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Communication Arts (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 1993 by Coyne & Blanchard, inc. Patrick Coyne, editor and designer; Jean A. Coyne, executive editor; Stephanie Steyer-Coyne , consulting editor and designer; Anne Telford, managing editor; Scott Perry, production manager; Ron Niewald, Scott Teaford, production; Michael Krigel, advertising and circulation director; Art Carbone, retail sales ; Nancy Hagemann, administrative assistant; Sue Sprinkle , editorial assistant; Vickie Perry, subscription manager; Jason Jackson, Carmella Miller, subscriptions; Lisa Marie Perez, traffic manager; Richard Coyne.founder Cover: © 1993 Pascal Milelli

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COMMUNICATION ARTS 1993

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30 BOOKS

47 FOR S ALE

Volume 35, Number 3

57 EDITORIAL

93 INSTITUTIONAL

114 SELF-PROMOTION

128 UNPUBLISHED

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164 T ECHNOLOG Y Designer/illustrator Louis Fishauf of Toronto's Reactor Art + Design Limited. 175 T ECHNOLOGY R EVIEWS Photoshop 2.5 and an overview of compression software. 180 TECHNOLOGY R ESOURCES Books, magazines, newsletters , seminars and training.

All pieces reproduced in this issue are under prior copyright by the creators or by contractual arrangements with their clients. Nothing shown may be reproduced in any form without obtaining the permission of the creators and any other person or company who may have copyright ownership. Subscription rates: U.S .: one year-$50; two years-$96

COLUMNS

185 D ESIGN ISSUES Ellen Shapiro proposes a feasible plan for graphic design accreditation. 197 FREE-LANCE Barbara Gordon on doing what you want vs. doing what sells. 198 LEG AL AFFAIRS The illustrator/agent contract, an excerpt from Tad Crawford's book.

204 ADVERTISING Tom Monahan asks if we are researching campaigns to death. D E P A R T M E N T S

143 EDITOR'S COLUMN 156 CONTRIBUTORS lBO LETTERS TO THE EDITOR

208 BOOK R EVIEWS 21 0 MATERIALS, AVAILABLE LITERATURE 212 CLUBS, CONFERENCES, SEMINARS 21 g INDEX TO ILLUSTRATORS 222 INDEX TO ART DIRECTORS, DESIGN FIRMS, AGENCIES AND CLIENTS

Canada : one year-$67 (U.S.); two years-$125 (Includes CST tax.) CST Number 127848620 Foreign: one year-$95 (U.S.); two years-$185 Single issues: $7 except Illustration Annual (July) $14, Photography Annual (August) $14, Design Annual (November) $21 and Advertising Annual (December) $21. California residents add 8.25% sales tax. Second class postage paid at Palo Alto, California and additional offices. Send change of address notification at least 45 days prior to effective date, include both old and new addresses. Postmaster: Send address changes to Communication Arts P.O. Box 10300 410 Sherman Avenue Palo Alto, California 94303 Outside North America , single copies of CA Annuals are distributed exclusively by RotoVision SA, Route Suisse 9 CH-1295 Mies, Switzerland phone (022) 755 30 55 fax (022) 755 40 72 telex 419 246 rovi ch. Editeur responsable (Belgique): Christian Desmet Vuurgatstraat 92, 3090 Overijse Belgique Attention Retailers: To carry Communication Arts in your store, call Art Carbone, retail sales manager, at (4 15) 326-6040. 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.

ADVERTISING

Craig Frazier. illustrator/art director/designer Frazier Design, design firm Mill Valley Film Festival. client Poster. 24 1/ 4 x 333;s; cut paper.

2 Brian Barrington . illustrator/art director/designer/design firm Plain Rap Productions. client CD cover and insert for "Pieces of the Frame." 18 x 53/4; scratchboard, acrylic and oil. 3 Bryan Leister. illustrator Chris Noel. art director/designer Chris Noel Design, design firm On-Line Computer Systems. Inc .. client Packaging wrap-around . 30 x 20; oils .

4 Steve Johnson/Lou Fancher. illustrators Michael Yuen . art director Grey Entertainment & Media. client Poster for a Broadway play, Face Value. a comedy about actors. rac ial stereotypes and the confusion created by taking others at face value . 14 x 21 ; acrylic on paper.

5 Marc Mongeau. illustrator/designer Louise Fugere/Maryse Pelletier. art directors Jean R. Beauchesne. design firm Theatre Populaire du Quebec. client Poster. 16 x 21; watercolor.

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1 (series) Jerry LoFaro, illustrator Scott Willy, art director Kirk Nugent, designer Cranfill Advertising Agency, ad agency GTE North Classic, client Giants of Golf promotion posters for the senior PGA golf tour: Ray Floyd, Chi Chi Rodriguez and Arnold Palmer. 13 x 20; acrylic, airbrush and painted .

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Melinda Beck, illustrator Polygram Records, design firm/client CD cover. 9 x 9; scratchboard .

2 Hayes Henderson, illustrator Roger Gorman, art director/designer Reiner Design, design firm Ray Lynch/Windham Hill Records. clients CD cover "The Sky of Mind ." 12 x 12; oil.

3 Mike Benny, illustrator Bob Beyn, art director Vicki Rand , designer Seraphein Beyn , ad agency Shanley's Bar & Grill, client Shanley's Irish Music Festival & 13th Anniversary Celebration poster. 16 x 18; acrylic .

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1 (series) Marvin Mattelson, illustrator June Robinson/Susan Armstrong, art directors McCaffrey & McCall , ad agency Arts & Entertainment Cable Network, client Bus posters, headline: Changing the Face of Television . 12 x 12; oi I on rag board . 2 Stasys Eidrigevicius, illustrator James Seacat, art di rector Actors Theatre of Louisville, client

Poster. 18 x 24; pastel .

3 Paul Davis, illustrator/designer Frances Myers, art director Eric Baker, designer The Body Shop, client Poster for Blue Corn . 12 x 18; acrylic on board . 4 Gregory Bridges, illustrator/art director Gregory Bridges/Jenni Vella, designers lnhaus Design, design firm Australasian Memory, client

Ad for distributors of third party memory boards, headline: No Problem . 16 x 12 1/4 ; gouache on board.

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Joel Nakamura, illustrator Andy Baltimore, art director Sony Mediana. design Don Grusin/GRP Records, clients CD cover. 24 x 24; mixed media.

2 Albert Rocarols. illustrator Robert Gonzalez, art director Gramm Werbeagentur, ad agency Henkel! & Sohnle, client Ad and poster to introduce Spanish Cava Codorniu in Germany, headline: Time for a New Bubbling . Acrylic on canvas .

3 James McMullan, illustrator Richard Clewes, art director/designer Clewes & Company, ad agency Brains II, client Poster for Canadian Used Computers Ltd., Canadian Systems Maintenance, headline: Gone Thinking . 9 x 5; watercolor.

