, illustrator Kent Hensley, art di rector Dayton Hudson Department Store Company, design firm/client Country House poster. 9 x 9, linoleum cut, watercolor.

2 Paul Davis, illustrator/designer Sandra Ruch , art director Jean ine Esposito, designer Paul Davis Studio, design firm Mobil Oil Company, client Poster for PBS " David Copperfield :' 1534 x 22, acryl ic on board .

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3 Heather Cooper, illustrator Baker Lovick Lim ited, ad agency Heather Cooper Communication by Design Ltd., design firm Petro-Canada, client Promotional poster. 20 x 2234 , oil on canvas.

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ADVERTISING

Bruce Wolfe, illustrator/art director San Francisco Chamber Orchestra, client Poster for the Lake Tahoe Music Festival.

32 x 45, oil.

2 Gary Kelley, illustrator Joe Stelmach, art director/designer RCA Corporation, Bluebird Label, client Record, tape and compact disc cover for Duke Ellington's "Far East Suite:· 18 x 24, pastel.

3 Bryan Leister, illustrator Leo Mullen, art director/designer lnvisions, Ltd., design firm George Mason University, client Poster for fund raising arts festival. 22 x 16, oil.

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ADVERTISING

Roger Hill , illustrator Jim Brown , art director/designer Ogilvy & Mather, ad agency Roger Hill, Inc., design firm Campbell Soup Co. , client Outdoor billboard headline : Better than a sweater.

24x 15.

2 Milton Glaser, illustrator/designer Paderno Taberno, art director Pandora, ad agency Milton Glaser, Inc., design firm Universal Exhibition of Sevilla, 1992, client Poster. Cut paper, ink wash , colored pencil, marker.

3 Anita Kunz, illustrator/art director Balvis Rubess, art director/designer The Sharon Temple , client Poster to announce the summer music festival.

10 x 24, watercolor and gouache.

4 Paul Davis, illustrator/designer Sandra Ruch , art director Jeanine Esposito, designer Paul Davis Studio, design firm Mobil Oil Company, client Poster for PBS "Lord Peter Wimsey." 15 x 22, colored pencil on paper.

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John Rush , illustrator David Bartels, art director Bartels & Carstens, ad agency Anheuser-Busch, Inc., cl ient Football poster for Indiana Un iversity Hoosiers.

17 x 17, gouache.

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ADVERTISING

Marshall Arisman, illustrator Silas Rhodes, art director David Connolly, designer Visual Arts Press, client School of Visual Arts poster celebrating the first forty years. 23 x 29, oil on canvas.

2 Vahid Mehrinfar, illustrator/designer Tom Zaferes, art director/designer Great Scott Advertising Co., Inc., ad agency Albanese Development Corp., client Ad for 100 United Nations Plaza condos.

Headline: 100 years from today.

30 x 26, gouache.

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Marco J. Ventura, illustrator/designer Piero Ventura, art director lmmagine Design, design firm Antiche Fattorie Fiorentine, client Painting for wine labels and point of purchase posters for Lapo Di Gianni Chianti-Ciassico.

12 x 1314 , oil and gold leaf on panel.

Communication Arts

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ADVERTISING

Bryan Haynes, illustrator Lawrence S. Torno, art director DNI Designs, design firm Anheuser-Busch, Inc., client Poster/schedule for the 1988 San Francisco Giants season . 30 x 40, acrylic.

2 Gary Kelley, illustrator/designer Larry Eckholt, art director University of Iowa, Hancher Auditorium, client Poster promoting world premiere of Jaffrey Ballet's Nutcracker. 18 x 18, pastel.

3 Bryan Haynes, illustrator/designer Jim Fortune, art director Paul Behnen, designer Gardner Advertising, ad agency Bryan Haynes Illustration, design firm Southwestern Bell Publications, client Ad to promote Southwestern Bell Yellow Pages.

Headline: Are two Yellow Pages directories working your fingers to the bone? 42 x 22, acrylic.

4 Bob Conge, illustrator/art director/designer Conge Design, design firm Park Avenue Merchants Association, client Poster promoting annual arts festival. 11 x 16, mono print and colored pencil.

5 James McMullan, illustrator/designer Jim Russek, art director Russek Advertising, ad agency James McMullan, Inc., design firm Lincoln Center Theater, client Poster for Broadway play. 9Y2 x 19, watercolor.

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Illustration Annua/1988

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ADVERTISING

Braldt Braids, illustrator Peter Windett, art director/designer Peter Windett Design, design firm Crabtree & Evelyn, client Package il lustration for purveyors of fine comestibles and toiletries.13 x 17, oil on Masonite panel.

2 Richard lkkanda, illustrator/art director Donna lkkanda, designer lkkanda Design Group, Inc., design firm Overland Printers, client Promotion poster for the Los Angeles Origami Festival in Little Tokyo. 1814 x 22, paper.

3 Cheryl Hardy-Faraci, illustrator Pat Hardy, art director/designer Egan Associates, ad agency The Hardy Girls, design firm The Ritz-Carlton, client Poster for the International Cultural Festival.

Renowned chefs, cuisine, wine, fashion, music, art and dance from different countries. 22 x 12, colored pencil and colored charcoal.

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Communication Arts 23

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ADVERTISING

Ward Schumaker, illustrator Sally Huyser, designer Sally Huyser Design, design firm Learning through Education in the Arts Project, client 3 x 5, ink. Original art was blown-up for posters, t-shirts, etc.

2 Bob Conge , illustrator/art director/designer Steve Roberts & Company, ad agency Conge Design, design firm Vietnam Veterans of America, Chapter 20, client Poster promoting "The Tie That Binds" project.

131-2 x 21, mono print and colored pencil.

3 Jim Fanning, illustrator Debra Turpin, art director/designer River City Studio, design firm The Together Center, client

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Poster to raise funds for the center. 281-2 x 17, airbrush and colored pencil.

4 Don Weller, illustrator/art director/designer The Weller Institute, design firm Park City Shakespeare Festival, client Poster. 20 x 30, dyes, tissue paper, ink, colored pencil.

5 Milton Glaser, illustrator/art director/designer Milton Glaser, Inc., design firm The American Bar Association, client Poster in commemoration of the bicentennial of the United States Constitution . 10 x 14, ink wash, colored pencil.

Communication Arts

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ADVERTISING

Paul Davis, illustrator/art director/ designer Russek Advertising, ad agency Paul Davis Studio, design firm WNCN, client Poster for classical music station.

13Y2 x 18, colored pencil on paper.

2 Bruce Wolfe, illustrator/art director Barre Advertising, ad agency Santa Barbara Creative Seminar, client Poster for third annual seminar.

32 x 24, oil.

BOOKS

3 Douglas Smith, illustrator Sara Eisenman, art director/designer Houghton Mifflin Company, client Book cover for Wintergreen, naturalist Robert Michael's book about the area surrounding his Washington state home being impacted by logging. 10Y2 x 15Y-I, scratchboard and watercolor.

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BOOKS

Rafal Olbinski, illustrator Lee Wade, art director Darlene Barbaria, designer Cover for The Oxford Gambit from a new series of spy classics. 10 x 14, acrylic on Masonite.

2 (series) John Rush, illustrator Susan Mitchell, art director Vintage Books, client Mary Renault book covers for The Mask of Apollo, The Persian Boy and The King Must Die. 14 x 17, gouache.

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Communication Arts 29

BOOKS

Ed Lindlof, illustrator Richard Hendel, art director/designer University of North Carolina Press, design firm/client Cover for Rereading Doris Lessing: Narrative Patterns of Doubling and Repetition. 141-2 x 2011.1 , pencil and India ink washes.

2 (series) Etienne Delessert, illustrator/art director Rita Marshall, designer Marshaii-Delessert, design firm Farrar, Straus & Giroux, client Cover and illustrations from children's book A Long Long Song. The story tells of someone special who appears out of nowhere and leaves his mark behind .

Watercolor and pencil.

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BOOKS

Brian Ajhar, illustrator Cheryl Asherman, art director/designer William Morrow Publishing, cl ient Book jacket for Hollywood Anecdotes. 44 x 36, watercolor and ink.

2 Anthony Russo, illustrator Andy Carpenter, art director St. Martin's Press, client Cover for Sting of the Bee, story of a young man who returns to Jamaica to see his dying father.

8 x 10 ~ . acrylics.

3 Frank Gargiulo, illustrator Doris Janowitz, art director Carin Goldberg, designer Farrar, Straus & Giroux, client

Captivity Captive by Rodney Hall. Based on a true story about a late 1800's murder in an Australian family.

614 x 914 , collage and oil on illustration board.

4 Michael Deas, illustrator Albert M. Cetta, art director Harper & Row, client Cover illustration for Midnight Hour Encores. 24 x 18, oil on panel.

5 David Limrite, illustrator/art director Paul Bailiff, designer San Francisco State University, .c lient

Transfer 54 book of student writing , fiction and poetry.

Illustration "Never Fear" appears on the cover.

40 x 30, charcoal, oil stick, graphite, gesso on paper.

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BOOKS

Tom Hallman, illustrator/designer Paolo Pepe, art director/designer PaperJacks, Ltd., client Cover for suspense novel Total Recall. Story about two brothers, rejected for a game show, retaliate by brutalizing the host's family. 10 x 14, acrylics on Masonite.

2 Brian Bailey, illustrator Gerry Counihan, art director Dell Publishing, client Cover for a murder mystery Behind You. 6Y2 x 10V2, acrylic on Fabriano board .

3 Greg Spalenka, illustrator Julie Metz, art director Harper & Row, client Cover for You Must Remember This. Joyce Carol Oates novel about love and life with a family in a 1950's industrial town . 14 x 16, graphite and oil on board.

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BOOKS

John Jinks, illustrator Barbara Buck, art director/designer The Mysterious Press, client Cover for Early Graves, a Dave Brandstetter mystery that takes place in Los Angeles. 14 x 18, acrylics.

2 (series) Joyce Kitchell, illustrator Bonnie Schwartz, art director/designer Clem & Bonnie Schwartz Graphic Design, design firm Junior League of San Diego, Inc., client Chapter title pages from Delicious Decisions, "Fresh Sensations:· " Imaginative Approaches" and "Marvelous Complements:· 22 x 28, watercolor.

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BOOKS

Cameron Wasson, illustrator Victor Weaver, art director Delacorte Press, client Cover of Con Game. Ed Naha story about a writer of crime novels trying to catch a suspect who has been using the author's best-selling plot to commit crimes.

11 x 18, gouache.

2 (series) Carol Wald , illustrator Lena Tabori , art director Nai Chang, designer Welcome Enterprises, client Astrology book : Pisces, Capricorn and Taurus.

9 x 12, collage.

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Illustration Annua/1988

Communication Arts 39

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BOOKS

Peter de Seve, illustrator Sara Eisenman, art director Knopf Publishing, client Cover for A Sinking Island: The Modern English Writers.

A critical look at contemporary writing in England .

23 x 16, watercolor.

2 Rene Milot, illustrator T. M. Craan, art director Viking Penguin Books, ltd., client Cover for Between Men. A recently divorced historian, about to begin a relationship with another man, uses an unsolved 18th century murder to put her life in perspective. 27 ~ x 19Y2, oil on canvas.

3 (series) Frank Viva, illustrator Sandy Quigley, art director Julia Naimska, designer Holt, Rinehart & Winston of Canada Limited, Client Grade twelve textbook, series of chapter title pages: teenage alcoholism "Ill Effects"; introspection "Self Portrait" and non family relationsh ips "Among Friends:· 4Y2 x 6 ~. chalk.

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BOOKS

Robert Crawford, illustrator Greg Wilkin , art director James Wang, designer New American Library, client Cover for Tree of Death, murder at a Mexican folk art museum. 12 x 18, acrylic on canvas.

2 Maryjane Begin, illustrator Ellen Friedman, art director Morrow Junior Books, a division of William Morrow &Company, client Illustration from The Porcupine Mouse, a story about two mice brothers who are best friends , but find it difficult to live together until a cat threatens to do away with one of them . 8 x 8 ~. watercolor and Caran D'Ache pencil.

3 Marco J. Ventura, illustrator/designer Piero Ventura, art director Arnalda Mondadori Editore, client Cover and poster for children's book Anna Del Porci (Anne the Swineherd). 16 x 18, oil on Masonite.

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BOOKS

lan Ross, illustrator Cindy LaBrecht, art director Reg Perry, designer Grove Press, design firm/client Cover for Nebraska, a novel about a young boy growing up in a small town in Nebraska. 2714 x 3114, acrylic.

2 Carol Wald, illustrator Louise Noble, art director/designer Houghton-Mifflin Company, client Cover for Serenissima by Erica Jong .

3 John Howe, illustrator/designer Bernard Reumaux, art director Editions Bueb & Reumaux, client Illustration from children 's book Cathedra/e. a story part medieval quest, part fairy tale. Boy decides to climb the cathedral that dominates his town, but the ravens speak and the gargoyles are alive .

26 x 18, watercolor.

4 John H. Howard , illustrator Tom Egner, art director Avon Books, client Cover for Biting Silence. A Bolivian journalist's desperate struggle to tell the world the truth about the political corruption in his country.

5 Ben Perini, illustrator Frank Kozelek, art director Tony Greco, designer Berkeley Books, client Cover for The Curious Case of Sidd Finch, by George Plimpton .

An almost true story about a Buddhist monk who learns to throw a baseball at 168 mph. 10 5As x 1614, acrylic.

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INSTITUTIONAL

Matt Mahurin, illustrator Caesar Jackson , art director/designer USIA Exhibits Service, design firm United States Information Agency, client Poster for exhibit on the victimization of the children in the Afghanistan war. 17 x 28, oil.

2 Tom Curry, illustrator Jill Pfeiffer, art director/designer Hill and Knowlton, Inc., ad agency Pfeiffer+ Company, design firm Monsanto Company, client Company publication article on job opportunities for the baby boom generation. 191-2 x 8, acrylic.

3 (series) Malcolm T. Liepke, illustrator B. Martin Pedersen, art director/designer Pedersen Assoc. Inc., design firm UIS Corporation , client Annual report. Various sizes, oil.

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Illustration Annua/1988

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INSTITUTIONAL

John Craig , illustrator Bill Smith, art director Warkulwiz Design, design firm Provident National Bank, client Personal finance quarterly "The topsy-turvey world of insurance choices:· 91h x 121h, collage and overlays.

2 Rafal Olbinski, illustrator Buck Smith, art director Hawthorne-Wolfe, design firm Ralston Purina Company, client Recruiting brochure for future managers "You will be the only person to take full responsibility for a brand:' 16 x 20, acrylic on canvas.

3 Jbzef Sumichrast, illustrator/designer Donald Krause , art director/designer HCM, ad agency Victory Gardens Theater, client Subscription poster "Play a Leading Role in Chicago Theater." 13 x 141h, transparent dye.

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INSTITUTIONAL

Cynthia Torp, illustrator Pat Propes, art director Fessel, Siegfriedt & Moeller, Inc., ad agency Humana Hospitals, client Cover of nurse recruitment brochure. 20 x 28, acrylic and Prismacolor on illustration board.