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1 (series) Michael Bartalos, illustrator Masaaki Hiromura, art director/designer Hiromura Design Office, design firm Ryohin Keikaku Co . Ltd ., client

Department store monthly promotional postcards . Various sizes; linoleum block print.

2 Brad Holland, illustrator Claudia Brambi ll a, art director/designer J. Walter Thompson Italia, ad agency Ansaldo, client Ad headline: Without moving an inch, we see the sun rise 70 times a day. 16 x 20; acrylic.

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1 Mark A. Fredrickson, illustrator Steve Reaves. art director/designer lntralink Film & Design, design Warner Bros ., client Dennis the Menace standee for theater display. 30 x 40; acrylic. 2 (series) David Kacmarynski, illustrator/art director Ann Perrizo, art director/designer Studio Graphics, design firm Door Peninsula Winery, client Wine labels. 6 x 53/4; oil.

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Tom Curry, illustrator Pat Flanagan. art director/designer Russek Advertising, ad agency New York City Opera , client Poster for The Student Prince. 12 x 19; acrylic on hardboard .

2 Marc Mongeau, illustrator Chantale Girard, art director Quebec/ Amerique, pub Iisher/cl ient Poster for a collection of stories for young readers . 11 x 19; watercolor.

3 Peter D'Angelo, illustrator Sara Rotman. art director Columbia/Ruff House. client CD cover for "Tricks of the Shade ." 51/4 x 51/2; colored pencil and gouache on wood .

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James Yang , illustrator Bob Defrin, art director Jody Rovin, designer Atlantic Records, design East West Records/ Atlantic Records, clients Happyhead CD cover "Give Happyhead." 71/4 x 133/4; acryl ic. 2 (series) Laura Levine . illustrator Alli Truch, art director Verve/Polygram Records, client CD covers for Essential Series . 18 x 18; acrylic on Masonite.

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Scott Menchin, illustrator Scott Wadler. art director Laurie Hinzman, designer Comedy Central/MTV Network, client T-shirt art. "Free Comedy." 8 x 1O; ink .

2 Barbara Nessim, illustrator Keith Potter, art director Foote, Cone & Belding, ad agency Levi Strauss & Co ., client "Seated Figure #2" for Levi's 550 Relaxed Fit Jeans ad . 9 x 11 1/2; ink on paper.

3 Richard Wehrman, illustrator Mike Hogan, art director/designer Wolf Winterkorn Lillis , ad agency Precision Filters, Inc., client

Electronic signal conditioners ad. 12 x 10 1/2; acrylic on board .

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1 (series) Scott McKowen, illustrator/art director/designer The Shaw Festival, Niagara-on-the-Lake, client Poster ad images promoting plays by George Bernard Shaw. Various sizes; scratchboard . 2 Jardin Isip, illustrator Georgie Stout, art director Georgie Stout/David Weeks, designers Steady State, design firm Ul/Sasha Frere-Jones, clients

UI CD cover. 1z1/a x 12 1/a; mixed media .

3 Corbert Gauthier, illustrator Kevin Samuels, art director Bozell Worldwide, Inc., ad agency Valvoline Oil Co ., client Brochure cover showing Valvoline's environmental concern . 14 x 73/4; oil.

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Curtis Parker, illustrator Brad Ghormley, art director Sm it Ghormley Lofgreen , design firm Childsplay Theater, client Poster for The Nightingale. 17 x 17; acrylic on canvas . 2 Roy Carruthers, illustrator David Bartels, art director Brian Barclay, designer Bartels & Company, Inc ., ad agency Electronic Data Systems, client

EDS assists companies in integrating computers into their businesses, ad headline: Quite often the secret to success is knowing which strings to pull . 20 x 13; oil.

3 James McMullan, illustrator Michael di Capua, art director Angela Gier, designer Michael di Capua Books/Harper Collins, clients Children's book poster. 6 x 9; watercolor.

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1 Michael J. Deas, il lustrator Barbara Leff, art director Ballantine Books, client

The Vanished Child, a novel centering on the 1887 murder of a New England millionaire and the subsequent disappearance of his grandson , the only witness . 12 1/2 x 19 1/2; oil on panel . 2 (series) Martha Paulos, illustrator Fly Productions, art director/designer/design firm Chronicle Books, client Felines, Great Poets on Notorious Cats. 16 x 13; linocut.

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1 (series) John Collier. illustrator Alex Jay, art director/designer Studio J, art director/design firm Byron Preiss. publisher Viking/Penguin, client Petrouchka. jacket and interior illustrations. Various sizes; pastel.

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1 (series) Joe Ciardiello, illustrator/art director Patrick JB Flynn, art director/designer Patrick JB Flynn Design, design firm Spanfeller Press, client Drawings from Like Jazz. Chet Baker, Jimmy Rushing, Miles Davis. Rahsaan Roland Kirk and Ella Fitzgerald . Various sizes; pen and ink.

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1 (series) Gary Kelley, illustrator Rita Marshall, art director Louise Fili, designer Louise Fili Ltd .. design firm Creative Editions, client Illustrations for The Necklace. Various sizes; pastel on paper.

2 Tom Curry, illustrator Kym Abrams, art director/designer Kym Abrams Design, design firm Scott Foresman & Company, client Children's book interior illustration of Turtle's Race With a Bear. 101!2 x 141!2; acrylic on hardboard. 3 Jose Ortega, illustrator Susan Mitchell, art director Marc J. Cohen, designer Vintage International, client

Novel about a man who runs a brothel, Body Snatcher. 6 x 9; pencil, copier, colored papers .

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Michael J. Deas, illustrator Elizabeth Parisi, art director Scholastic. Inc., client A novel about friendship between two young women that ultimately ends in tragedy, The Empty Summer. 161/2 x 241/2; oil on panel.

2 Thom Sevalrud, illustrator Mary Opper, art director/designer McGraw-Hill Ryerson, client Values examines our individual values and human interaction. 91!4 x 1314; watercolor, acrylic, Prismacolor.

3 Robert Hynes. illustrator Robin Benjamin, art director/designer Silver Burdett & Ginn, client On the Horizon, a reading book for eight- to nine-yearolds . 18 x 12; acrylic .

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Janet Atkinson, illustrator Michael Accordino, art director St. Martin's Press. client Cover for Night of the Cat, a mystery about a young schoolteacher who becomes a policewoman to watch over the city streets. 6 x 9; acrylic.

2 Lisa Falkenstern/Milton Charles, illustrators Milton Charles. art director/designer Milton Charles Design, design firm Delphinium Books. client Shares and Other Fictions by Richard Stern . 121!2 x 16; oil. 3 (series) Murray Kimber. illustrator Kelly Michele de Regt, art director Goddard-Zaxis Publishing Inc., design firm Eaton's, client Keeping a Canadian Christmas, a collection of stories. essays, games and recipes. Various sizes; oil on canvas.

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1 (series) Rob Roth, illustrator Patrice Fodera. art director Atheneum Publishers, client

And in the Beginning describes how Mahtmi created the first man from the dark rich earth of Mount Kilimanjaro and gave him a gift marking him as special. 25 x 16; watercolor.

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BOOKS

1 (series) Wendell Minor, illustrator/designer Anne Dieble, art director Wendell Minor Design, design firm Clarion Books, client In the book Red Fox Running, rhyming text follows the experiences of a red fox as it searches across a wintry landscape for food . Various sizes; watercolor on cold press.

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Cathleen Toelke. illustrator Ruth Ross. art director Random House. client The novel Wife examines an Indian woman's struggles with social class and cultural change in adapting to life in America. 6 x 9; gouache.

2 Bill Russell. illustrator Amy Hill. art director Viking Penguin. client A wife plots the murder of her husband in Dolores Claiborne. The illustration shows the setting for the murder. 8 x 6%; scratchboard .

FOR SALE

3 Etienne Delessert. illustrator/art director Delessert & Marshall. design firm Musee des Arts Decoratifs. client Poster. 18 x 24; silkscreen .

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1 (series) Linda Montgomery, illustrator/designer Maxine Rombout. art director Pierre Belvedere Inc., client Greeting cards . 30 x 40; acrylic on canvas.

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FOR SALE

Milton Glaser, illustrator/art director/des igner Milton Glaser, Inc .. design firm ECO Marketing & Publicity, client T-shirt celebrating Leonardo da Vinci . 81/2 x 14; pen and ink, paper collage .

2 Melinda Beck, illustrator Patrick Flynn . art director The Progressive Magazine. design/client Art for a calendar using a 1971 quote from Angela Davis, "If they come for me in the morning, they will come for you at night." 11 x 11; scratch board .

3 lllica Pozzatti , illustrator Gallery portrait of Francesco Clemente . 18 x 24; watercolor.

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1 (series) Chris Hopkins, illustrator/designer John Wiebusch, art director Chris Hopkins Illustration, design firm National Football League Properties, Inc., client Football trading cards : Keith Byars, Earnest Byner, Steve Largent and Ken O'Brian. 11 x 17; oil on Masonite.

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Julia ill ConnieGran Sh~rmustrator/designer Black & Wh ' an, art director H ite Dog Stud · ow Charming Inc 1· 10, design firm ·· c 1ent Umbrella pen and ink . · "S oa ked to the Gills ." 8" triangle; . 2 (series) Martha Anne Booth , ·1 . designer I lustrator/art di First I . rector/ mpress1ons, client Greeting cards . Various . . , o1·1pastel on paper. sizes·

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Norman Walker. illustrator/art director/designer Santa Fean, ad agency Carol Thorton Gallery, client Poster. 40 x 51 ; oil.

2 Mark Stutzman, illustrator Terrence McCaffrey, art director Howard Paine, designer United States Postal Service, client Postage stamp honoring Elvis Presley. 6Y2 x 5; airbrush.

EDITORIAL

3 Julian Allen, illustrator Teresa Fernandes. art director Travel Holiday, client "The Painted Island." a charming haven off the Breton coast. 12 x 18; watercolor.

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Doug Aitken, illustrator Lucy Bartholomay, art director The Boston Globe Magazine, client "Rebels Without a Cause." Growing up in liberal Amherst in the late '60s, these high school hippies found that a basketball challenge was the only form of revolution they could shoot for. 1OY2 x 13; mixed media .

2 Benoit, illustrator Lee Lorenz, art director The New Yorker, client Artist's Notebook, "Winter Wonderland ." 11 x 14; oil.

3 Gary Baseman, illustrator Palma McGowan, designer M Magazine, client Article about testosterone, "Extract of Virility." 8Y2 x 8Y2; mixed media .

4 Marie Lessard, illustrator Jocelyne Fournel, art director MTL, client Montreal lifestyle magazine, "Savoring the Prickly Pear," an epiphany to eau de vie . 6 x 6/a; linocut and dyes.

5 James Yang, illustrator Patti Nelson, art director The Northeast, client Magazine article, "The Object of My Affliction," is a halfhearted tribute to love. 10 x 11; acrylic.

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1 (series) Jardin Isip, illustrator Rob George, art director/designer Psychology Today, client Magazine article, "Why Kids Kill Parents ." Various sizes; mixed media .

2 Jeffrey Fisher, i 11 ustrator Tim Cook, art director Suzuki Design, design firm American Diabetes Association, client Association magazine Diabetes Forecast article, "The Importance of Exercise ." 10 x 12; mixed media and collage .

3 C.F. Payne, illustrator D.J. Stout. art director Texas Monthly, client Article on Ross Perot in the White House. 12 x 16; oil , acrylic, pencil, ink and airbrush .

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1 Michael Bartalos, illustrator Mark Porter, art director/designer Evening Standard Magazine, client Painting to accompany an article concerning London cinema houses. 7 x 1O; airbrush and gouache on paper. 2 (series) John Gurche, illustrator Allen Carroll/Nicholas Kirilloff, art directors National Geographic, client "Dinosaurs" article: Pachycephalosaurus battering a rival male; a nesting Saurolophus; young Edmontosaurus browse in a conifer forest with a Tyrannosaurus lurking among the trees. Various sizes; acrylic.

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Lilla Rogers. illustrator Fabian Cooperman. art director Oracle. client Magazine article on the Golden Rule, a mathematical formula, "Predicting the Utility of the Non Unique Index." 12 x 16; ink and cut paper.

2 Andrea Ventura. illustrator Chris Curry, art director The New Yorker. client Illustration of Kurt Masur. music director of the New York Philharmonic Symphony, for the orchestra listings. 11 Y2 x 15; charcoal and acrylic.

3 Rafa! Olbinski, illustrator Judy Garlan. art director The Atlantic. client Magazine article. "Problem Adoptions." 16 x 20; acrylic on canvas.

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Gary Taxali, illustrator Susan Meingast. art director Madame au Foyer, client Magazine article on bad manners. "La politesse. vous connaissez?" 31 x 22; alkyd on Masonite.

2 Douglas Fraser, illustrator Steven Hoffman. art director Sports Illustrated, client Article on the decline of the Soviet sports empire, "Soviet Disun ion ." 12 x 8; alkyd on paper.

3 Charles Barnes. illustrator Fred Woodward , art director Fred Woodward/Gail Anderson/Debra Bishop/Cathy GilmoreBarnes/Angela Skouras/Geraldine Hessler. designers Roll ing Stone, client Little Richard, "I have seen people foaming at the mouth and just want ing to touch me." Portrait for the 25th anniversary issue of the magazine. 13 x 15%; film positive, paper, acrylic .