2 (series) Bruce Hutchison, illustrator Beth Greely, art director Peter Bianco, designer McCormack & Dodge, design firm/client Posters designed to initiate internal quality control program for computer software company. 11 x 22, technical pen.

50 Illustration Annua/1988

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INSTITUTIONAL 1 (series) Guy Billout, illustrator Antony N. Benjamin, art director/designer Friedman Benjamin Inc., ad agency Yankelovich Clancy Shulman , client Brochure selling marketing intelligence. 6 x 7¥<1 , watercolor and airbrush .

2 Lisa French , illustrator Peter Harrison/Harold Burch , art directors Harold Burch/Jennifer Fulmer, designers Pentagram Design, design firm British Petroleum , client Brochure showing company divisions.

12 x 14, gouache.

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Illustration Annua/1988

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INSTITUTIONAL

Andrzej Dudzinski , illustrator Diane Woolverton, art director/designer USIA Exhibits Service, design firm United States Information Agency, client Poster for exhibit on robots. 29 x 38, oil crayon and pastel.

2 David Wilcox, illustrator Sue Balle/Greg Dobos, art directors/designers Eastern Exclusives, Inc., ad agency AT&T, client Cover art for company publication directed to the small businessman . 16 x 20, vinyl acrylic.

3 Terry Widener, illustrator Ronn Campisi/Karen Krider, art directors Ronn Campisi, designer Digital Equipment Corporation, client Digital Enterprise Journal article about how Standard Oil manages their fleet of ships through problems with a Digital VAX system. 18 x 12, acrylic on canvas.

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INSTITUTIONAL 1 (series) Dugald Stermer, illustrator Mike Hicks, art director Tom Path/Mike Hicks, designers Hixo, Inc., design firm Lantana Corporation, client Developer's brochure showing native plants and animals that exist in the area that will be developed . 14 x 20, pencil and watercolor on D'Arches paper.

2 Gary Overacre, illustrator Mike Melia, art director/designer Melia Design Group , design firm Arby's, Inc., client Illustration from company's annual report.1 1Y2 x 15Y2 , oils and acrylics.

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INSTITUTIONAL

Katherine Mahoney, illustrator Karen Krider, art director Stanley Roberts, designer Digital Equipment Corporation, client Cover art for company magazine Enterprise.

81-2 x 10, oil on canvas.

2 Tom Curry, illustrator Gary Gibson, art director/designer Lotus Development Corporation, design firm/ client Cover for technical manual on Macros, a process for speeding up computer time . 9 x 9, acrylic.

3 (series) Lissa Pollie, illustrator Bob Bauer, art director Michigan Alumnus, client University magazine article entitled "AIDS: The Curse & Courage" which discussed the emotional, as well as the practical aspects of living with the highly stigmatized virus. Various sizes, oil.

58 Illustration Annua/1988

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Robert Crawford, illustrator Peter Harrison/Harold Burch, art directors Harold Burch/Jennifer Fulmer, designers Pentagram Design , design firm British Petroleum, client Brochure showing company divisions.

15 x 20, acrylic on canvas.

2 David Wilcox, illustrator Kenny Garrison, art director/designer Richards, Brock, Miller & Mitchell, design firm Lomas & Nettleton, client Information systems booklet. 15 x 20, vinyl acrylic.

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EDITORIAL

1 (series) James McMullan, illustrator Rudy Hoglund, art director/designer Time, client Magazine excerpt from Life and Death in Shanghai. Various sizes, watercolor.

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EDITORIAL

Greg Spalenka, illustrator Diana LaGuardia, art director The New York Times Magazine, client Cover article "A Theory of Everything:' Opening to new awareness through mathematical theories. 20 x 27, graphite and oil on board .

2 Marshall Arisman, illustrator Rip Georges, art director Regardie's, client Quotes on power "In the belly of the beast:' Illustrations done on one panel. 60 x 23, oil on canvas.

3 Wilson Mclean, illustrator Rudy Hogland, art director Time, client Cover portrait of Noriega. 20 x 26, oil.

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EDITORIAL

Theo Rudnak, illustrator D.J. Stout, art director/designer Texas Monthly, client Cover for the 1988 Bum Steer Awards.

12 x 16, gouache.

2 (series) Gary Kelley, illustrator Jane Palecek, art director/designer Hippocrates, client Excerpt from Harvest Moon, a book about life in a nursing home. Various sizes, pastel.

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EDITORIAL

Kunia Hagio, illustrator Richard Bleiweiss, art director Penthouse, client Article on "The Wit and Wisdom of Ronald Reagan:· 16 x 20, mixed media.

2 Barbara Nessim, illustrator Mary Shanahan, art director Anna Demchick, designer Conde Nast, design firm Gentleman's Quarterly, client Article "Literary Fashion, An Elegant Excursion :·

3 Marshall Arisman, illustrator Nancy Steiny, art director Regardie's, client

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Article on Terry Dolan and the Lavender Bund, inside the ultrasecret world of Washington's right-wing gays. He attacked the immorality of homosexuality and then he died of AIDS. 23 x 29, oil on rag board.

Communication Arts 69

EDITORIAL

Scott W. Hunt, illustrator Tom Waters, art director Twilight Zone, cl ient Fiction piece about a South American general whose ear is cut off by the resistance so they can always hear his thoughts "Listening for the General:' 10 x 10, pastel.

2 Leland Klanderman , il lustrator Kathy Timmerman , art director Twin Cities, cl ient Magazine essay about a man still looking for the right woman " Men in Love:' 24 x 38, acryl ic.

3 Anthony Russo, illustrator Rip Georges , art director LA Style, cl ient Art icle on Cal iforn ia wine industry " Grape Expectations:· 9 Y.? x 13, scratchboard .

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EDITORIAL

Barron Storey, illustrator Jane Palecek, art director/designer Hippocrates, client Magazine feature on sleep clinics "On the Other Side:· 12 x 12, acrylic.

2 Tom Curry, illustrator Wayne Fitzpatrick, art director/designer Psychology Today, client Article about schoolyard bullies "Schoolyard Menace:' 14 x 22, acrylic.

3 Etienne Delessert, illustrator Veronique Vienne, art director Parenting, client Article on nightmares "Bad Dreams are Made of This:· Watercolor and pencil.

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EDITORIAL

Richard Hess, illustrator Rudy Hogland, art director Time , client Cover for special issue "We The People :·

2 L. Morgan-Fitzpatrick, illustrator Robin Jefferies, art director Kansas City Star, client Travel section article by Alex Haley "On Deck With A Freighter Fan :· 7 ~ x 9J.2, graphite, pastels and colored pencils.

3 Matt Mahurin, illustrator David Carson, art director/designer Musician, client Magazine feature on John Lennon "Lost in Sound:' 9 x 12, oil.

4 (series) Douglas Fraser, illustrator Rip Georges, art director Regardie's, client Article "A Capitalist Conundrum" about workers in South Africa. 11 x 15, alkyds on paper.

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EDITORIAL

Marc Rosenthal, illustrator Margery Peters, art d irector Rene Kle in, designer Fortune , client Special report on the state of education in the Un ited States "How to Smarten up the Schools:· 9 x 11Y2, ink and watercolor.

2 Bill Vuksanovich , illustrator Judy Garlan , art director/designer The Atlantic, client Fict ion piece about a woman, greatly depressed over her husband's death , who turns on all the faucets to overflowing .

23 x 14 Y2, pencil on Strathmore.

3 Alan E. Cober, illustrator Tina Adamek, art director McGraw-Hill, Inc., design firm Postgraduate Medic ine, client Art icle " Fever of Unknown Origin :· 7 x 9, ink, watercolor and prisma color.

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EDITORIAL

Jim Warren, illustrator Richard Bleiweiss, art director Kay Cardwell, designer Penthouse, client Article "Military Guinea Pigs:' 20 x 30, oil on canvas.

2 David Shannon, illustrator Miriam Smith, art director Newsday, client Fiction about traveling the road on a snowy Christmas eve "A Journey Home:' 11 x 13, acrylic.

3 John H. Howard, illustrator Michelle Washington, art director Essence, client Article about a CIA instigated plot to overthrow an African government "Jacob's Ladder." 24 x 18, acrylic on canvas.

3

Communication Arts

79

2

80

Illustration Annua/1988

3

EDITORIAL

John Howard, illustrator Sue Llewellyn, art director/designer Stereo Review, client Feature on audio technology in America. 20 x 30, acrylic.

2 (series) Matt Mahurin, illustrator David Harris, art director/designer D Magazine, client Magazine article on battered women who fight back "Blood Ties:· 8Y2 x 11, oil.

3 Tom Sciacca, illustrator Richard Mantel, art director/designer Richard Mantel Studio, design firm New York, client Special cover section on New York marathon. 12 x 16, gouache and colored pencil.

4 G. Allen Garns, illustrator Gail White, art director Boston Globe, client 4

Fiction piece about a woman remembering her adolescence and her fractured relationship with her father "Northstar."

16 x 20, pastel.

Communication Arts

81

EDITORIAL

Joanie Schwarz, illustrator Ann Weber, art director John Newcomb, design d irector Med ical Economics Company, design firm Medical Economics, client A mother filed a $3 million malpractice lawsuit against her HMO and its gatekeeper physician "Did HMO Cost Controls Kill This Baby?" 11 x 14, oils on photograph.

2 Harvey Chan , illustrator Cate Cochran , art director Jill Dickie, designer Report on Business, client Column illustration for magazine article on bank insurance " Safety First:' 8 x 10¥1, chalk pastel.

3 John Craig, illustrator Suzanne Peterman , art director Greg Paul , designer Brady & Paul, design firm U.S. Air, client Magazine article on sports vision training "The Eyes Have It: ' 10 x 13, collage and overlays.

2

82

Illustration Annua/1988

3

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83

84

Illustration Annual 1988

2

EDITORIAL

Anita Kunz, illustrator Fred Woodward, art director/designer Regardie's, client Jim and Tammy Bakker as Adam and Eve on "Alter Egos" page. 8 x 10, watercolor and gouache.

2 Richard Mantel, illustrator Fred Woodward , art director/designer Rolling Stone, client Rock & Roll Hall of Fame portrait of Bob Dylan.

9 x 9, acrylic.

3 Jay Belmore, illustrator Rod Della Vedova, art director Linda Stephenson, designer Focus On York, client Magazine article "Anatomy of a Drug Bust:' 11 x 16, oil on photograph .

3

Communication Arts 85

EDITORIAL 1 (series) Seymour Chwast, illustrator Hans-Georg Pospisch il, art director The Pushpin Group, design firm Frankfurter Allgemeine Magazin, client Various sizes, Cello-Tac and pen and ink.

86

Illustration Annua/1988

Communication Arts

87

EDITORIAL

Brad Holland , illustrator Fred Woodward , art director/designer Rolling Stone, client Article on how Reagan failed "Death of a Salesman :· 11 x 14, acrylic on Masonite.

2 Braid! Braids, illustrator Tom Staebler, art director Kerig Pope, designer Playboy, client Fiction " Pit Bull:' 14 x 14, oil on Masonite.

3 Guy Fery, illustrator Ed Guthero, art director/designer Pacific Press Publishing Associat ion , design firm Signs of the Times, client Arti cle on Christmas "The Irrational Season:· 111 2 x 14 11s, penc il, crayon and airbrush .

2

88

Illustration Annua/1 988

3

Communication Arts 89

90 Illustration Annua/1988

2

EDITORIAL 1 (series) Terry Wideher, illustrator Steven Hoffman, design director Sports Illustrated , Time , Inc., client Art icle about two Ind ian tribes in the Andes who meet each year for a ritual fistfight "The Fiesta in the Town of Ghosts:· 12 x 10, acrylic on canvas.

2 Gene Boyer, illustrator Bob Fuller, art director Discipleship Journal, client Magazine cover "Patience Waiting for Growth: ' 12% x 1711.1 , acrylic on illustration board .

3 Joseph Salina, illustrator Peter Enneson , art director Cate Cochran , designer Drells &Tams, ad agency Report On Business, client Article on a presentation to a vacuum cleaner sales convention "Curtains Up:' 14 x 14, acrylic.

3

Communication Arts 91

EDITOR IAL

Cary Henrie, illustrator Wendall K. Harrington, art director John Bark, designer Esquire, client Fiction about a small girl stolen from he r father in a grocery store "A Child In Time:· 9 x 7 !-2, oil on paper.

2 Melissa Grimes, illustrator D.J. Stout, art director/designer Texas Monthly, client Article on the shrinking scope of films produced in Texas "Coming Soon to a Theater Near You : Dwarf." 25 x 33, collage.

3 Robert Giusti, illustrator Tom Staebler, art director Len Willis, designer Playboy, client Editorial on the dec lining bull market "Taking Stock:' 10 x 13, acrylic on canvas.

92

Illustration Annua /1988

2

3

Communication Arts

93

94 Illustration Annua/1988

ED ITOR IAL 1 (series) Dugald Stermer, illustrator Bambi Nicklen, art director/designer West, San Jose Mercury News, client Faces of John Paul II, looking for the real man behind the charisma. 14 x 18, penci l and watercolor on D'Arches paper.

Communication Arts 95

96 Illustration Annual 1988

2

EDITORIAL

C.F. Payne, illustrator Fred Woodward, art director/designer Regardie's, client Nancy Reagan as Henry VIII"Aitered Egos:' 11 x 14, oil, ink, acryl ics and pencils.

2 Brad Holland , illustrator Anne Bullen, art director/designer The Magazine Group, design firm The Maryland Bar Journal, client Cover "Criminal Law." 11 x 14, acrylic on Masonite.

3 Robert Giusti, illustrator Tom Staebler, art director Len Willis, designer Playboy, client Article on the N.F.L.'s premiere scouting event "Meat and Money at Football Camp."

14 x 12, acrylic on canvas.

3

Communication Arts 97

EDITORIAL

Terry Widener, illustrator Steven Hoffman , art director Eileen Garred, editor New York University Magazine, client Fiction about holiday tradition preserved in a rural southern community " Candle Walk:' 14 x 14, acrylic on canvas.

2 Chris Gall, illustrator/art director/designer The Tucson Weekly, client Cover article on the advancement of solar power "Where Did The Sun Go?" 7 x 10, scratch board and dyes.

3 Rafal Olbinski, illustrator Diana LaGuardia, art director The New York Times Magazine, client Article on arms control "Winnowing Our Warheads:· Acryl ic on canvas.

2

98

11/ustration Annua/1988

3

Communication Arts

99

100 Illustration Annua/1988

EDITORIAL 1 (series) Guy Billout, illustrator Judy Garlan, art director The Atlantic, client Illustrations depicting the following ideas: passage, quicksand and power failure . 7 x 9Ya, watercolor and airbrush.

2 Jeanie Schwarz, illustrator Andrea DiBenedetto, art director John Newcomb, design director Medical Economics Company, design firm RN, client Cover illustration for nursing journal "Are You Ready For This Bedside Emergency?" 11 x 14, oils on photograph.