4 Mark Hess, illustrator Richard Hess/Alma Phipps, art directors Chief Executive, client 14 x 19; acrylic on canvas.

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1 (series) Judith Reed, illustrator/designer Cathy Kostreba, art director Bon Appetit, client Magazine article "Entrees" for a special Light & Easy edition . 7 x 91/2 ; mat acrylic .

2 Rob Barber, illustrator Jana Khalifa. art director Gallery, client Magazine section on spring break, sports and activities. 16 x 16; acrylic on canvas.

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Hayes Henderson, illustrator David Carson, art director/designer Raygun, client Magazine illustration for "99.9 F" Suzanne Vega's latest hit song. 9 x 9; oil . 2 David Beck, illustrator Therese Sheeter, art di rector Chicago Tribune, client Article questions some of Sigmund Freud's theories on psychoanalysis. 9 x 9; mixed media .

3 Douglas Fraser, illustrator Paul Roelofs, art director Western Living , client Magazine article on over-protective parents, "Climate of Fear." 10 x 12; alkyd on paper.

4 Jacques Cournoyer, illustrator Jocelyne Fournel , art director/designer MTL, client Montreal magazine article, "Exorcised Fear." 8 x 10; acrylic.

5 Don Asmussen, illustrator/designer Felix Grabowski, art director The Detroit News, client Restaurants thrive during local theater's presentation of Phantom of the Opera, "Bravo & Bon Appetit." 14 x 22; pen and ink, watercolor and collage .

6 Edmund Guy, illustrator Fred Woodward, art director Rolling Stone, client Record column review of "Neneh's Hot Homebrew." 91;4 x 121!2.

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Joel Nakamura. illustrator Brad Stone. art director/designer Music Express. design The Wherehouse , client In-store magazine featuring an illustration of the Lyle Lovett song "Church," from Joshua Judges Ruth 's album . 14 x 18; mixed media.

2 Paul Davis. illustrator Fred Woodward, art director Fred Woodward/Gail Anderson/Debra Bishop/Cathy Gilmore-Barnes/ Angela Skouras/Geraldine Hessler, designers Rolling Stone, client Madonna. "When I was growing up, I wanted to be a nun ... I saw nuns as superstars. " Portrait for the 25th anniversary issue of the magazine. 12 x 15; acrylic on wood .

3 Dugald Stermer, illustrator/designer Matthew Drace, art director Men's Journal, client Article on fly-fishing . 20 x 12; pencil and watercolor on Arches paper.

4 Robert M. Pastrana. illustrator Nancy Duckworth, art director Los Angeles Times Magazine, client

Article about jazz in Los Angeles, "Jazz Blues." 81;4 x 10 114; watercolor.

5 Philippe Weisbecker, illustrator Jane Palecek, art director Health, client Magazine feature, "When Your Office Calls in Sick." 71!2 x 91!2; ink and watercolor.

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1 Alan E. Caber, illustrator Fred Woodward, art director Fred Woodward/Gail Anderson/Debra Bishop/Cathy GilmoreBarnes/Angela Skouras/Geraldine Hessler. designers Rolling Stone. client

lce-T. Portrait for the 25th anniversary issue of the magazine. 9 x 12; ink and watercolor.

2 Janet Woolley, illustrator Carol Layton, designer/art director Worth , client Magazine feature, "Waiting for the Dough ." 18 x 22; acrylic. photo montage. 3 (series) Jose Ortega, illustrator Ronda Rubenstein, art director Amid Capeci, designer Esquire, client Magazine article about lying in the workplace, "100% Pure Honest." 3 x 3; scratchboard, watercolor, wax crayon.

4 Brad Holland, illustrator Kerig Pope/Tom Staebler, art directors Playboy, client

Magazine article, "Malcolm X Remembered" by Alex Haley. As rappers , historians and Spike Lee lay claim to the martyred black leader. his late friend and biographer recalls the man . 14 x 14; acrylic on panel.

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1 Gary Kelley, illustrator John Korpics, art director/designer Premiere, client Serialized fiction about Hollywood behind-the-scenes, "The Blue Screen ." 16 x 20; pastel on paper.

2 Jacques Cournoyer, illustrator Jocelyne Fournel , art director/designer MTL. client Montreal magazine article on the involvement of the church in contemporary issues. "Let's Get Involved." 12 x 12; acrylic .

3 Rick Sealock, illustrator Claire Innes, art director/designer Detroit Free Press, client Article about a women-only ranch where they bond while doing chores and herding cows. 121!2 x 81!2; watercolor, acrylic, pastel , collage .

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EDITORIAL

Mirko Ilic, illustrator Steven Heller. art director/designer The New York Times Book Review, client Review of Preparing for the Twenty-first Century. 8 x 12; scratchboard .

2 Jody Hewgill, illustrator Georges Haroutiun, art director M.A.G . Graphics, design firm The University of Western Ontario, client Alumni magazine article on narcolepsy, "Day Dreamers." 11 x 10 114; acrylic.

3 C.F. Payne, illustrator Robert Priest, art director Gentlemen's Quarterly, client Clinton and Gore offer a busted country one last deal, "Goin' South ." 16 x 18; oil, acrylic, ink, pencil, watercolor. airbrush.

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Richard Downs. illustrator Nancy Duckworth. art director Steven Banks. designer Los Angeles Times Magazine. client "Burnout." The art that is emerging from L.A.'s nightmare is both unnerving and eerily familiar. 15 x 16; mixed media .

2 Rafal Olbinski. illustrator Judy Garlan, art director The Atlantic, client Magazine article on adoption, "Problem Adoptions." 20 x 16; acrylic on canvas .

3 Russ Willms, illustrator Anne Wholf, art director Palm Beach Life, client Article concerning how the media is attracted to sex scandals, "The Trouble With Paradise ." 14 x 20; watercolor.

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EDITORIAL

1 (series) Mark Summers. illustrator Alisann Marshall, art director American Way, American Airlines. design/client The great grandson of a sea faring family reminisces about sailing, "Go to the Widow-Maker." 6 x 8; scratchboard and watercolor. 2 Steve Kropp, illustrator/designer Elbert Peck, art director Sunstone, client

A magazine short story about a woman who wears controversial buttons to church, "Buttons. or Her Strength is in Her Principles ." 9% x 7; oil, ink, color pencil.

3 Skip Liepke. illustrator Fred Woodward. art director Fred Woodward/Gail Anderson/Debra Bishop/Cathy GilmoreBarnes/Angela Skouras/Geraldine Hessler. designers Rolling Stone. client Portrait of Bob Dylan for the 25th anniversary issue of the magazine . 16 x 20; oil.

4 Jeff Koegel, illustrator David Barnett, art director Barnett Design Group, design firm Shearson Lehman Brothers, client Newsletter cover addresses the company's focus on investment research and evaluation. 11 x 17; acrylic.

COMMU

ICATIO

ARTS

EDITORIAL

Mirko Ilic, illustrator Walter Bernard/Milton Glaser, art directors Milton Glaser, designer WBMG, Inc., design firm International Typeface Corporation, client Trade magazine, U&lc, illustration to explain the origins of the letterform "R ." 12 x 17; scratchboard.

2 Albert Rocarols, illustrator Pablo Dobner, art director Vivir en Barcelona, client One of a series of twelve interpretations of the Olympic Games . 7 x 81/2; scratchboard and watercolor.

3 Pol Turgeon, illustrator Catherine Goard, art director Mary Peligra, designer Occupational Health & Safety, client Magazine cover illustration for an article on nursing hazards . 12% x 12%; ink, gouache, varnish .

4 Jack Unruh, illustrator Fred Woodward, art director Rolling Stone, client "An Outlaw at Twilight," movie review of Unforgiven starring and directed by Clint Eastwood . 10 x 14; ink and watercolor.

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COMMUNICATION

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1993

EDITORIAL

Nanette Biers, illustrator Mike Powers, art director Conde Nast Traveler, client "Long Weekend" column features an inn each month. this one is Shelter Harbor Inn. 20 x 14; oil on canvas .

2 Gary Baseman, illustrator Carol Layton, art director Kelly McMurray, designer Worth, client Magazine article about life's frustrations. "Howl." 10Y2 x 12; pastels.

3 Jose Ortega, illustrator Jessica Helfand. art director/designer Philadelphia Inquirer. client Article about a Mexican family coming to the United States. "Trapped in the Land of the Free." 10 x 12; pencil. copier. cut paper.

4 Mark Summers. illustrator Steven Heller. art director The New York Times Book Review. client "From Waterloo to Watermelon." reviews of two new books The Death of Napoleon and The Emperor's Last Island. 8 x 12; scratchboard .

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EDITORIAL

Mary GrandPre, illustrator Randi Bartsch. art director/designer Vim & Vigor. client Magazine article. "An Open Window." Mammography helps women take responsibility for their health. 18 x 24; pastel on paper.

2 Braldt Braids, illustrator Fred Woodward, art director Fred Woodward/Gail Anderson/Debra Bishop/Cathy Gilmore-Barnes/Angela Skouras/Geraldine Hessler, designers Rolling Stone, client Portrait of John Lennon for 25th anniversary issue of the magazine . 9Y2 x 11 Y2; oil on Masonite. 3 (series) C.F. Payne. illustrator Fred Woodward. art director Fred Woodward/Gail Anderson/Debra Bishop/Cathy Gilmore-Barnes/Angela Skouras/Geraldine Hessler, designers Rolling Stone. client Portraits of Bruce Springsteen for the 25th anniversary issue of the magazine. 13 x 15Y2; oil, acrylic, pencil, ink, airbrush, watercolor.

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EDITORIAL

1 (series) Wi lliam Bramhall, illustrator Rhonda Rubinstein, art director Esquire. cl ient Title of the article, "Notes on the Life & Death and Incandescent Banality of Rock 'N' Roll ." Various sizes; pen and ink.

2 Keith Graves. illustrator J Porter, art director Yankee Magazine. cl ient "Father of the Year." Pedro the bull impregnated 75 cows in 45 days. 8 x 9%; Prismacolor and watercolor.

3 Glynis Sweeny, illustrator/designer Wes Bausmith , art director The Detro it News. client Portrait of Ringo Starr. 8 x 12; Prismacolor and pencil.

4 Terry Allen, illustrator David Armario, art director/designer Stanford Medicine, client Office of Communications magazine article, "Peptic Ulcers Rev isited. " 11x14; airbrush.

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Philip Burke, illustrator Kelly McMurray, art director Worth , client Magazine illustration of Salman Rushdie in Note Worthies column . 30 x 40; oil on canvas .

2 Mark English, illustrator Fred Woodward, art director Fred Woodward/Ga il Anderson/Debra Bishop/Cathy Gi Imore-Barnes/ Angela Skouras/Geraldine Hessler, designers Rolling Stone, client Portrait of Pete Townshend for the 25th anniversary issue of the magazine. 17 x 20; oil and crayon on paper.

INSTITUTION AL

3 Daniel Craig, illustrator Paul Shupanitz, art director Sietsma K and H Advertising, ad agency Heartland Bank, client

Christmas card . 14 x 9; acrylic and oil. 4 John Craig, illustrator Arlene Finger, designer Finger Smith , design firm Tri Valley Growers, client

Annual report illustration to show responsibility. 14 x 1O; collage and overlays.

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INSTITUTIONAL

1 (series) Jack Unruh, illustrator Chris Hill , designer Hill/A Marketing Design Group, design firm ITESM Campus Monterrey, client Book given as a gift to commemorate the 75th anniversary of the Mexican school and the 400th anniversary of Cervantes . 9 x 14; ink and watercolor.

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UAL

1 993

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COM MU

IC AT I 0

ARTS

I L L U S T R A T I 0 N

A N N U A L

I 9 9 3

INSTITUTION AL

John Sposato, illustrator Anthony Ranieri, art director John Sposato Design & Illustration, design firm Macy's, client Environmental conference . 12 x 12; oil pastel.

2 David M. Genther. illustrator Lana Rigsby, art director Lana Rigsby/Troy Ford, designers Rigsby Design, Inc .. design firm Hines Interests Limited Partnership, client Poster for historic Washington, D.C.. building, Postal Square. 37 x 21 Y2 ; pencil drawing with an ink wash . 3 (series) Darrel Kolosta. illustrator Deborah Berry, designer Deborah Berry Design , design firm Cunningham Communications Inc .. client Corporate brochure for publicity firm specializing in high tech companies. 11 x 11 ; scratch board .

COMMU

IC AT I 0

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I 9 9 3

INSTITUTIONAL

1 (series) Chris Sheban. illustrator Mark Oldach, art director Don Emery, designer Mark Oldach Design, design firm Hewitt Associates. client Employee information brochure illustrations. Eggs : Theme relates to diversification of funds for employee investing program . Clock: You can weather short-term volatility in your investments if you focus on their longterm results . Accepting some volatility now could make a big difference over time . Steps: New funds for employee investing, each slightly higher than the previous one on a risk/return scale . 9 x 11 ; watercolor. pencil. pastel.

COMMUNICATIO

ARTS

INSTITUTIONAL

1 (series) Rene Milot, illustrator Jean-Pierre Veilleux/Robert Boulay, art directors Irvin Lebovits, creative director The Gingko Group Ltd., design firm Stentor. client Telecommunications company mailer resembling baseball cards . Various sizes; oil on canvas .

] 00

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INSTITUTIONAL

Linda Bleck, illustrator Cynthia Kampf, art director/designer Tripp Design, design firm Imcera Group Inc., client Call for entries to promote waste reduction. 7 x 7; gouache . 2 (series) John English, illustrator Mark J. Spencer. art director David Westbrook, designer Corporate Communications Group Inc., design Yellow Freight System Inc., client The series illustrates Poetry in Motion . "The House by the Side of the Road" by Sam Walter Foss; "Fog" by Carl Sandburg; and "Song of the Open Road" by Walt Whitman . 36 x 24; oil on canvas.