2

Communication Arts

101

EDITORIAL

Daniel Zakroczemski, illustrator John Davis, art director Peter Colosi, designer Buffalo News Editorial Art Department, design Buffalo, client Newspaper magazine article "Adult Children of Alcoholics:· 9 ~ x 10 ~, pastels.

2 Anita Kunz, illustrator Fred Woodward, art director/designer Rolling Stone, client Article on the growing nightmare of Epstein-Barr virus "Journey Into Fear." 14 x 11, watercolor and gouache.

3 James Yang, illustrator Jeff Dever, art director Pat Campbell , designer Dever Design, design firm Common Cause , client Magazine article on the press coverage of the Federal Reserve "Invasion of the Fed Watchers:· 7 x 10, mixed media.

102

Illustration Annua/1988

3

Communication Arts

103

EDITORIAL

Cary Henrie, illustrator Barb Maiolatesi, art director Sun Magazine, Baltimore Sun, client Cover article on the runaway addiction of compu lsive gambling "Out of Luck:' 1034 x 13, oil on paper.

2 (series) Etienne Delessert, illustrator/designer Natalie Nath/Rosamaria del Vecchio, art directors Marshaii-Delessert, design firm Emois, client Magazine article about social concerns : man faked being a judge, bragged about it and fell; homeless people are dying and people are more interested in saving animals; people watching TV and killing . 834 x 10 \1.1, watercolor and pencils.

2

104

Illustration Annua/1988

Communication Arts

105

106 Illustration Annual 1988

2

EDITORIAL

Greg Spalenka, illustrator Gary Sluzewski , art director Cleveland Magazine, client Article about our responsibilities to our parents " Family Ties:· 16 x 19, charcoal on paper.

2 Milton Glaser, illustrator Lynn Hazlewood , art director Manhattan, Inc., client A short story "The Movie Game:· 10 x 10, pen, ink and colored paper.

3 Daniel Kirk, illustrator Malcolm Frouman, art director Business Week, client Cover for "Japan, Remaking a Nation:· 12 x 16, oil.

3

Communication Arts 107

108

11/ustration Annua/1988

FOR SALE

Joyce Rosner/Stephan Hoffpauir, illustrators Wayne Ford, art director Wayne Ford/Blake Miller, designers Dancie Perugini Ware Public Relations, ad agency Miller, Judson & Ford , Inc., design firm Galveston Park Board, client Poster for the Galveston Mardi Gras "Carnival of Venice:' 28 Y2 x 40, watercolor.

2 Danny E. Smythe, illustrator Bill Ainsworth, art director/designer Ward Archer & Associates, ad agency Memphis Belle Association, client Poster commemorating the dedication of the Memphis Belle Pavilion. 22 x 35, acrylic and colored pencils.

3 Paul Kratter, illustrator/art director/designer The Nature Company, client Poster. 30 x 21, acrylic on blueprint.

3

PA

Communication Arts

109

FOR SALE

Deb Mahalanobis, illustrator Bill Barnes, art director/designer Barnes & Company, design firm Shadowlight Impressions, client Poster "Pointless:· 21 x 21, acrylic on board.

2 Mark Johnson, illustrator/art director/ designer/client Poster. 34 ~ x 20 ~ . casein on watercolor board .

3 (series) Kristen Funkhouser, illustrator Kristen Funkhouser/Michael Hodgson, art directors Michael Hodgson, designer Ph.D., design firm Los Angeles County Museum of Art, Art Museum Council, client 1988 Calendar.12 x 12, gouache.

2

110

Illustration Annua/1988

3

Communication Arts

111

FOR SALE

Kristen Funkhouser, illustrator Karl Bornstein, art director Jim Evans, designer Mirage Editions, cl ient Poster "Expresso Still Lite:· 24 x 36, oil on canvas.

2 Wilson Mclean, illustrator/art director John Davies, Caribean Photographic, client Limited edition print. 46 x 34, oi l.

3 Milton Glaser, illustrator/designer Jessica Weber, art director The Juilliard School, client Poster "On Wings of Song:· 11 x 14, colored pencil , ink wash .

2

112

Illustration Annua/1988

3

Communication Arts

113

-----------------------

FOR SALE

Paul Kratter, illustrator/art director/designer The Nature Company, client Poster. 30 x 21, acrylic on blueprint.

2 Bryan Haynes, illustrator/art director/designer Bryan Haynes Illustration, design firm/client Poster. 20 x 30, acrylic.

3 Gary Overacre, illustrator Bill Barnes/Gary Overacre, art directors Bill Barnes, designer Barnes & Company, design firm Shadowlight Impressions/Jones Printing Company, clients Image used as a poster as well as a calendar page "L'Acrobate A Cheval:' 17 J..1! x 15 ~ . acrylic.

4 Doug Martin, illustrator Maryetta Martin, designer The Illustrated Gallery, client Limited edition print. 12 x 12, acrylic on board .

5 M. John English, il lustrator Mark English , art director Elizabeth Oram , designer Galleria Diani Fine Art Prints, client Poster of famous Americans. 20 x 30, oil.

114

Illustration Annua/1988

2

3

4

5

Communication Arts

115

SELF-PROMOTION

Lou Carbone , illustrator/art director Promotio n ad . 30 x 64 , acrylic.

2 Dani el Hauben , illustrator Ed Hauben , art director/designer Ruby Shoes Studio, Inc., design firm The Bron x Museum of the Arts, client Exhib ition poster. 76 x 48, oil on canvas.

3 Bryan Haynes, illustrator/art director Bryan Haynes/Diana Dawes, designers Bryan Haynes Illustration, design firm Mechan ical Lady, client Portrait of grandfather, Ephraim Cutler Dawes, used in a mailer. 11 x 14, acrylic.

4 Mark A Fredrickson , illustrator David Bartels, art director/client Chuck Hart/Ron Lopez, designers Bartels & Carstens, ad agency Poster to advertise talk by David Bartels to the Graphic Communication Society of Oklahoma.

26 x 27, acrylic.

116 Illustration Annua/1988

2

3

4

Communication Arts

117

118

Illustration Annua/1988

2

SELF-PROMOTION

George Stavrinos, illustrator Philip Hays, art director Jon Conrad, designer Art Center College of Design, client Exhibition poster. 24 x 36, graphite.

2 Norman Walker, illustrator/designer/ client Bill Erlacher, art director Norman Walker Associates, design firm Promotional mailer "Waloon Lake:' 27 ¥2 x 24 ¥2, oil on paper.

3 Douglas Fraser, illustrator/ art director Post card mailer. 8 x 10, alkyds on paper.

4 Bob Peters, illustrator Gerald and Cullen Rapp, Inc., client Post card mailer. 13 x 13, acrylic.

3

4

Communication Arts

119

120 Illustration Annua/1988

2

SELF-PROMOTION

Scott Reynolds, illustrator/art director/client "Gentrification" piece used in an ad for the artist.17 x 21Y2, pastel.

UNPUBLISHED

2 Eric Dinyer, illustrator Christine Foederer, art director 9x 11, oil. © Eric Dinyer 1988

3 Hiro Kimura, illustrator 12 x 12, acrylic. © Hiro Kimura 1988

3

Communication Arts

121

122 Illustration Annua/1988

2

UNPUBLISHED

Marvin Mattelson, illustrator Unused cover portrait of composer Phillip Glass.

10 x 14, acrylic on canvas. © Marvin Mattelson 1988

2 Kathy Schermer-Gramm, illustrator/designer Leonard Scarola, art director "Collector of Lost Souls:· 16 x 16, watercolor, gouache and colored pencil. © Kathy Schermer-Gramm 1988

3 3 Amy Guip, illustrator/art director "Children of the KKK:' 11 x 16, oil on photograph. © Amy Guip 1988

Communication Arts U3

UNPUBLISHED James E. Tennison , illustrator 8 x 10, watercolor. © James E. Tennison 1988

2 (series) Donald Martin, illustrator/art director/designer 22 x 30, airbrush. © Donald Martin 1988

2

124 Illustration Annua/1988

Communication Arts

125

UNPUBLISHED

Keith Graves, illustrator/art director/client Larry McEntire/Melissa Grimes, art directors "Huckleberry Hitler." 10 ~ x 1414, Prismacolor. © Keith Graves 1988

2 Wilson Mclean, illustrator/art director 50 x 38, oil on canvas. © Wilson Mclean 1988

3 Karla Cooper, illustrator/art director/designer 314 x BJ.-2 , mixed media. © Karla Cooper 1988

4 (series) David Brendan Ryan , illustrator Illustrations depicting the San Francisco Transbay Transit Terminal. 43 x 19J.-2, mixed media. © David Brendan Ryan 1988

2

126 Illustration Annual 1988

3

4

Communication Arts

127

128

Illustration Annual 1988

2

UNPUBLISHED

Tim Lewis, illustrator Joseph Doyle , art director "Awareness means breaking out of conventionality."

8).2 x 11, ink and watercolor. © Tim Lewis 1988

2 Marvin Mattelson, illustrator Unpublished cover for Blood Run about a woman doctor.

6 x 9, acrylic on rag board. © Marvin Mattelson 1988

3 Amy Guip, illustrator/art director 10 ~ x 15 ~. oil on photograph . © Amy Guip 1988

4 Nancy Speir, illustrator 11 x 9Y2, watercolor and colored pencil. © Nancy Speir 1988

3

4

Communication Arts

129

UNPUBLISHED Scott Reynolds, illustrator Joseph Montebello, art director 1334 x 1334 , paste l. © Scott Reynolds 1988

130 · Illustration Annual 1988

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EDITOR'S

COLUMN

DICK CoYNE

Photographs by K. Gypsy Zaborosk1e

T

HE DEADLINE FOR ENTRIES TO THE 1988 Illustration Annual was March 21st. It wasjuried on April lOth and 11th. 189 entries were selected from the 5,315 submitted, and 130 artists are represented.

The jurors stayed and worked at Hyatt Rickeys in Palo Alto, our site for Annual jurying since 1961. For this one, we worked in two large conference halls each equipped with five rows of tables for print entries, light boxes for large transparencies and projection facilities for the 29 carousels of slides.

We met at nine in the morning on the large patio outside the halls and discussed the jurying procedure. For the initial screening process, the goal was to select entries which the individual jurors felt warranted consideration in the final voting. Later, after this was completed, they would cast their final votes on which entries would be selected for the Annual.

Screening began in the first hall 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 viewed the print entries spread out on the tables. All of the entries in the hall were from the same category. Each juror could put an entry into the finals by picking it up from the table.

A member of our staff would then take that entry and put it in 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 for another carousel of slides and print entries on the tables. These would be the same category as the previous hall until that category was completed and a new one started.

McMullan

The process was continued throughout the first day and most of the morning on the second day. 945 entries were put into the final voting.

The slides that had been screened in were reset in carousels and new scoring sheets prepared. Final voting on these were again done by checking the "in" or " out" columns on the scoring sheets.

Print entries screened into the finals were again 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 " out" votes. Each juror voted by putting a small ceramic tile in the slot of the appropriate cup. A different colored tile was used by each of the jurors.

If one of the jurors inadvertently missed voting on an entry, something that is all too easy to do, a check of the tile colors told us whom to call back for a vote. (continued on page 142) Sanchez

138

Illustration Annua/1988

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EDITOR'S COLUMN

After all of the jurors had completed the voting, they moved on to the other hall for a carousel of slides and then another setup of the tables with print entries. Large transparencies were set up in front of the light box.

Back in the first hall, our staff turned all of the entries over. The cups were lifted and the score recorded on the B Form taped to the back of each entry. When this was completed, a new set of entries was spread out on the table, again with the cups to the right. This procedure was repeated until the voting was completed at approximately five o'clock in the afternoon. When all of the votes were tabulated, three or more "in" votes put an entry into the Annual.

We would like to express our appreciation to each of the five jurors for their hard work and conscientious effort in making the selections for this Annual.

Jerry A/ten is the art director of TV Guide, responsible for all concepts, design, direction and buying of the publication's art and photography. Prior to that, he was a senior designer at Container Corporation of America, and operated his own advertising design agency. Alten has a BA in Fine Arts from the Philadelphia College of Art and did post-graduate work at Temple University, the University of Pennsylvania and the Pennsylvania Academy of Fine Arts.

James McMullan heads his own design and illustration studio, James McMullan, Inc. From 1965 to 1968, he was a member of Push Pin Studio, before opening his own office. He authored Revealing Illustrations in 1982, an exploration of the creative process, and is currently finishing a new book, Drawing From Life, based on his teaching

(continued on page 150)

142

Illustration Annua/1988

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EDITOR' S COLUMN

of the subject at the School of Visual Arts. Educated in China, India, Canada and the United States, McMullan is a graduate of Pratt Institute.

Marty Neumeier is a graphic designer and copywriter. He studied at Art Center College of Design in Los Angeles and founded the Neumeier Design Team in Santa Barbara in 1973. He moved the company north to the Silicon Valley in 1984 to pursue work in high-tech communications. Neumeier is also a contributing writer for CA. Traci O'Very Covey is a designer and principal of LaPine/ O'Very Design Firm, Salt Lake City. She is a graduate of the University ofUtah and interned with MacRay Magleby.

Beatrice Rivas Sanchez is president of the Kansas City Art Institute. Prior to that position, she was dean of Cranbrook Academy of Art and academic dean of The Maryland College of Art and Design. She was educated at San Antonio College, Montgomery College and received her MA Degree from the University of Massachusetts.

0

A recent advertising column by Bill Borders (whose agency just picked up the Avia account in competition with some venerable contenders) attracted more than the usual amount of comment. Judging from some of the reactions, Bill touched a tender spot. With permission of the writer, here's an interesting letter from R. Martin, a free-lance illustrator living in East Meadow, New York.

O'Very Covey

To The Editor: I am aware that CA does not possess a letters column, a fact that has dissuaded me from writing in the past, but Bill Borders' advertising column "A Great Idea, 100 Years Too Late" (CA March/ April1988) demands comment.

Far from being a " great idea;' what Mr. Borders proposes is merely the latest manifestation of The Dumb Idea. The Dumb Idea has been around a long time, and in the past year it has been showing up quite frequently in the communications trade press. Briefly, The Dumb Idea goes something like this: " The public is uninformed and does not respect what we, as art directors/designers/advertisers/ illustrators do, so let's legitimize our profession by creating some form of accreditation/certification/registration/ legislation:' The misguided rationalization for The Dumb Idea is that a competency test will insure some form of quality control (a rather dubious assertion).

The truth is that The Dumb Idea is at best an effort to appropriate an aura of credibility by the added status of a certificate on one's wall or (Oh, Rapture!) a few initials

(continu ed on page 182) Allen

150

Illustratio n A nnua/1988

DESIGN

TECHNOLOGY

WENDY RICHMOND

T'S THE MIDDLE OF MAY. AS I WRITE THIS column, the May/June issue, with the design technology survey, is being delivered to your mailbox.

By the time you read this, we will be organizing and tabulating the results. It will be a couple of months before you see the published results of the survey. In the interim, we felt that some historical perspective would be a good prelude.