102

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INSTITUTION AL

1 Philippe Lardy, illustrator Alison K. Grevstad, art director Nordstrom, design/client

Cover for in-house booklet. Subject: Wise . Watercolor, ink. 2 (series) John Craig, illustrator Gordon Mortensen, art director/des igner Cavalli & Cribbs, ad agency Mortensen Design, design firm Stanford University, client 14 x 11; collage and overlays; collage, ink, scratchboard; collage.

] 04

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INSTITUTION AL

Rene Milot. illustrator Nanistya Martohardjono. art director Spencer Francey Peters, design firm National Ballet of Canada, client Invitation card for The Taming of the Shrew. 11 x 20; oil on canvas .

2 Leland Burke, illustrator Ted Fabella. art director/designer Atlanta Botanical Garden, client Annual report. "Gardening Techniques" written by Lisa Frank. 11 x 1O; pen and ink.

3 Larry McEntire, illustrator Gary Easterly, art director Jacqueline Brunner. designer Easterly & Company, design firm Pueblo-to-People. client Catalog cover and T-shirt art for import company. 7 x 91/2; watercolor.

4 John Mattos, illustrator Stephen Martin. art director Mary Boyer, designer Corporate Graphics. design firm Kaufman & Broad. client Cover for residential housing developer's annual report. 9 x 12; airbrush and ink.

] 06

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INSTITUTION AL

R.M. Kato, illustrator Fred Fehlau , art director Four Way Communications, publisher Playboy Jazz Festival, client Portrait of Billy Cobham for the program. 10 1/4 x 12 1/2; gouache. 2 (series) Jon Flaming, illustrator/des igner Ron Sullivan, art director SullivanPerkins, design firm GTE Directories Corporation. client 81/ 2 x 11 ; cut amber and ink on paper.

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INSTITUTION AL

1 (series) Tom Garrett. illustrator Nancy Grunthaner. art director Jim Nancekivell/Nancy Grunthaner, designers The Nancekivell Group, des ign firm Grist Mill Co .. client Annual report. 16 x 20; collage. 2 Tom Curry, illustrator Peter Deutsch. art director/designer Deutsch Design, design firm Center for Global Partnership, client

Annual report. 14 x 14; acrylic on hardboard.

110

I LL U S TR A T l 0 N

A N N U A L

I 9 9 3

COMMUNICATION

ARTS

Jl]

INSTITUTIONAL

1 (series) ~ahrd Schumak~r . illustrator/designer

c umaker, design firm Moose's, client Restau_rant illustrations for coffee men . neon sign , direct mail etc V . . u, stationery, press folder . . arious sizes; pen and ink. ,

2 Nicholas Wilton, illustrator A_rlene Finger, _art director/designer F1~ger and Smith Design, design firm Tri Valley Growers. client Annual report illustrating the idea of . 8 x 8; acrylic . improvement.

112

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SELF-PROMOTION

Tracy Sabin, illustrator Lisa Porter, art director/designer Design Safari, design firm Icarus Studio, client Brochure illustration for a hand-made paper company. 9 x 153/4; mechanical separations .

2 Etienne De lessert. i 11 ustrator Rita Marshall, art director Delessert & Marshall, design firm Musee des Arts Decoratifs/UOAM Design Center, clients Poster for Delessert retrospective tour. 6 x 7; watercolor. 3 (series) Anthony Chiappin, illustrator/designer Shayne Pooley, art director Benchmark Advertising, ad agency/client Promotional booklet. 10 3/ 4 x 15 1/2; acrylic.

114

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116

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SELF-PROMOTION

Alex Murawski , illustrator/client Akiva Boker, art director Blue Brick Design, design firm Lasky Printers, client Calendar. 16 x 16; ink and cell vinyl. 2 (series) Craig Frazier, illustrator/art director/designer Frazier Design, design firm/client Promotional booklet. Various sizes; cut paper.

COMMU

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117

SELF-PROMOTION

Raphael Montoliu, illustrator Paul Browning, art director John Sheng/Peter Baker, designers Taylor & Browning Design Associates, design firm Art Directors Club of Toronto, client Cover of the call for entries competition . 12 x 17; pen and ink, airbrush.

2 Bill Mayer, illustrator Alan Lidji , art director/designer Lidji Design, design firm Williamson Printing, client Poster, "For You and Your Big Ideas." 18 1/2 x 25; airbrush, gouache, dye.

3 Cheryl Chalmers, illustrator/client Mailer. 15 1/2 x 20 1/2; watercolor.

118

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SELF-PROMOTION

1 (series) Frank Viva, illustrator/art director/designer Frank Viva/Doug Dolan, creative directors Viva Dolan Communications & Design, design firm Arjo Wiggins Fine Papers Ltd .. client Pocket cards used as give-aways and printed as add-ons when a larger job is in production . 31/2 x 5; chalk and watercolor.

2 Mike Reagan. illustrator/art director/designer/client Mailer. 21 x 22; watercolor, ink. coffee .

IN THE MEANTIME. .. 120

ILLUSTRATIO

ANNUAL

1993

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

A R T S

J2J

SELF-PROMOTIO

1 (series) Rhonda Nass, illustrator Jeff Larson , art director/designer Larson Design Assoc iates, des ign firm Litho Productions, cl ient Calendar conveys the printer's attributes . 13 x 18; acrylic on board .

122

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123

124

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NUAL

1993

SELF-PROMOTION

Anita Kunz. illustrator Bob Hambly, art director/designer Hambly & Woolley Design, design firm Grenville Press. client Printing company greeting card. 24 x 36; watercolor and gouache.

2 Philippe Lardy, illustrator Mailer.

3 Bill Mayer, illustrator Don Smith. art director Kirk Smith. designer The Adsmith, ad agency Hopper Paper. client Poster. 10 x 14; airbrush. gouache. dye, stripped-in color.

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125

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I L L U S T R A T I 0

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SELF-PROMOTION

Erik Drageset. illustrator/art director/designer/client Mailer. 22 x 14; charcoal. 2 Joseph Lorusso, illustrator/client Mailer. 14x 11; oil.

3 Bob Cange, illustrator/art director/designer/client Ad . 18 x 24; sepia ink line and watercolor. 4 Don Arday, illustrator Don Arday, Photocom Inc ., client

Postcard mailer. 5 x 7; electronic illustration .