I

In November ofl983 , Dick told me that he felt CA should be informing readers about new developments in computers and asked me to write a column. Back then, I had to explain what a mouse was. Now, four and a half years and 32 columns later, we're discussing the number of dollars being budgeted for computers in design studios.

Back then, there were no page layout programs; all you could expect to see on a computer screen were green stick figures. Now designers are sending descriptions of pagescomplete with type, line art and halftones-to service bureaus on disks and over telephone lines. How did we get here from there?

In the past four years, technology has influenced the ways in which designers specify type more than any other area of production. The Sept/Oct 1984 column described the ways in which designers co1,.1ld reduce their typesetting bills by reducing the major portion of the cost of a job: the operator's time. The three major areas that occupy an operator's time are 1) keyboarding the text, 2) entering typographic instructions, and 3) proofing. Back in 1984, designers were just beginning to take advantage of " captured keystrokes:' that is, text that a client had already typed on a word processor. By sending a client's disk to the typesetter, a designer could reduce the typesetting bill by eliminating the keyboarding.

By 1985, designers were browsing in computer stores, playing with personal computers and laser printers that set type . Granted, there were only three typefaces, the quality limited its use to comps and newsletters, and you still had to mark up a manuscript for real type. But the idea of making type on the spot without having to rub it otT a sheet was revolutionary.

The Jan/Feb 1987 column "Real Type" described a new breed of service: the " hands-off'' types hop. A designer could design and " paste up " a page using a page layout software program; the program automatically entered the typographic codes for the typesetting machine. The designer stored the page on a disk, sent the disk to the service center, and the page was set the same day, with no operator intervention, at a cost of about fifteen bucks.

Unfortunately, the results were less than perfect. The characters themselves were fine; the problem was between the letters. The software programs were simplistic, and 152

Illustration Annua/1988

there was no way to control kerning, letterspacing, hyphenation and so on. If you wanted good typography, you had to depend on your professional type house.

In just the last year, new versions of page layout programs have much more typographic control. Their list of features reads like all the benefits that you expect from your typehouse.

But how much of the typesetting operator's job do you want to take on? No matter how many features a software program offers, it can't replace the two most important things that your type house provides in that stage called "proofing": expertise and responsibility. The software program will give you control, but you have to make the decisions, and you must be responsible for every detail.

The responsibilities ofline art are less vigorous than type, and software programs for producing line art provide a tremendous gain over traditional tools. You can enlarge, reduce, stretch and scale the illustrations horizontally or vertically, either for creative effect or to fit a new dimension.

With a stat camera, you lose quality when you enlarge an original. In a draw program, the objects are stored as lines and arcs; when they are enlarged, the lines and arcs are recalculated and redrawn larger with no loss of quality. In addition, this artwork is " resolution-independent" ; it takes advantage of the resolution of the output device. If you print line art on a laser printer, it is " drawn" at 300 dpi.

If you send the same file to an imagesetter, it will be "redrawn" at typesetting quality high resolution, (e.g.

1200 dpi).

We'll soon see the same trend in producing halftone images and color separation. The technology that used to cost millions is migrating to the desktop. It will be cheap, easy to use, and will provide high quality output. Just as you now can bypass the operator at the type house, you will be able to bypass the stripper at the printer. And just as you are now faced with taking responsibility for proper h&j and a perfectly joined line and curve, you ' ll be examining dot gain.

The technology that was available only to suppliers four years ago is now an option for designers. Some designers delight in having more control over their work, and find that the added responsibility is justified by increased productivity and, in some cases, increased quality. Others find that computers are best for rough layouts and experiments, and prefer to leave the responsibility of production to the experts: their suppliers.

Of course, you could choose to take the best of both worlds.

As one friend said, "The other day I set a couple of headlines by sending the file via modem to a typesetter. It was a breeze, and the type looked fine. But fifty pages of an annual report set in three languages? Never!"

11

11

I hate red."

11

Hmmm. Looks empty."

~~nother background?"

11

11

The name is too small."

But will it work on a can?"

~~could we see it in red?"

11

Too large!'

I don't know ..."

11

Perfect!'

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The Amiga is the graphic designer's ultimate And to make the job easier, the Amiga featool. Enabling you to create exciting 3-D logos, tures mouse-controlled point and click operapackage designs, storyboards, even animation, tion that's a snap for anyone to use. that can be revised and fine-tuned easily and The Amiga can change any artist into inexpensively.

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FREE-LANCE

BARBARA GORDON

SPAR: A REsouRcE FoR FREE-LANCERS OMETIMES YOU CAN BE SO CLOSE TO something that you virtually lose sight of its advantages. In my case, I'm referring to an association that I've been a member of for so long that I just automatically assume that everyone knows as much as I do about what this organization has to offer free-lancers.

This is not the case, however, and I'd like to share some information about this valuable resource that free-lancers should be aware of. The organization is SPAR, The Society of Photographer and Artist Representatives, Inc.

Members receive the Buyers Guide (an extensive mailing list), and a monthly newsletter as part of their membership dues. In addition, members have access to the whole membership of SPAR to discuss any problems that may arise in their business.

SPAR is a not-for-profit professional organization founded 23 years ago and headquartered in New York. It has a national membership of several hundred, with a majority of the members working in the New York area. The requirements for membership are that a person be a working representative for at least one year before applying, and all applicants are not only screened but must go through a period of orientation before they are accepted as members.

All of these services are for sale but, since SPAR is a not-for-profit organization, these services are usually less expensive than they would be in the commercial market.

S

SPAR offers many services and advantages to its members and, because the membership is so involved with freelance talent, it also offers many services to free-lancers.

Let me start with the obvious, the services SPAR offers to member representatives. First, there are the orientation meetings offered to all new members, as well as any regular members who wish to attend. The orientations are a minicourse on all aspects of being a representative. Subjects like pricing, negotiating, selling techniques, advertising and promotion, copyright, business practices and rep/ talent relations are some of the topics of the orientation sessions that take place, after work hours, and are conducted by some of the top professional representatives in the business. Where appropriate, experts in copyright, taxes, etc. also participate in these orientation meetings.

The meetings are only open to provisional new members as well as established members of SPAR and are included as part of the dues.

SPAR also has general business meetings for the entire membership. Most are closed, for members only, because some of the top people in the business will only participate in these when there is a promise of confidentiality that allows them to be open and candid in their discussion of a wide array of situations in our industry. These closed sessions offer the SPAR membership a marvelous opportunity to learn about many of the intimate aspects of the business that are not available in any other forum.

Occasionally there are open meetings that nonmembers may attend.

154 Illustration Annua/1988

These are some of the highlights of what membership provides the representatives. One would expect an organization to extend services to its members, but SPAR also offers many services to nonmembers, namely free-lancers , and I'd like to tell you about some of them.

SPAR sells the Buyers Guide to nonmembers. This is a national mailing list, on zip-coded mailing labels, of advertising agencies, corporations, design firms , etc. The list is constantly updated and many people in the business feel it is the most up-to-date list in the field. They also offer a list of"Hot Shops" on mailing labels. This is, as the name implies, a listing of art directors at those agencies that are hottest in the business today.

SPAR offers a "Do It Yourself Rep Kit" to nonmembers.

This is a kit designed for free-lancers who choose to represent themselves as well as the representative who is not a member of SPAR. It has suggested forms for estimating, confirming and licensing commissioned work.

These are meant to be frames of reference for a freelancer or rep. The kit also includes job terms and conditions with a point-by-point discussion of each.

Free-lancers wanting an objective review of their portfolio can arrange one, by appointment through the SPAR office, with one of the professional represenatives who perform this service on a volunteer basis for SPAR. In addition, the organization puts out a membership directory listing the representatives' names, addresses, phone numbers and type of talent they represent. People seeking representation will find this a good source. Lastly, for a minimum fee , anyone can take out a classified ad in the SPAR newsletter.

More information on all of these services may be obtained by contacting SPAR, 1123 Broadway, Suite 914, New York, NY 10010. In an industry where free-lancers are always seeking information and answers, SPAR is one of those precious resources for answers and services.

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88-17

I t's true that variety is the spice of life. S pice that is, not pickle. I f it were the pickle 9f life we could have a real mess on our hands.

O ur pickle, of course, stands for variety - not messes.

Conveniently, this statement brings up two important points we would like to make about Graphic Composition, Inc. F irst, a large variety of typefaces and fonts is a telltale characteristic of a great typographer.

Without boasting, we'd like to let you know that we're the proud parents of one of the largest typeface libraries in the country. .

The second point is this. Some people associate pickles with fixes- example, "you've gotten us into a pickle this time!" (rather difficult to visualize, isn't it?)

W e're here to set things straightor curved, wavy, neoned - you name it. A nyone who has worked with us knows our code of ethics prevents us from creating problems - or pickles - for our clients. W ith telecommunications, 24-hour turnarounds, seasoned quality control technicians and dependable delivery schedules, we're here to make your job easier.

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A D VERTISING

M AXWELL ARNOLD

WHY ARE THEY THE GOSSAGE AND LARSEN AWARDS? SUPPOSE SOME DAY THERE WILL BE A Jay Chiat Award for direct mail and a Milton Glaser Award for 30-second radio. Irrational awards are nothing new in advertising and design, no more so than they are in Hollywood or Stockholm.

I

So this year I was glad to see one award finally get something straight. At the San Francisco Show, the Marget Larsen Award "for excellence in art direction and design" actually went to someone for work in print, not television.

In all her years in advertising and design, I don't think Marget Larsen ever had the slightest thing to do with television. I doubt that she even watched it. But time after time the award that carries her name has gone to everything except what Marget cared about and was celebrated for-magazine ads, newspaper ads, posters, packages, logos, flags, pennants, shopping bags. Those were the things she designed with such innovation and distinction that an award was named in her honor.

So how welcome it was when this year's Marget Larsen Award went to Michael Mabry-for posters, packages, labels, trademarks and corporate identities, after years of honors to art directors for cooler spots, jeans spots, beer spots and computer spots.

No such luck with the award named for her colleague, Howard Gossage. Once again the Howard Gossage Award "for excellence in copywriting" went to a writer for television spots. If there was anything alien to the talent, temperament and attitude of Howard Gossage, it was TV. He was a writer of rare and completely individual magazine and newspaper ads, and that was it.

I remember the time, early in his career, when Howard was induced to go to work for an advertising agency that was doing almost all television. Gossage came over to work on the Nucoa campaign, which had already been established upon a careless acronym-Nucoa, the New Ubiquitous Comestible Over All. The concept alone may well have been difficult for Howard to deal with, but at the time I happened to be an observant copywriter in the next office and I could see that Howard's real problem was with the medium. He was simply unable to write a TV script. For one thing, Howard was fond oflong copy, which was fine for print, but his Nucoa spots-the ones he was able to finish-were 158 Illustration Annua/1988

monologues of four and five pages. Rather cerebral, too.

After six months, Howard and his irrational employers gave up. That was when he joined the agency that later became Freeman, Mander & Gossage, famous for their ads, not spots, for Irish Whiskey, Eagle Shirts, Rover Automobiles, Rainier Ale, Blitz-Weinhard and Scientific American, with every word of copy reflecting Howard's wit, charm and irreverence.

However, this year, again, the Howard Gossage Award went to someone for television. Please don't misunderstand my point. The winner of the Gossage Award, Dan Mountain at Hal Riney, deserves all the badges.

The Perrier commercials are beautifully filmed, shrewdly conceived and well written. But they are not print.

Another thing about the Perrier spots. Their style is far from Howard's. Howard Gossage never took any advertising too seriously, whereas the Perrier spots do seem rather heroic. In fact, they inspired the impudent John Crawford to remark, as he presented the award, that the spots were a remarkable achievement, considering the product. For the French to send us their water, Crawford said, was as if we were to send them our Wonder Bread.

Perhaps I am being too logical. That's a serious flaw for anyone in advertising. I probably shouldn't worry about what kind of advertising fits the Larsen and Gossage awards. The Nobel Peace Prize, come to think of it, was named for a munitions maker, the inventor of dynamite. So what does it matter who gets the Gossage award?

Oh, I think it might matter to Howard. A civilized writer of peaceful print, surely he would wonder why his name was being used over and over to honor the writers of dynamite commercials.

0

MAXWELL ARNOLD was a writer and creative director for several national agencies and chairman/creative director of the Maxwell Arnold Agency in San Francisco before it was acquired by Cole & Weber in 1985. Currently he heads the consulting firm of Arnold & Underwood.

In defense ofqybabies,

nitpickers and prima donnas.

You're the quality controllers in a world But we're awful glad you're out there. where quality's often a victim of committee Because you're the reason good work gets opinion. through. Creating a demand for more good You bleed for the little things, because work. Which calls for good stock photography. a little thing can easily cut the heart out of Which is why we're in business. a big idea.

In fact, you're our best customers. You When everyone else is cheering and like fast service and smart, well-researched selections. You like images that make a creative uncorking champagne, you're breathing a sigh of relief that this time, it snuck through contribution to your layouts. And you seem to without getting screwed up. like us, because you keep calling us back.

You're one of the most analyzed and If you haven't called Comstock, you criticized characters in the agency. Yet often ought to give us a shot. In return, we'll send you drag yourself home after a day of saving you the shots you're always looking for, but don't usually get. ~~;,~' r• i'j,~. ~ other people's ~~u-know-wh~ts.

We admit 1t. There are times when you Now, JUSt try to ~-~ '.JilJ .-J l 1 'l.~ ~., drive us nuts. complain about that. sT o c K PH o T o cR AP H v Call or write for afree full-color catalog. And, ifyou'd like, afull-color poster version of this ad. Comstock, The Comstock Building, 30 Irving Place, New York, NY 10003. Call 1-800-225-2727. In New York State, 1-212-889-9700. In Canada, call Miller Comstock, 1-416-925-4323.

INDEX TO ILLUSTRATORS

A Ajhar, Brian 33 151 First Ave., Box #3 New York, NY 10003 Arisman , Marshall 19, 64, 69 314 West 100th St. New York, NY 10025

B Bailey, Brian 35 461 Ninth St. Palisades Park, NJ 07650 Begin, Maryjane 42 10 North Fulton Ave. Apt. 58 Mt. Vernon, NY 10550

Caber, Alan E. 76 Croton Dam Rd. · Ossining, NY 10562

de Seve, Peter 41 461 W. 21st New York, NY 10011

Gargiulo, Frank 33 256 President St. Brooklyn, NY 11231

Conge,Bob 20,25 28 Harper St. Rochester, NY 14607

Dinyer, Eric 121 5510 Holmes Kansas City, MO 64110

Garns, G. Allen 81 4 East 2nd Ave. Mesa, AZ 8521 o

Cooper, Heather 12 Heather Cooper Communication

by Design Ltd. 2 Gloucester St. Suite 302 Toronto, Ont., Canada M4Y 1L5

Dudzinski, Andrzej 55 52 E. 81st St. New York, NY 10028

Giusti, Robert 4, 92, 97 340 Long Mountain Rd. New Milford, CT 06776

E

Glaser, Milton 17, 25, 107, 112 207 East 32nd St. New York, NY 10016

Cooper, Karla 126 6204 Hilltop Trail Sachse, TX 75040

Belmore, Jay 85 Ward 9 Studio 96 Spadina Ave .