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UNPUBLISHED

Ellen Suh, illustrator David Mocarsky, art director Yellow Wallpaper book cover. 10 x 16; acrylic . ©Ellen Suh 1993

2 Andrea Ventura, illustrator Achille Villa, art director/designer Record jacket. 13 x 14 1/2; charcoal and gesso . © Andrea Ventura 1993

3 Tim Lewis, illustrator/art director 51/2 x 6; watercolor on Xeroxed watercolor paper. © Tim Lewis 1993

4 (series) Jody Hewgill, illustrator Jody Hewgill/Kim Yokota , art directors Shikatani LaCroix Inc .. design firm Brewer's Retail Stores, client Pediment murals. Various sizes; acrylic. ©Jody Hewgill 1993

128

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129

130

ILLUSTRATION

ANNUAL

1993

UNPUBLISHED

1 Ronald Slabbers, illustrator/designer Marcel Rotteveel, art director

Illustration for an article about sexual harassment for a new magazine that never got off the ground . 11 % x 141/2; gouache on cardboard. © Ronald Slabbers 1993

2 Pascal Milelli, illustrator Portfolio piece . 18 x 22; oil on paper. © Pascal Milelli 1993

3 Karen Chandler, illustrator/art director 42 x 35; oil on board . © Karen Chandler 1993

4 Irena Roman, illustrator Portfolio piece. 12 x 16; watercolor.

©Irena Roman 1993

5 Steve Miller, illustrator/art director 5% x 9; oil pastel. ©Steve Miller 1993

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131

132

ILL UST RATIO

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1993

UNPUBLISHED

Gary Head, illustrator Portfolio piece . 10 x 8; oil. © Gary Head 1993.

2 (series) Eric Masi, illustrator Various sizes; acrylic and gouache on canvas . © Eric Masi 1993

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133

UNPUBLISHED

Don Asmussen, illustrator/art director/designer

14 x 22; pen and ink, watercolor and collage . © Don Asmussen 1993

2 Irene Rofheart-Pigott, illustrator Portfolio piece. 11 x ~4; oil on paper. © Irene Rofheart-Pigott 1993

3 Don Arday, illustrator Don Arday, Photocom Inc .. client

5 x 7; electronic illustration . © Don Arday 1993

4 Will Williams, illustrator/art director Wood Ronsaville Harlin, Inc .. design firm

34 x 51 ; oil. ©Will Williams 1993

134

ILLUSTRATIO

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UNPUBLISHED

Eric Hanson. illustrator/art director

8Y2 x 8%; ink and watercolor. © Eric Hanson 1993

2 (series) Barry E. Jackson, illustrator/art director Concept illustrations for Cool World Productions, Paramount Pictures . Various sizes; acrylic . © Barry E. Jackson 1993

136

ILLUSTRATIO

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UNPUBLISHED

Mathew McFarren, illustrator/art director Portrait of the artist's cat, Kate . 18 x 24; oil. © Mathew McFarren 1993

2 Albert Rocaro ls, illustrator/ art director Painting for an exh ibition . 19% x 27 1;2; acryl ic on paper. ©Albert Rocarols 1993

138

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EDITOR'S

COLUMN

PATRICK COYNE

HE NUMBER OF ENTRIES TO THE 1993 Illustration Annual were practically the same as last year-4,529 in 1993 versus 4,543 in 1992. The biggest difference was the number of new illustrators selected. Out of the 148 illustrators featured, 55 or 37% of the total, have never appeared in our Illustration Annuals.

The point of relating this statistic is to say that this year's Annual contains a significant number of new approaches and that illustration, a a medium, continues to evolve and grow. I'd become concerned that inexpensive photo-manipulation technology might spell a decline in commissioned illustration, but this year's competition proved to me that the opposite was true. The jurying began at nine in the morning on Sunday April 4th at Hyatt Rickeys in Palo Alto. We worked in two large conference halls, each equipped with a projector for slide entries and five rows of tables for tearsheets, proofs and large transparencies. On the first day, the jurors worked in two groups of three with Jean Coyne acting as the sixth judge during the screening. All but the smallest categories had been split so each team screened half of the entries submitted. The judges alternated between viewing a carousel of slides and then a set-up of print entries. Any juror could place an illustration in the finals by handing a printed piece to a member of the CA crew or by checking the "in" column on our prepared scoring sheets used by the judges viewing slides. Screening was completed by the end of the day on Sunday. 1, 105 entries were put into the finals. The final voting began on Monday morning and all five jurors worked together. Print entries were again spread out on the tables. Two paper cups, one white for "in," the other red for "out," with slots cut in the bottom, were placed upside down to the right of the pieces. The jurors voted by putting a different colored tile into the bottom of the appropriate cup. The different colored tiles allow us to make sure that every entry was voted on by every judge. Finalists submitted on slides were again voted on by each juror checking "in" or "out" on scoring sheets. The voting was finished on Monday afternoon. Three or more votes put an entry into the Annual. These accepted entries were treated as equals in the design of the Annual. Decisions on size and placement are based on reproduction evaluations, pacing and the need to control press channels and ink usage for web printing. I would like to thank our jurors for their valuable time and conscientious efforts in making the selections for the 34th Annual Exhibition. 146

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WES BAUSMITH is the enior art director for features at

The Detroit News. He has worked for daily new paper 1 including the Palm Beach Post and the Providence JournalBulletin (where he designed the Sunday magazine), in an editing/design capacity for the past nine year . Bau mith is a graduate of Indiana University, where he majored in journalism and fine arts. He also attended the Art Academy of Cincinnati and concentrated on drawing and painting. Wes has had work cho en for the CA Illu tration Annuals, Print regional annuals, the Society of Illu trator and won commendations from the Society of New paper Designers. ANDREA JANETOS HYETT has been an advertising agency

art director at Foote, Cone & Belding in San Francisco for seven years. She works primarily on the Levi 's account, having produced TV campaigns for 50ls and Men wear and print campaigns for Youthwear and Dockers. Before joining FCB, Andrea worked a an art director and graphic designer at Mangino, Murray & John and Humpal , Leftwich & Sinn. GARY KOEPKE has been designing magazines for nearly

ten years, addressing diversified audiences, from software to entertainment and fashion. He started his own business in 1987, after art directing Musician magazine for four years. Magnolia, Ma sachu etts-based Koepke has designed a wide range of publications, including Global, for Bull H.N. Information Systems; 26, for Agfa Corporation; Spin; Creem; Colors for Benetton; and Vibe, a new music publication for Quincy Jones through Time Ventures. JACKIE MERRI MEYER is vice president/creative director

of New York-based Warner Books, a Time Warner Company, and oversees 300 book jackets and cover designs per year. She has al o held positions at Macmillan , McGraw-Hill, Vogue Promotion and Abraham & Strauss. Jackie is a member of the AIGA, the Art Director's Club and the Society of Illustrators where she served on the board of directors for several years. She ha a BFA from Cooper Union; has taught Communication in the Design/ Undergraduate Program at Par on School of Design and has lectured at the Society of Illustrators and the American Illustration Graphic Arts Weekend. DOUG WOLFE is president of Hawthorne/Wolfe, a design

consulting firm in St. Louis. He began his career in Lancaster, Pennsylvania and in 1977 accepted a po ition with Regn/Califano, a corporate design office in New York. In 1982, he formed Hawthorne/Wolfe with hi wife, Marta Hawthorne. The firm' work in employee publication , annual reports and marketing communication has been recognized by numerous organizations and publications. Doug was the founding president of the St. Loui chapter of the AIGA and presently serves on the AIGA ' national board of directors.