9th Floor Toronto, Ont., Canada M5V 2J6

Craig, Dan 6 Oasis Art Co. 118 E. 26th St. Minneapolis, MN 55404

Billout, Guy 52, 101 225 Lafayette St. Suite 1008 New York, NY 10012

Craig, John 49, 82 Rt. 2, Box 81 Tower Rd. Soldiers Grove, Wl54655

Boyer, Gene 91 416 S. Logan Denver, CO 80209

Crawford, Robert 42, 60 123 Minortown Rd. Woodbury, CT 06798

Braids, Braldt 23, 88 119 Wykeham Rd .

Washington , CT 06793

Curry, Tom 46, 58, 72 302 Lake Hills Dr. Austin, TX 78733

c Carbone, Lou 116 286 Sylvan Rd. Bloomfield, NJ 07003

D Davis, Paul 12, 17, 26 14 East 4th St. Suite 504 New York, NY 10012

Chan, Harvey 82 2 Clinton Place Toronto, Ont., Canada M6G 1J9

Deas, Michael 33 39 Sidney Place Brooklyn Heights, NY 11201

Chwast, Seymour 4, 86 The Pushpin Group 215 Park Ave. S. New York City, NY 10003

162

Illustration Annua/1988

Delessert, Etienne 30, 72, 104 P.O. Box 1689 Lakeville, CT 06039

English, M. John 114 Rt. 1, Box 212A Kearney, MO 64060

F Fanning, Jim 25 c/o River City Studio 116 West 3rd St. Kansas City, MO 64105 Fery, Guy 88 32 West 28th St. New York, NY 10001

Goldammer, Ken 9 405 N. Wabash Chicago, IL ~0611 Graves, Keith 126 809-A W. 29th St. Austin, TX 78705 Grimes, Melissa 92 901 Cumberland Rd .

Austin, TX 78704

Fraser, Douglas 75, 119 216 Hudson St., Apt. 8-1 Hoboken, NJ 07030

Guip, Amy 123,129 281 Matt St. Studio New York, NY 10012

Fredrickson, Mark A. 9, 116 5285 N. Stonehouse Pl. Tucson, AZ 85715

H Hagio, Kunia 69 6151 N. Sauganash Ave .

Chicago, IL 60646

French, Lisa 52 1069 Gardenia Ave. Long Beach, CA 90813 Funkhouser, Kristen 110,112 c/o Richard W. Salzman 1352 Hornblend St. San Diego, CA 92109

G Gaetano, Nick 9 368 Hillside Pl. S. Orange, NJ 07079 Gall, Chris 98 403 N. Court Tucson, AZ 85701

Hallman, Tom 35 38 South 17th St. Allentown, PA 18104 Hardy-Faraci, Cheryl 59 Pitman Ave. Wakefield, MA 01880

23

Hauben, Daniel 116 3400 Fort Independence St. Apt. 2-H Bronx, NY 10463 Haynes, Bryan 20,114, 116 704 lnterdrive St. Louis, MO 63130

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Strathmore Paper Company Westfield, Massachusetts 01085

INDEX TO ILLUSTRATORS

Morgan-Fitzpatrick, L.

Mahalanobis, Deb 110 319 Summit Ridge Cir. Nashville, TN 37215

4040 McGee #15 Kansas C ity, MO 64111

Johnson, Mark

Hess, Richard 75 35 E. 20th St.- 2nd Fir. New York, NY 10003

K Kelley, Gary 6, 15, 20, 66 301 Y2 Main St. Cedar Falls, lA 50613

Mahoney, Kather ine 60 Hurd Rd .

Belmont, MA 02178

58

Nelson , Bill 9 107 E. Cary St. Richmond , VA 23219

Kimura, Hiro 121 145 Washington Ave .

Brooklyn , NY 11205

Mahurin, Matt 46, 75, 81 77 Bleeker #102 New York, NY 10012

Nessim, Barbara 69 63 Greene St. New York, NY 10012

Kirk, Daniel 107 85 South St., 6N New York, NY 10038

Mantel , Richard 85 114 E. 32nd St. Su ite 1103 New York, NY 10016

Kitchell , Joyce 36 Joyce Kitchell Illustration 2755 Eagle St. San Diego, CA 92103

Martin, Donald 124 945 Cherry Tree Rd. St. August ine, FL 32086

Hill , Roger 17 Roger Hill Inc. 63A Yorkville Ave. Toronto, Ont., Canada M5R1B7 Hoffpauir, Stephan 109 Hoffpauir Rosner Studio P.O. Box 980175 Houston, TX 77098 Holland, Brad 10, 88, 97 96 Greene St. New York, NY 10012 Howard, John H. 44 , 79, 81 336 E. 54th St. New York, NY 10022 Howe, John 44 4, rue Coulon

P.O. Box 899 Harpers Ferry, WV 25425

Klanderman , Leland 4908 1st Ave. S.

70

Minneapolis, MN 55409 Kratter, Paul 109,114 1904 Cortereal Ave. Oakland, CA 94611

70

Brooklyn, NY 11215 Hutchison, Bruce 50 360 Capisic St. Portland , ME 04102

lkkanda, Richard 23 2800 28th St. Suite 105 Santa Mon ica, CA 90405

Kunz, Anita 17, 85, 102 230 Ontario St. Toronto, Ont., Canada M5A2V5

L Le ister, Bryan 15 2108 S. Quincy St. Arlington, VA 22204 Lewis, Tim 129 184 St. Johns Pl. Brooklyn, NY 11217 Liepke, Malcolm T. 46 30 W. ?2nd St., #2B New York, NY 10020

J Jinks, John 36 690 Greenwich St. , Apt. #BD New York, NY 10014

Limrite, David 33 2020 N. Main, #225 Los Angeles, CA 90031 Lindlof, Ed

30

603 Carolyn Ave. Austin, TX 78705

164

Illustration Annua/1988

75

N

Martin, Doug

0 Olbinski, Rafal 28, 49, 98 111 -39 76 Rd ., #E1 Forest Hills, NY 11375 Overacre, Gary 57, 114 3802 Vineyard Trace Marietta, ~ 30062

114

904 Kingston Rd. Toronto, Ont., Canada M4E1S5 Mattelson, Marvin 37 Cary Rd.

Mclean , Wilson 902 Broadway

p Payne, C.F.

97

758 Springfield Pike Cincinnati, OH 45215

123, 129 Perini, Ben

Great Neck, NY 11021

2000 Neuchatel Switzerland Hunt, Scott W. 55811th St. Apt. 2F

110

M

Henrie, Cary 92, 104 166 E. 35th St. , #15A New York, NY 10016

44

277 Pal isade Ave .

Jersey C ity, NJ 07307

64 , 112, 126 Peters, Bob

119

Rm.1603 New York, NY 10010

c/o Gerald and Cul len Rapp Inc. 108 E. 35th St. New York, NY 10016

McMullan, James 20, 63 222 Park Ave. S., #10B New York, NY 10003

Poll ie, Lissa

Mehrinfar, Vahid 19 9370 Briar Forest Houston, TX 77063 Milot, Rene 41 221 Balliol St. Suite #1723 Toronto, Ont., Canada M4S1C8 Molloy, Jack 12 1645 Hennepin Ave. Suite 201 Minneapolis, MN 55403

58

609 S. Leroy St. Fenton , Ml 48430

R Reynolds, Scott 121 , 130 308 West 30th St., #9B New York, NY 10001 Rosenthal, Marc 76 #8 Route 66 Malden Bridge, NY 12115 Rosner, Joyce 109 Hoffpauir Rosner Stud io P.O. Box 980175 Houston, TX 77098

(continued on page 168)

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F F E R

EXHIBITS-PLANNING AND DESIGN

by Larry Klein With introductions by Albert H. Woods and Harold J. Skramstad, Jr. Designed by Walter Bernard Published by Madison Square Press Over 100 exhibits by 45 internationally known designers including Barry Howard, John 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 extensive portfolio section includes: The Treasures of Tutankhamun, The Olympic Experience, Chicago's Field Museum of Natural History, Energy Expo, Harbor Point, Cartier Restrospective in Los Angeles and the John Fitzgerald Kennedy Library.

Because of a quantity purchase, we can now offer

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.

this important book at a great savings to CA readers.

Fill out the information below and send to: Communication Arts, P.O. Box 10300, Palo Alto, CA 94303 D Payment of $33.00 is enclosed. CA will pay postage.

Originally priced at $45.00, Exhibits: Planning and Design is now available at the new low price of $33.00, shipping

D Please charge my credit card D MC D Visa CardNumber

Expiration Date

LLLLLLLLLLLLLLLL Telephone Number

Signature

Name

and sales tax included.

Address

City

State

No books will be shipped until payment is received.

Zip

INDEX TO ILLUSTRATORS

Ross,lan 44 106 Lexington Ave. New York, NY 10016

Spalenka, Greg 35, 64, 107 165PerrySt.,-1B New York, NY 10014

Vuksanovich, Bill 76 3224 N. Nordica Chicago, IL 60634

Rudnak, Thea 66 1151 West Peachtree St. Atlanta, GA 30309

Sparks, Richard 4 Two West Rocks Norwalk, CT 06851

w

Rush, John 17, 28 123 Kedzie St. Evanston, IL 60202

Speir, Nancy 129 P.O. Box 486 Boyes Hot Springs, CA 95416

Russo, Anthony 373 Benefit St.

33, 70

Providence, Rl 02903 Ryan, David Brendan 1408 Pacific Ave. Alameda, CA 94501

126

s

Stavrinos, George 119 76 W. 86th St., 6D New York, NY 10024 Stermer, Dugald 57, 95 1844 Union St. San Francisco, CA 94123 Storey, Barron 9 Kramer Pl.

Salina, Joseph 91 182 Wineva Ave.

Schermer-Gramm, Kathy 123 13659 Red Mahogany Dr.

Sumichrast, J6zef 49 465 Beverly Lake Forest, IL 60045

Moreno Valley, CA 92388

T

Schumaker, Ward

Tennison, James E. 124 5500 Bradley Ct. Arlington, TX 76017

25

466 Green St., #203 San Francisco, CA 94133

Torp, Cynthia Schwarz, Joanie 22 East 36th St. Apt. #3C

82, 101

Walker, Norman 119 37 Stonehenge Rd .

Weston, CT 06883

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.

Warren , Jim 79 342 Lama Ave. Long Beach , CA 90814 Wasson, Cameron 38 4 S. Portland Ave ., #3 Brooklyn, NY 11217

72

San Francisco, CA 94133

Toronto, Ont., Canada M4E 2T4

Wald, Carol 38, 44 217 Farnsworth Ave. Detroit, Ml 48202

50

21 Theater Sq .

Suite 200 Louisville, KY 40202

New York, NY 10016

Weller, Don 25 P.O. Box 726 1398 Aerie Dr. Park City, UT 84060 Widener, Terry 55, 91 , 98 c/o Michele Manasse 1960 Broadway #2E New York, NY 10023 Wilcox, David 55, 60 5955 Sawmill Rd .

Doylestown , PA 18901 Wolfe, Bruce 15, 26 206 El Cerrito Ave. Piedmont, CA 94611

v Sciacca, Tom 81 77-39 66th Dr. Middle Village, NY 11379

VanNutt, Robert 6 194 W.10th St. New York, NY 10011

Shannon, David 79 81 Second Ave. New York, NY 10003

Ventura, Marco J. 19,42 16 Crooked Tree Ln. Princeton, NJ 08540

Smith, Douglas 26 73 Winthrop Rd.

Viva, Frank

y Yang, James 102 6106 Breezewood Dr., #203 Greenbelt, MD 20770 Young, Ted

9

620 Hembree Pkwy.

Roswell, GA 30076

41

Brookline, MA 02146

12 Birch Ave. Suite 205 Toronto, Ont., Canada

Smythe, Danny E.

Zakroczemski , Daniel 17 Puritan Pl.

M4V1C8

Hamburg, NY 14075

109

6103 Knight Arnold Memphis, TN 38115

168 Illustration Annua/1988

z 102

We just put label design into a new dimension.

A new collection of 14 adhesive-backed premium papers not available anywhere else in the world!

INDEX TO ART DIRECTORS, DESIGN FIRMS, AGENCIES AND CLIENTS

A

AT&T

55

Adamek, Tina

76

Ainsworth, Bill

109

Bullen, Anne

97

Delacorte Press

Burch, Harold

52, 60

Delessert, Etienne

Business Week

107

Dell Publishing

19 The American Bar Association

c

121

Anheuser-Busch, Inc. 17, 20 Antiche Fattorie Fiorentine

19

Ward Archer & Associates

109

Art Center College of Design Asherman, Cheryl

Demchick, Anna

69

102

Demoney, Jerry

4

Carbone, Lou

116

Dever, Jeff

Cardwell, Kay

79

Cetta, Albert M.

33 4

9

Avon Books

44

Cleveland Magazine Cochran, Gate

55

Barbaria, Darlene

28

Bark, John

92

Barnes, Bill

110,114

Barnes &Company

26

Bartels & Carstens

9, 17,116

Bartels, David Bauer, Bob

9, 17,116

Benjamin, Antony N. Berkley Books

44

Bianco, Peter

50

52

129

Georges, Rip

64, 70, 75

Drells & Tams

91

Gibson, Gary

58

Gilmour, La;rence Glaser, Milton

Early, Van

9

Editions Bueb & Reumaux

19

Egan Associates

by Design Ltd. Cooper, Karla

12

126 35

Crabtree & Evelyn

23

10

Greco, Tony

44

Greely, Beth

50

Inc.

104 114

Gremminger, Pilar

4

Enneson, Peter

91

Grimes, Melissa

126

Erlacher, Bill

119

Esquire

92

Essence

79

12, 17

81

F

Boston Globe

81

DNI Designs

20

Farrar, Straus & Giroux

Relations

9 82

British Petroleum

The Bronx Museum of the Arts 17

Buck, Barbara Buffalo

Center

John Davies, Caribean

36

Buffalo News Editorial Art 102

Davis, Paul

12, 17, 26

Dawes, Diana

12, 17, 26

116

72

Guthero, Ed

88

12

49

Foederer, Christine Ford,Wayne

121

109

76

Fortune, Jim

20

Frankfurter Allgemeine Magazin Fraser, Douglas

6

Hallman, Tom

35

Hardy Girls

23

Hardy, Pat

23

Harper & Row

33, 35

Harrington, Wendall K.

85

119

Harrison , Peter

52, 60

Hart, Chuck

116

Hauben, Ed

116

Hawthorne-Wolfe Hays, Phil ip

92

81

Harris, David

Haynes, Bryan

86

Dayton Hudson Department Store Company

170 Illustration Annua/1988

50

Fitzpatrick, Wayne

Fortune

102

Paul Davis Studio

102

Department

112

Davis, John

30, 33

Fessel , Siegfried! & Moeller,

Focus On York

6

Photographic

116 Brown, Jim

123,129

Hall , John

Inc.

109

Dartmouth College , Hopkins 52, 60

44

Guip, Amy

HCM

D Magazine

of America

Grove Press

H

112

112

Brady & Paul

19

English, Mark

D

Dancie Perugini Ware Public

126

26, 41

Bornstein, Karl

Bowling Proprietors Association

Graves, Keith

Great Scott Advertising Co.,

Esposito, Jeanine

41

44

9

33

23

44

Eisenman , Sara

Evans, Jim 69, 79

Goldberg, Carin

20, 25

Emois

9

17, 25, 112

Jay Gleason Advertising

20

Connolly, David

Czernysz, Bob

Bleiweiss, Richard

55

Conge Design

Egner, Tom

69

Milton Glaser, Inc. 17, 25

Eckholt, Larry

Craan , T.M.

20

Doyle, Joseph

20, 25

4

60

Gentleman's Quarterly

Conge, Bob

119

76, 101

Garrison, Kenny

55

Eastern Exclusives, Inc.

Continental Airlines

109 20

Dobos, Greg

69

Counihan, Gerry

58

Behnen, Paul

102

Gardner Advertising Garlan, Judy

91

Conde Nast

Heather Cooper Communication

Barre Advertising

114 Galveston Park Board

E

102

Conrad, Jon 110, 114

101

82

82, 91

Common Cause 12

107

98

Galleria Diani Fine Art Prints

55,58

Ciba-Geigy

33

Gall, Chris

Discipleship Journal

38

52, 60

G

102

Digital Equipment Corporation

75

Colosi, Peter

6

107

91

Fulmer, Jennifer

DiBenedetto, Andrea

Carson, David

Fuller, Bob

52

42

Frouman, Malcolm 104

102

Dickie, Jill

33

76, 101

Baker Lovick Limited

Designed Marketing Dever Design

The Atlantic

B

17

55

Chwast, Seymour

33

85

6, 9

Chang, Nai

119

Balle, Sue

Friedman, Ellen

Campbell, Pat

Carpenter, Andy

57

Bailiff, Paul

35

CBS Records

Campisi, Ronn

4

Friedman Benjam in Inc.

del Vecchio, Rosamaria

Campbell Soup Co., Ltd.

25 American Showcase

Freeland , Bill

30

Della Vedova, Rod

Albanese Development Corp.

Arby's, Inc.

38

49

20, 114,116

119

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IND EX TO ART DIR ECTORS , D ES IGN FIRMS, AGENC IES AND C LIENTS

Hazlewood, Lynn

107

Hendel, Richard

30

Hensley, Kent Hicks, Mike

lkkanda Design Group, Inc.

12 57

Hill and Knowlton, Inc.

46

Roger Hill, Inc. 17 Hippocrates

Hodgson, Michael

110

Hoffman, Steven

91,98

Hoglund, Rudy

63, 64, 75

Holt, Rinehart & Winston of Canada Limited

41

Houghton Mifflin Company 26,44 Howe, John

50

Sally Huyser Design

25

Mclean, Wilson

112,126

McMullan, James

20

Kelley, Gary

lkkanda, Richard

23

Ketchum Ad vertising/San

Illustrated Gallery

114

Francisco

9

Medical Economics

lmmagine Design

19

Kimura, Hiro

121

Medical Economics Company

Klein, Rene

76

15

Auditorium

20

J 46

Janowitz, Doris

33

Jefferies, Robin

75

Johnson, Mark

110

The Juilliard School

114

109, 114

19

Melia, Mike

36

55, 58

109

17

Metz, Julie

35

Miller, Blake 70

58

109

Miller, Judson & Ford , Inc.

LaBrecht, Cindy

The Minnesota Zoo

44

LaGuardia Community College

109

6

112

Mirage Editions

Mitchell, Susan· 28

4 LaGuardia, Diana

Mobil Oil Company

64, 98

Learning through Education in the Arts Project Limrite, David

25

Monsanto Company

46

Montebello, Joseph

130

42

Morrow Junior Books, a division

33

Lincoln Center Theater Llewellyn, Sue

4, 12, 17

Arnalda Mondadori Editore

57

Lantana Corporation

of William Morrow & Company

20

42

81

Lomas & Nettleton Lopez, Ron

57

57

Memphis Belle Association

49

Kri der, Karen

LA Style

82

Melia Design Group

L

Junior League of San Diego, Inc.

44

Michigan Alumnus

112

20

116

Mehrinfar, Vahid

41

Krause, Donald Kunz, Anita

Mechanical Lady

82, 101

Knopf Publishing Kratter, Paul

Jackson, Caesar

James McMullan, Inc.

6, 20

Koze lek, Frank

Jones Printing Company

44

Humana Hospitals

75

23

University of Iowa, Hancher

Hixo, lnc. 57

K Kansas City Star

lkkanda, Donna

lnvisions, Ltd

66, 72

23

William Morrow Publishing

60

Los Angeles County Museum of Art, Art Museum Council

110

Musician

33

15

Mullen, Leo

116

75

The Mysterious Press

36

Lotus Deve lopment Corporation

N

58

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Illustration A nnua/1988

Naimska, Julia

41

M Macmillan Publishing Co. 28

Nath, Natalie

104

The Magazine Group

New American Library

Maiolatesi , Barb

97

Nature Company

109,114

Newcomb, John

104

42

82,1 01

Manhattan,lnc. 107

New York

Mantel, Richard

New York Times Magazine

81

Richard Mantel Studio Marshaii-Delessert

81

New York University Magazine

30, 104

98

Marshall, Rita

30

Martin , Donald

124

Newsday

Martin, Maryetta

114

Nicklen , Bambi

79 95

The Maryland Bar Journal

97

Noble, Louise

George Mason University

15

University of North Carolina

McCormack & Dodge McEntire, Larry

50

Press

44

30

Norweg ian Caribbean Lines

24

McGraw-Hill,lnc. 76 McKinney & Silver

64,

98

81

9

9

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INDEX TO ART DIRECTORS, DESIGN FIRMS, AGENCIES AND CLIENTS

0

Ralston Purina Company

Og ilvy & Mather Oram , Elizabeth

114

Overacre, Gary

114

Overland Printers

23

64, 69, 75, 85, 97

Report on Business

82, 91

Reumaux, Bernard

44

Reynolds, Scott

Pacific Press Publishing

Rhodes, Silas

Association

Mitchell

Stereo Review

66, 92

121

T

19

Taberno, Paderno

60

Tabori , Lena Texas Monthly Time

Parenting

Roberts, Stanley

58

Timmerman , Kathy

Steve Roberts & Company

25 Paul , Greg

82

Torno, Lawrence S.

17

Troy Group

Ruch, Sandra

Turpin , Debra

25

Twilight Zone

70

46

Russek, Jim

Pentagram Design

52, 60

Pepe, Paolo

St. Martin's Press

Peterman , Suzanne Peters, Margery Petro-Canada

Schermer-Gramm, Kathy

9

4

Pilar & Co.

Schwartz, Bonnie

Pope, Kerig

Graphic Design

88

Pospischil, Hans-Georg

86

Postgraduate Medicine

76

Poth, Tom Propes, Pat

50

Provident National Bank Psychology Today Pushp in Group

Shadowlight Impressions

49

72

4, 86

17

41

110,

107

49

Smith, Miriam

Q

Quigley, Sandy

19,42

Victory Gardens Theater

Chapter 20

25

Viking Penguin Books, Ltd .

Vintage Books

19

w

79

Southwestern Bell Publications

WNCN

26

Wade, Lee

28

Walker, Norman

119

RCA Corporation , Bluebird

Staebler, Tom

88, 92, 97

Norman Walker Associates

Steiny, Nancy

69

Wang , James

Stelmach, Joe

15

Warkulwiz Design

RN

101

174 Illustration Annua/1988

41

28

Sports Illustrated 15

49

72

R Label

z Zaferes, Tom

Visual Arts Press

91

9

19

6

49

20

Young & Rubicam, Inc. 10 Young, Ted

Vietnam Veterans of America,

88

Smith , Buck

46, 55

17

Vienne, Veronique

Sluzewski, Gary

Yankelovich Clancy Shulman

Ventura, Marco J. 19, 42

69

Signs of the Times Sm ith, Bill

46

46, 55

Ventura, Piero

114 The Sharon Temple

55

v

36

Shanahan, Mary

57

Woolverton , Diane

121

36

Clem & Bonnie Schwartz

88, 92, 97

85, 88, 97,

52

Upton, Bob

123

23

15, 26

102

Universal Exhibition of Sevilla, 1992

Scarola, Leonard

23

Woodward,fred

United States Information

26

Piedmont High School

Wolfe, Bruce

82

Agency

Santa Barbara Creative Seminar

46

46

98

USIA Exhibits Service

33

Ph.D. 110

Playboy

15

92, 97

y

U.S. Air

San Francisco State University

76 12

Pfeiffer + Company Pfeiffer, Jill

Orchestra

82

42

Willis, Len

Win dett, Peter

70

UIS Corporation

33

San Francisco Chamber

44

20

u

s

35

Perry, Reg

Twin Cities

20

25

81

Wilkin, Greg

Peter Windett Design

The Tucson Weekly

20, 26

25

95

9

Ruby Shoes Studio, Inc. 116

Pedersen, B. Martin 69, 79

The Together Center

85, 88,102

12,17

38

25

White, Gail 70

Rubess, Balvis

Russek Advertising

Penthouse

25

66, 92

10, 63, 64, 75

Rolling Stone

Pedersen Assocs. Inc. 46

6, 9

West, San Jose Mercury News

25

20

112

Weinberg, Allen

The Weller Institute

17

38

23

Association

Weber, Jessica

Weller, Don

River City Studio

Park City Shakespeare Festival

38

82

Welcome Enterprises

The Ritz-Carlton

Park Avenue Merchants

Weber, Ann

104

79

70

Weaver, Victor 49

17 72

Washingto('l , Michelle Waters, Tom

Sumichrast, Jbzef

PaperJacks, Ltd . 35

Pandora

85

81

Sun Magazine, Baltimore Sun

Richards, Brock, Miller &

88 66, 72

Stephenson, Linda Stout, D.J.

119 Regardie 's

p

Palecek, Jane

49

Gerald and Cullen Rapp, Inc.

17

42 49

119

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 with in thirty days and we will be able to issue corrected award certificates.

Illustration by: DAVID GROVE (instructor) lllustration for "Call for Entries" Poster, 30th Annual Exhibition of The Society of lllustrators (New York)

"The s·trength of the Illustration Department is the dedication, enthusiasm and experience of our outstanding faculty. Students who are taught by the best, are challenged to do their best. " Barbara Bradley, Director, Illustration Department

Your ambition and imagination.

Our in,depth program taught by

working professionals.

Together we will create your future in Illustration.

Name Address City State Zip

CA 7/88

Acad my of Art College 540 Powell Street • San Francisco, CA 94108 • (415) 765 .. 4200 Within California, call toll .. free 1 .. soo . 544 .. ARTS

BOOK REVIEWS

IllIIIII 1956

1953

1954

Automagic Vendors, Inc. St. Louis, Missouri Merchand ising Vending Machines

Robotron Corporation Detroit, Michigan Electrical Timing and Contacting Apparatus

Power Glo Products Queens Village, New York Golf Club Refinishing and Cleaning Kits

TRADEMARKS OF THE '40s AND '50s

By Eric Baker and Tyler Blik Published by Chronicle Books One Hallidie Plaza, San Franci co, California 94102 Paperbound

$12.95

Following the success of their first book, Trademarks of the '20s and '30s, Baker and Blik continue to explore how trademarks mirror the tastes and obsessions of an era.

Postware America saw new words like "Atomic:' and "Nuclear" added to their everyday vocabulary. Companies embraced this new terminology with humorous results including Atomic Insecticides; Space Cadet brand carrots and Planet Patrol house slippers for the whole family.

The above examples and 472 others are included in this entertaining view of American industry and culture.

Chapters include People & Figures, Science & Industry, Let's Eat, Animals, Circles & Shapes, Transportation, and Typography.

In the introduction, inexhaustible Steven Heller bemoans about the disappearance of corporate innocence and how today's corporations require market research to justify more abstract images understandable only after reading the design brief.

As with their earlier book, I find it interesting to see how visual trends keep coming around. Simplified figures and symbols common in the 1920's appear on these pages and then again today as fashionconscious companies are buying "Hip" identities. I suppose it's fortunate that clients don't have the same understanding of history or they might question their designer's creativity.

178 Illustration Annua/1988

No matter. I think the book is a good addition to the already overladen bookshelf of trademark compilations.

I'm disappointed that no effort was made to credit the designers. While some artists may be impossible to track down, I don't think the research would have been impossible. Some like William Golden's CBS symbol and George Nelson's Herman Miller mark should be common knowledge.

THE BEST OF SHOPPING BAG DESIGN

by Judi Radice and Jackie Comerford Published by PBC International, In c.

One School Street, Glen Cove, New York 11542

$49.95

Pop artists like Warhol and Lichtenstein started the designer shopping bag look back in the sixties when they created limited edition bags imprinted with their art. But modern shopping bags themselves have been around since the late 1920's, replacing 19th century bandboxes, used for carrying goods from store to home.

The first chapter covers the basic elements in bag design and a few of the pitfalls encountered during production. I would have liked to see a more in depth section for designers unfamiliar with construction and printing limitations.

In the second chapter, the shopping bag is discussed as an important element to the retailer's corporate identity through interviews with designers, including John Jay from Bloomingdale's, Nancye Green and Seymour Chwast. "We have a different kind of personality:' Jay said. "There is a certain point of view that characterizes Bloomingdale's-adventurous, constantly changing ... At least it pushes certain buttons and makes you respond, whether you like it or not. " Nancye

Draw better figures from better figure reference.

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BooK REVIEWS

Green: "The shopping bag is the tip of the iceberg ... the essence of image ... the haiku~' The rest of the chapters are filled with 250 full-color examples of holiday bags, packaging programs, specialty bags and new ideas. Most are accompanied with informative captions by the designers.

There is also a glossary ot terms, but with only fourteen terms explained, there isn't much helpful information available.

Despite a few drawbacks, including an uninspired layout, this volume is a lot of fun to look at and should provide ideas and inspiration for one of the more entertaining areas of company identity.

BRIEFLY NOTED: MARKER RENDERING TECHNIQUES by Dick Powell and Patricia Monahan (North Light Books, 1507 Dana Avenue, Cincinnati, Ohio 45207, $32.95) With stock photo houses, color copiers, image manipulation software and desktop publishing available, I wonder if anyone uses markers anymore. Nevertheless, the authors have compiled an overview of rendering comprehensives for

advertising, packaging and industrial design.

Materials are discussed as well as methods for simulating various surfaces. The only prerequisite is the ability to draw.

TELEVISION GRAPHICS FROM PENCIL To PIXEL by Douglas Merritt (Van Nostrand Reinhold Company, Inc., 115 Fifth Avenue, New York, New York 10003, $29.95) With corporations looking for alternative methods to get their message to potential buyers, more designers are being asked to consider video as a medium. Keeping that perspective in mind, this book serves as a quick compilation of graphic methods used in television today. Originally published in England, many examples are from abroad. While moving pictures don't translate well into print and some of the examples are awful, there are quite a few striking animated graphic images worth looking at.

How To DRAW CHARTS & DIAGRAMS by Bruce Robertson (North Light Books, 1507 Dana Avenue, Cincinnati, Ohio 45207, $24.95) What makes this book worthwhile isn't the "how to draw" part, but the "how to organiz~ and explain information" part. Robertson wisely points out that honesty is the best policy. While charts are supposed to explain and clarify complex information, there is also the possibility of distorting the facts.

Discussions on choosing a style and materials are also helpful.

CoRPORATE IDENTITY DESIGN by Veronica Napoles (Van Nostrand Reinhold Company, Inc., 115 Fifth Avenue, New York, New York 10003, $19.95, paper) For professionals and students unfamiliar with the process of creating a corporate identity program, this book serves as a step-by-step overview. Besides examples of identity packages, a methodology is included. Phase I discusses an analysis of findings; Phase II design exploration; Phase III design refinement; and Phase IV Implementation. The last section includes the structure of a corporate identity manual. Appendixes include a sample proposal, research questionnaires and a sample design brief.

Get an advertising education from textbooks like this and instructors who are working professionals.

[OJ PORTFOLIO CEHTER 125 Bennet St. NW, Atlanta, GA 30309. (404) 351-5055

cs 180

Illustration Annua/1988

ILLUSTRATION & DRAWING STYLES & TECHNIQUES by Terry R. Presnall (North Light Books, 1507 Dana Avenue, Cincinnati, Ohio 45207, $22.95) If you're looking for one or two more styles to make your black and white illustration skills more saleable, you'll find wide selection here. The author discusses the differences between styles including Normal Line, Dot-Dash Line, Irregular Dot-Dash Line, Broken Line, Horizontal Line and Vertical Line. If these differences are important to you, you should buy this book.

-Patrick Coyne

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EDITOR's CoLUMN

(Continu ed from page 150) after one's name, and at worst an attempt to control entry into the profession , fueled by the fear of competition.

Borders points out, you don't need a degree to go into advertising. Well, after all , it's a free country.

Pity poor Bill Borders. Mr. Borders has made it to the top of his profession, but he's embarrassed by it. He can't mention his job at cocktail parties. Horrified by what he considers bad advertising, he feels his profession will lose credibility with an " increasingly savvy and skeptical" public. (Apparently the public can recognize bad advertising but the commissioning client can't.)

If the head of an advertising agency wishes to pass up an art school graduate with a great portfolio to hire his wife's sister's cousin-in-law's nephew, hey, he's got a right.

Mr. Borders seems to miss th at advertising's very existence is based upon the free enterprise system, to which any form of regulation is anathema, because the market is self-regulatory. That is, bad advertising destroys itself. It will be pulled from the marketplace because it can't sell the product, and new, better advertising put in its place so the product itself doesn't have to be pulled from the market. Or do es Mr. Borders agonize over bad advertising that succeeds? Now we're in the subjective area of taste.

Mr. Borders suggests a group such as the AAAA or the AAF (may we assume he is a member of both?) to "create and administer advertising competency examinations:' Such exams would be totally meaningless. As Mr.

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Of course the good agencies only hire qualified people, but nothing can prevent an unqualified person from going into business for himself. Mr. Borders points out that all that's required to join advertising's ranks is a letterhead and a telephone, but does he honestly believe that someone with no interest, training or experience in the field is going to enter such a business and succeed? Might I suggest that any client who would hire such an agency would be so dim-witted or so tight-fisted that no established agency would want his business anyway? Or conversely, that any advertising man glib enough to land an account while possessing no demonstrable skills certainly deserves the job?

Mr. Borders believes creativity is tested all the time at awards shows, and that this type of subjective judgement is fine through the circular logic that it is " acceptable providing those who sit in judgement are acceptable ~ ' Well, what if they' re not acceptable?

Mr. Borders' conclusion that public clamor might push for regulation is equally preposterous. Public interest in a particular profession is casual at best. Historically, it has always been those engaged in a profession who have pushed for regulation, possessing as they do an intense interest in its control.

Someone please tell me just what these competency tests are for? So you can tell your clients that you ' re " board certified?" (They don't care.) They surely can't be used to prevent those who fail them from entering the field because-this is the bottom line, folks-even though you pay for it, advertising is, after all, free speech. Now call me irresponsible, but I'm possessed of the odd notion that anyone who wants to buy space in a magazine, write an ad, draw an illustration or design a product sure as hell has a right to, and doesn't need to pass any competency tests do do so.

In conclusion, may I add how happy I am that 30 years ago neither the Post Office (when you applied for second class postage) nor some Board of Magazine Publishers Who Know Better Than You asked for your credentials for publishing Communication Arts. I understand you had none. This has not prevented you from publishing, with the occasional exception of a column such as Mr. Borders: the best periodical publication in the field today.

D

PostScnpt IS the reg•stered trademark and Adobe IS the trademark ol Adobe Systems Incorporated

182

Illustration Annua/1988

Kurt Klein has taken a position as production manager with Bright & Associates in Los Angeles. We wish him well.

For illustrators who are looking to draw attention join ranks with the best.

There are thousands of Creatives out there who get barraged with millions of pieces of advertising and promo- The reason Creatives overwhelmingly prefer The Black Book? tional material. What can you do to make sure that your self- Simple. When asked which sourcebook has the best talent, they mentioned The Black Book twice as often as all of our promotional efforts get noticed? competitors combined. Maybe that's why twice as many illusFirst you get their attention. trators rate The Black Book "excellent" for getting high pqying The Creative Black Book is a useful tool Creatives know and jobs compared with Showcase. appreciate. A recent independent research study found, in Keep yourself within reach. fact, that 9 out of 10 Creatives are familiar Okay, so Creatives like The Black Book. But what do they with The Black Book, and that twice as do with it? For one thing, 8 out of 10 Creatives told us many consider it the most useful versus they keep it within reach of their telephones.

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

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MATERIALS

LASER PRINTER LABELS

James River Corporation has added labels to its Pro-Tech Laser Specialties line of products for laser printing and desktop publishing. Laser Labels are formulated to work with most laser printers and are available in white or clear to ... "Blend with colored and textured stationeri' I've never seen clear labels blend with textured stationery.

Labels are formatted three across and ten down on 8lf2'' x 11" sheets and come either 25 or 100 to a package.

For more information, contact James River's Electronic Imaging Products Unit at 356B Sewall Street, Ludlow, Massachusetts 01056, or call (413) 589-7592. Outside Massachusetts, call1-(800) 521-5035.

authorized Adobe dealers. For information, contact Brenda Hansen, Adobe Systems Incorporated, P.O. Box 7900, Mountain View, California 94039, or call (415) 961-4400.

ADVERTISING AGENCY SOFTWARE

Clients & Profits sounds like a good name for an agency management software program designed by advertising professionals for advertising agencies. Created for the Apple Macintosh, features include estimating, job trafficking, time billing, flexible client invoicing and accounts payable. The program can also be customized. The package costs $1895 and a multi-user package is available for $3795. Contact Working Computer, P.O. Box 86602, San Diego, California 92138, or call (619) 274-0520.

DISPOSABL E TECHNICAL PEN

Letraset USA claims it has created the world's first disposable technical pen, a claim shared by Alvin and Company. Called Letratech, the pen features a unique capillary system which results in consistent ink flow. The self-contained ink cartridge contains almost twice the supply of ink found in refillable pens and is available in four pen widths. To decide which pen came first or if they are one and the same, calll-(800) 526-9073 for the name of the Letraset dealer nearest you.

FORM GEN ERATING SOFTWARE

Claris Corporation has introduced SmartForm Designer and SmartForm Manager, two software programs for the Apple Macintosh computer that enable the creation and management of all types of forms, such as expense reports, invoices, purchase requisitions and loan applications. Forms can be printed with high-resolution printers for manual completion or distributed electronically for on-line completion. "The forms market is enormous, with the potential to be as large as the desktop publishing market:' said John Zeisler, vice president of marketing at Claris. "Some Fortune 500 companies create and use as many as 10,000 forms:' I suppose programs like these will increase that number. SmartForm Designer and SmartForm Manager cost $395 and $149, respectively, and are available through authorized Claris dealers.

X-ACTO BLADE HOLD ER

Called the Gripster by Hunt Manufacturing, this new knife features a rubberized barrel, a rear-release mechanism for easy blade changing and an anti-roll stop at the base of the barrel. Hunt was kind enough to send a sample knife and I must say the handle feels comfartable and blade changing was quite easy. The Gripster is available in black, blue, grey, red and trendy teal. "We think artists will have a difficult time deciding which color to buy and, therefore, will purchase several Gripsters at a time:' said Sue FitzPatrick, X-Acto spokesperson. If you agree with this astute marketing, contact Hunt Manufacturing Company, 230 South Broad Street, Philadelphia, Pennsylvania 19102.

CLIP ART DISKETTES

BASIC GRAPHIC ELEMENTS SOFTWARE

Jumping on the electronic clip art bandwagon, Moonlight Artworks has released two clip art diskettes for the Apple Macintosh. Created on Adobe's Illustrator software, the first release features graphic symbols, hands, credit cards, simulated rubber stamps, food and drink, silhouettes, general subjects and sale-oriented typography. The disks are available for an introductory price of$24.50 each, (California residents add $1.60 each), or $45.00 for the set, (California residents add $2.93). For more information, contact Jon Adams, Moonlight Artworks, c/o Hired Hand Design, 3608 Faust Avenue, Long Beach, California 90808, or call (213) 429-2936.

A package of hundreds of pre-built graphic elements has been produced by Adobe Systems for use with its Illustrator and Illustrator88 software. Called the Collector's Edition I, the package contains one hundred borders and over 300 dingbats. Try not to use them all in the same project. In addition, there is a medium weight serif and sans serif typeface that can be edited and modified to create logotypes. Retail price for the Adobe Illustrator Collector's Edition is $125 and is available through

For the last ten years, David Goodman has lectured to over 7,000 designers on how to sell design. Deciding that enough is enough, Goodman has discontinued his seminars and produced a series of kits based on his presentations. Each kit contains five one-hour audio cassettes recorded at a seminar and the workbook given to the attendees. The series includes: Prospecting for

184 Illustration Annual 1988

DESIGN MARKETING TAPES

''The color :S son1ewhere

between the pattern on your scarf and this candy wrapper."

It's hard to pin down a fabric or finish color with words. It's easy to show swatches and samples. Your customers need organized color/material binders in order to make effective presentations. And you can get them through Colwell Merchandising.

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MATERIALS

New Clients; Marketing of a Designer; Closing the Sale; Increasing Your Profits. Each kit costs $195. If you buy more than one module, the per unit price decreases. For more information, contact Catalyst Educational Systems, P.O. Box 9433, Marina del Rey, California 90295, or call (213) 827-0588. Outside California call1-(800) 451-0322.

Two ENDED PEN

The Marsgraphic 3000 Duo is a technical way to say a pen with different nibs on each end. One end is flexible foam tip for use as a marker and paintbrush. The other end is a nylon fiber tip for sketching, writing and detail work.

Both tips feed from the same ink supply insuring perfect color match. 80 colors are available at a suggested list price of$2.29 each. If space on your drawing table is limited, you might consider contacting J.S. Staedtler, Inc., at P.O. Box 7102, Canoga Park, California 91304, or call (818) 882-6000.

STAMPMAKING MACHINE

Yasutomo & Company has introduced the Niji StampLand, a mini stampmaking machine that can create rubber stamps from drawings, handwriting, typesetting, clip art or high contrast photos. From start to finish the stampmaking process takes 15 to 20 minutes. A special light process is used. Water is the only chemical required.

For more information, contact Yasutomo & Company, 235 Valley Drive, Brisbane, California 94005, or call (415) 468-7066.

Curtis Flannel Writing Celebrates American Enterprise ... demonstrates ways to use matching Curtis Flannel writing paper for corporate identity by including six hypothetical stationery systems. How original. Sample sheets of this beautiful paper are also included, making this portfolio a good find. To find your local Curtis Flannel Writing paper merchant, contact James River Corporation, Premium Printing Papers Group, 145 James Way, Southhampton, Pennsylvania 18966.

Desktop Publishing ... There's an anecdote about a person who thinks he has a good idea and tries to convince someone else it's a good idea. The next thing those two do is convince someone else. Then they send out a newsletter. Bove and Rhodes' Inside Report is the latest desktop publishing newsletter with a high price tag, $149 for 12 issues. The publishers claim it will bring you early alerts on new technology, in-depth product evaluations, astute industry analysis and no-holds-barred commentary.

You may feel differently. For more information, contact PCW Communications, Inc. , P.O. Box 10956,.Palo Alto, California 94303.

M-2 . .. is the odd name for Alvin & Company's general catalog. 304 pages are filled with drafting, engineering and graphic arts supplies ... "And we believe it's even more exciting than the M-e' If you can't find it in here, you can probably live without it. The catalog is priced at $6.00. For information, contact Alvin & Company, P.O. Box 188, Windsor, Connecticut 06095 , or call (203) 243-8991.

WIRE ROLL FILES

Plan Hold is offering four wire roll files for the storage of roled drawings and materials. Features include casters, heavy-duty steel wire frames, steel or grid bottoms and a choice of chrome or baked enamel finishes. If high-tech is your style, write to Plan Hold Corporation, 17421 Von Karman Avenue, Irvine, California 92714.

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

IF! SelfAdhesive Products Sample Book ... features 80 different standard items including PVC white, clear polyester, clear polypropylene, silver and gold metallized products in smooth, brushed and matte finishes. The sample book also includes a chart of adhesives recommended for different substrates and listing substrates. If you are a self adhesive kind of person, get your free copy by writing to International Films, Inc., East Street, P.O. Box 237, Ware, Massachusetts 01082, or call (413) 967-7403. Outside Massachusetts, call (800) 967-7 403.

186 Illustration Annua/1988

Creative Envelopes .. . is a new brochure from the Envelope Division ofWestvaco illustrating and describing the manufacturer's capabilities including special size envelopes, windows of all kinds, envelopes with action devices such as labels and pull tabs and envelopes that look like leather or linen. Why you'd want an envelope that looks like leather is beyond me. If it's not beyond you, copies of the brochure may be requested by contacting Westvaco, BOB/Creative Envelopes, 2001 Roosevelt Avenue, P.O. Box 3300, Springfield, Massachusetts 01101.

Illustrated Stock Cuts for Art Directors and Designers . . . is illustrator Daniel Pelavin's second edition catalog of illustrations he feels are a sophisticated alternative to standard clip art. This edition includes 463 illustrations from Adobe buildings to Wristwatches, (no Zebras?).

Reproduction quality art is ready for shipment at fees ranging from $50 to $150, depending on size and extent of use. For a free copy of the catalog, write to Stock Cuts, 46 Commerce Street, New York, New York 10014, or call (212) 929-2706.

The Illustration Collector ... is a bi-monthly black and white newsletter of specific interest to artists who enjoy viewing, collecting and trading antique magazine illustrations from America's past. Featured are famous artists such as Leyendecker, Rockwell, Wyeth and Flagg, as well as more obscure illustrators from the '20s, '30s, '40s and '50s. The content is mostly magazines and ads for sale or trade along with short historical and biographical notes. $2.50 will get you a sample newsletter if you send it to Shelley Pifia, Pineapple Press, P.O. Box 461334, Los Angeles, California 90046.

Software Catalog ... From Micrografx features seven new Windows and PostScript-compatible clip art libraries.

The seven libraries, which include over five thousand images, are U.S. Maps, Dingbats, Headline Typefaces Volumes II and III, Merchandising, Transportation and People, Places and Things. In addition, there are ten other libraries totaling over ten thousand images. Copies of the catalog are available from Micrografx authorized dealers or by writing directly to Micrografx at 1820 North Greenville Avenue, Richardson, Texas 75081, or calling (214) 234-1769. Outside Texas call (800) 272-3729.

Co-Op Artists Materials/ Atlanta Airbrush .. . is the name of the catalog aPld the company that puts it out. Over 125 pages of art materials for graphic artists, fine artists and airbrush enthusiasts are featured at substantial discounts off the manufacturers list prices. A master catalog and a year's subscription to seasonal catalogs are available for $2.00. A redeemable $2.00 certificate is included. Write to Co-Op Artists Materials/ Atlanta Airbrush, P.O. Box 53097, Atlanta, Georgia 30355.

RubberStampMadness ... is a bi-monthly tabloid chock full of ads and articles for rubber stamp collectors. The title is an accurate reflection of the editorial content. A year's subscription is $15 per year and a sample copy is available for $3.00 by writing to RSM Enterprises, P.O. Box 6585 , 420 South Geneva Street, lthica, New York 14851.

Feltweave: The Eloquence of a Well-Chosen Hat ... is a new booklet from the Georgia-Pacific Corporation to show the versatility of the company's Hopper Feltweave cover and text papers. The book presents an anecdotal history of hats as decorative and stylistic statements to demonstrate the visual values Feltweave papers add to printed images.

Bruce Blackburn and Associates were given the job to make hats interesting as well as to show off printing techniques. The company claims the paper will readily accept stamping, die-cutting and embossing, although none of these techniques were demonstrated. To find out for yourself, get your free copy by contacting your

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Communication Arts

187

MATERIALS

Hopper paper merchant or writing to Sally B. Nathans, Georgia-Pacific Corporation, Printing Papers Division, 133 Peachtree Street, N.E., Atlanta, Georgia 30303.

A Horse of a Different Color ... is a wire bound brochure created to announce modifications to Gilbert Paper's Gilcrest Laid. The changes include soft colors and additional basis weights. The brochure ... "Allows you to grasp the potential uses of Gilcrest Laid in an instant. We hope you will also enjoy the humor and non-traditional use of specialty techniques:' One way to find out is by contacting your local Gilbert Paper distributor, or writing Gilbert Paper, 430 Ahnaip Street, P.O. Box 260, Menasha, Wisconsin 54952, or call (414) 722-7721.

Baseline ... in its ninth edition, is a typographic journal produced in London by Letraset International. The 20page edition features articles on the applications of type such as "Advertising Typo Hype:' and the art of the poster in "Lettering with Impact:' Also included is a profile of Hermann Zapfwhose 50-year career in type design and typography is said to have rendered the most significant type contributions in this century. Other features include

"Hot Calligraphy in Commercial Graphics" by Maggie Lewis, type director at JWT in London and "Type on TV;' the first in a series of articles about the constraints and opportunities of type on video, slides, film and television.

All this at an unbeatable price: Free. Your copy is waiting at your nearest Letraset dealer. If you don't know where they are, call1-(800) 526-9073.

Mac WEEK's Graphic Arts Supplement ... is a special issue devoted solely to the Macintosh and third party vendors contributions to the world of graphic art. 140 pages contain articles on hardware, software and artist profiles including Peter Max, whose talent never seems to be underestimated. One whole section discusses the use of the computer for magazines, newspapers, ad agencies, and designers. The best section of all is the buyers guide which is the most complete list I've ever seen of vendors for software, hardware and services. Under each heading, similar products are compared with price, features and requirements. If you're a serious Mac user, the buyers guide is worth the $10 cover price. Limited copies are available by writing to Mac WEEK, 525 Brannan Street, San Francisco, California 94107, or call (415) 882-7370.

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188

Illustration Annua/1988

Communication Arts is making available an excellent opportunity to expand your library by packaging combinations of past Annuals at special prices.

Featuring the best work in design, advertising, photography and illustration, the Communication Arts Annuals are an important reference tool for anyone involved with visual communication.

Every issue has high quality reproduction and utilizes special production techniques developed to reproduce work done with special colors, colored papers, etc.

Everything that was originally in color is reproduced in color.

DESIGN ANNUALS ~ovember 1983, 1984

· and 1985

$36

ADVERTISING ANNUALS December 1983, 1984 and 1985

$36

DESIGN AND ADVERTISING ~ovember/December 1980,

1981 and 1982

$38

ILLUSTRATION ANNUALS

:Secause some combinations have only several hundred copies remaining, we must reserve the right to refund your money on any that have sold out on a firstcome, first-served basis.

July 1984 and 1985

PHOTOGRAPHY ANNUALS August 1984 and 1985

$20

ART ANNUALS July/ August 1981, 1982 and 1983

Postage is included. Please allow up to three weeks to receive the magazines. Foreign orders will take longer.

To order circle the combinations you wish to receive, fill out the information below and send this page or a facsimile with a check or money order to:

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

Name

Address

City

$20

State

No Annuals will be sent until payment is received.

Zip

$26

CLUBS, CONFERENCES, SEMINARS

UCDA

The University & College Designers Association will hold their 1988 Annual Conference in Washington, D.C. September 25-28 at the Hyatt Regency Hotel. Designers and photographers who will present their work and ideas include illustrator Marshall Arisman, photographer Bob Llewellyn, poster designer Jan Sawka and designer Alan Siegel of Siegel and Gale. For informatjon contact Barbara Carter at the UCDA National Office, 2811 Mishawaka Avenue, South Bend, Indiana 46615 or call (219) 288-UCDA. ANNUAL REPORT CONFERENCE

Sid Cato, publisher of Sid Cato's Newsletter On Annual Reports, is sponsoring a day-long conference on Thursday, September 29, at New York's Halloran House, 525 Lexington Avenue. The theme: "Whither the annual report? What the future holds for this key corporate communique:' Registration is $397. That includes a continental breakfast, refreshment breaks and a luncheon in the hotel's penthouse Fountain Room. For further information, contact Sid Cato Communications, Inc., Box 738, Waukesha, Wisconsin 53187 or call (414) 549-3200.

AMI The Association of Medical Illustrators will hold their 43rd annual meeting in San Diego, California, at the Sheraton Harbor Island East from July 30-August 3. The meeting has as its theme "Strategies '88" and will focus on the educational requirements, skills, technology and global issues which will change the profession in the coming years. Fourteen special workshops will be offered the first two days on subjects ranging from gouache and carbon dust through desktop publishing, contracts and computergenerated art. Gala social events, tours and special interest sessions will round out the five day convention. Invited speakers include noted illustrators Bernie Fuchs and Bruce Wolfe. Non-members are welcome to attend. To receive a complete registration packet, including hotel reservation and discount air travel numbers, call (804) 794-2908 or write: AMI Central Office, 2692 Huguenot Springs Road, Midlothian, Virginia 23113.

APA The Advertising Photographers of America relocated their New York Chapter. The new address is: 27 West 20th Street, Room 601, New York, New York 10003. The new telephone number is (212) 807-0399.

DEs MoiNES ·

The Advertising Professionals of Des Moines have elected Sheree Clark, co-owner of Sayles Graphic Design, Inc. , as president for 1988-89. Other board of directors 190

Illustration Annua/1988

elected include: vice president/programs Victor Boutrous, CMF&Z; vice president/publicity Holly Martin, Des Moines General Hospital; vice president/membership Jean O'Neill, O'Neill & Associates; house chair Terri Martin, Flynn/Wright; legislative chair Chris Miller, IowaN ewspaper Association; secretary /treasurer Becky Milligan, Wesley Day Advertising. Directors at large include Ron Bottorff, Successful Farming, and Terri Rexroth, CMF&Z. For more information contact Holly Martin at (515) 263-4893. APDM, P.O. Box 133, Des Moines, Iowa 50301.

Los ANGELES

The Graphic Artists Guild has changed its name to the Visual Artists Association subject to the approval of the California State Attorney General. This name change was approved by voting members and will be filed with the Secretary of State as soon as the appropriate documents have been drawn up. Membership benefits, services and programs will not be affected by the name change. VAA, 5364 Venice Blvd., Los Angeles, California 9qOI9.

POPAI The Point-of-Purchase Advertising Institute elected a new chairman of the board and top officers at its 31st annual members meeting. The newly-elected chairman is Patrick H. Joyce, president of Patrick H. Joyce & Associates, Des Plaines, Illinois. Serving with him are first vice chairman Richard 1. Fellinger, president Mechtronics Corporation, Stamford, Connecticut; second vice chairman George Barnes, president ofDisplayco Midwest, Sandusky, Ohio.

Continuing his three year term as treasurer is Lawrence Katz, vice president of Goodren Products Corporation, Englewood, New Jersey. Contact Lisa Z. Eccles, Public Relations Manager at (201) 894-8899. POPAI, 66 North Van Brunt Street, Englewood, New Jersey 07631.

TYPE DIRECTORS CLUB

Jack Odette, vice president/creative director of Citicorp/ Citibank, was elected president of the Type Directors Club.

Also elected were vice president Ed Benguiat, vice president/creative director of Photo-Lettering, Inc.; secretary/treasurer Allan Haley, executive vice president of marketing and sales International Typeface Corporation; John Luke, incumbent president ofTDC became chairman. Elected to the Board of Directors are Kathie Brown, U.S. Lithographers; Tom Carnase, Carnase, Inc.; Norbert Florendo, Compugraphic Corporation; Jane Opiat, Lord, Geller, Federico, Einstein, Inc.; Dirk Rowntree, Young & Rubicam New York; Martin Solomon, Royal Composing Room; Edward Vadala, Backer Spielvogel/Bates. For further information contact Carol Wahler, executive director (212) 983-6042.

W . r e delighted so many people in our field want to read CA. Even if they are "sharing" someone else's copy. It makes all our effort worthwhile.

Besides, who would want to take a position against the noble concept of sharing?

seems like economic excess. Those eight copies add up to a total of$84.

You can subscribe for only $44.

The price might go up, as we keep adding pages to the Design Annual and Advertising Annual. They're big, each sells for $18, but are included in the subscription.

We would be even more pleased if every reader had access to all eight issues this last year, instead of an issue or two. 1,064 pages of editorial content happens to be 60% more than any other design magazine.

Speaking of sharing, CA makes a fine gift for employees, friends and children inclined toward this field. We'll send a gift card to tell them of your generosity.

Of course, you don't have to commit to a subscription to get all the issues of CA. You can buy them as single copies, but that

Just turn the page and fill out the order form. Or call Mary at (415) 326-6040. She can even send CA to your horne.

COMMUNICATION

ARTs

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.

NOV/DEC 1977

$18

JUL/ AUG 1978

$12

$18

MAY/JUN 1983

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

The Art Annual Illustration & Photography

SEP/OCT 1981

$5

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

The Art Annuall978 Illustration & Photography

NOV/ DEC 1978

MAR/APR 1983

$5

$5

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

JUL/AUG 1983

$12

The Art Annuall983 Illustration & Photography

SEP/OCT 1983

NOV1984

DEC1984

Photography Annual $5

DEC1983

$18

NOV/DEC 1982

$18

Designing the L.A. Olympics; Gary Kelley; Johnson & Simpson; Annals of Design (2); Lance Hidy; Index to Volume25

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

MAR/APR 1984

MAR/APR 1986

$5

$5

25th Anniversary Issue; TheCA Annual Judges; Judging Process

CA-82 Advertising & Design Annual

MAY/JUNE 1984

JAN/FEB 1983

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

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

$5

JUL1984 Illustration Annual

$18

$18

$5

$12

$5

$5

$5

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

$12

Illustration Annual

Photography Annual

$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; Colot Predictions; Michael Mabry; San Francisco Design Discussion; Ardeshir Mohasses

$12

Illustration Annual $12

Photography Annual

SEP/OCT 1987

$5

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

NOV1987

$18

DEC1987

$18

JAN/FEB 1988

MAY/JUNE 1986

AUG1986

MAR/APR 1987

Advertising Annual

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

JUL1986

$5

Heinz Centennial Annual Report; Richard Hamilton Smith; Oyer/Kahn; Wieden & Kennedy; Charleen Kinser Designs; Twenty-seven Chicago Designers; Magazine on Wheels; " Hold the Red Ink, Merger on the Right"; Index to Volume 28

Design Annual

JAN/FEB 1986

CA-83 Advertising Annual

$18

CA-86 Advertising Annual

AUG 1987 $5

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

DEC1985

$18

CA-86 Design Annual

JUL1987 $12

SEP/OCT 1985

CA-85 Advertising Annual

$5

$12

Illustration Annual

CA-83 Design Annual

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

$5

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

CA-85 Design Annual

SEP/OCT 1982

$5

MAY/JUN 1985

NOV1985

JAN/FEB 1984

$5

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

AUG 1985

$5

JAN/FEB 1987

MAR/APR 1985

$18

The Art Annuall982 Illustration & Photography

$18

JAN/FEB 1985

JUL1985

NOV1986

DEC1986

CA-84 Advertising Annual

NOV 1983

$12

$18

CA-84 Design Annual

NOV/DEC 1981

CA-81 Advertising & Design Annual

$5

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

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

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

JUL/AUG 1982

SEP/OCT 1986

SEP/OCT 1984

Short-Run Printing; Jack Summerford; Teresa Fasolino; Primo Angeli; Light Language; Consensus on Type; Corning Glass Works; Annals of Design (1); Forecast of Ad Billings

$18

$12

Photography Annual

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

Issues not listed are no longer available.

CA-77 Advertising & Design Annual

AUG1984

$12

$5

Smart Yellow Pages; William Neill; Art Chantry; " Design Jobs: Fact and Fiction"; Kunio Hagio; Heller Breene; Gene Hoffman; AlGA Conference II; Index to Volume 29

MAR/APR 1988

$5

Robert Appleton; Vint Lawrence; Museum of Flight, Seattle; Martin/ Williams; Simpson's "An American Reader"; Yuri Dojc; Jack Roberts; Exhibit; Marget Larsen

MAY/JUN 1988

$5

Taylor & Browning; Thomas Blackshear; Livingston & Company; Omni Magazine; Sex in Advertising; Michael Going; Exhibit; Heather Cooper's Carnaval Perpetuel; Nine Ways to Improve an Ad