Koepke

Meyer

Bausmith

Hyett

Wolfe

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CONTRIBUTORS BOOK

COLUMNS

REVIEWS

ELLEN SHAPIRO is a graphic designer,

BARBARA GORDON, an artist and pho-

BYRON FERRIS worked as a creative

writer and president of Shapiro Design Associates Inc., in New York City, where she manages identity and marketing projects for an international roster of clients. She is the author of the book, Clients and Designers, and has been a member of the Communication Design faculty at Parsons School of Design. Active in the AIGA New York Chapter as a vice president and currently as editor of "Where Do You Draw The Line," the AIGA ethics game, Shapiro is a native of Los Angeles and a graduate of UCLA's College of Fine Arts. She wrote the Design Issues column, edited by DK Holland.

tographer representative since 1969, is a past president of the Society of Photographers and Artists Representatives and member of the Society of Illustrators and the Graphic Artists Guild. She is al o the author of two books, How to Sell Your Photographs and Illustrations (Allworth Press) and Careers and Opportunities in the Graphic Arts Field (National Textbook Co.). Ms. Gordon has been a guest speaker and seminar participant at many professional organizations and colleges. She heads her own firm, Barbara Gordon Associates, based in New York City. She has written on free-lance issues for CA since 1982.

director at McCann-Erickson, a a partner in his own advertising agency and as head of De ign Council tudio. He helped found the American Advertising Museum in Portland, Oregon, where he erved as director of archival collection . Mr. Ferri reviews books in every issue of CA.

TAD CRAWFORD is an attorney, author

TOM MONAHAN is a founding partner

and publisher for New York-based Allworth Press. A specialist in legal issues pertaining to the arts, he has served as chairman of the board of the Foundation for the Community of Artists, general counsel for the Graphic Artists Guild and legislative counsel for the Copyright Justice Coalition. Tad was honored by the Graphic Artists Guild during their first National Conference thi year, with the prestigious Walter Hortens Award for Distinguished Service. Author of Legal Guide for the Visual Artist, Business and Legal Forms for Graphic Designers, Business and Legal Forms for Illustrators and Business and Legal Forms for Photographers, he has been a CA columnist since 1983.

of Leonard Monahan Lu bars & Kelly of Providence, Rhode Island, and president of Hothouse creativity training and consulting. He has won numerous national and international creative awards, and is featured in The Wall Street Journal's creative leaders ad series. Tom also conducts seminars on creativity throughout the United States. He has written and edited our Advertising column since September/October 1990.

ANGEL YNN GRANT majored in mathematics at Harvard, worked on a Ph.D. in topology at Brown and received an MFA in graphic design from Yale. The Boston-based free-lance de igner and educator is also a jazz disc jockey on WHRB, Harvard radio. She wear another hat as a book reviewer in this issue.

LISA SPIEGELMAN has seen literally

thousands of press releases, new products and trade shows during her seven years of experience writing about computer technology. She is currently senior editor for Computer Reseller News, a weekly national computer business magazine that provides technology news and analysis. Lisa has a B.S. degree in journalism from the University of Oregon. She has written the Technology Reviews column for CA since July 1990 and shares this issue's Reviews column with Technology Resources editor Richard Koman. J 56

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RICHARD KOMAN is a San Francisco-

based free-lance writer and editor specializing in graphic design, publishing and multimedia technology. Richard is the editor of OnLine Design, a California monthly covering electronic design and graphics. He wrote the Technology Resources column and contributed to the Technology Reviews column. MICHAEL KAPLAN, a New York journal-

ist, writes frequently on the subject of graphic design. His work has appeared in a variety of magazines including Spy, GQ, Premiere, American Photo and Manhattan, inc. Kaplan wrote the May/ June cover story on illustrator Michael Paraskevas. For this issue's Technology section, he profiled illustrator/de igner Louis Fishauf of Toronto-based Reactor Art+ Design. 1993

AMY HERNDON run the marketing communications programs for Berkeley, California-ha ed AKG Acoustics and their five line of professional audio equipment. She began reviewing books on design-related topics for CA in 1991.

SAM McMILLAN is a San Franciscobased free-lance writer. His Retirement Planning Kit software for T. Rowe Price Mutual Funds has sold over 60,000 copies and was cited as "easie t to use" by The Wall Street Journal. When not staring into a 9-inch Mac SE creen, McMillan can be found riding his mountain bike in the Marin Headlands. CYNTHIA VERDOW ha a B.S. in soft-

ware engineering. She recently opened her own electronic prepress firm concentrating on catalog and books and she is in the proces of researching and writing two computer-related books. Cynthia began reviewing book on computer related topic for CA last year.

HANNAH WALLACE VICE PRESIDENT, ART BUYER, KIRSHENBAUM & BOND

"It's such a great book, Ikeep all the old ones stored away in my basement. Besides, my mother enjoys the company."

TEAM ONE ADVERTISING DID. TheideafortheirnextstunningLexus ad, hidden somewhere in the dusty

silence of a forgotten road. Finding it took a remarkable group of people. All using an equally remarkable computer.~ The Apple•Macintosh~ Why did they choose Macintosh? (!J Maybe they wanted computers with the power to work intuitively, letting people explore ideas the moment inspiration strikes. Not the moment they remember how to use the system. ~ Perhaps they needed computers versatile enough to handle For the name ofyour nearest authorized Apple reseller, call 800-538-9696, ext. 210. just add Macintosh PC Exchange· software. © 1993 Apple Ccmputer, Inc. All rights reserved. Apple, the Apple logo, Macintosh and "The power to be your best" are registered trademarks

everything from memos to mechanicals. CO) Or the only computers able to read from and write to Macintosh, DOS, OS/2 and Windows disks, offering compatibility with most existing systems: It could have been our exclusive ColorSync"' system, which ensures bright, accurate output every time. Or maybe, just maybe,Tham One chose Macintosh for the same reasons everyone else does. For the power to explore new ideas. ~ The power to chase dreams. The power to be your best~ MA c IN TO s H F o R co MM u N 1c ATOR s. and OilorS)11c and Macilltosh PC Exchange are trademarks ofApple Computer, Inc. 05/2 is a registered trademark ofInternational Business Machines Corporation.

LETTERS TO THE EDITOR what they are: advertising for a casual restaurant. That it happens to be a Mexican restaurant is incidental. Sub titute "O'Reilly's" or "Duarte' ," and the copy and design till work.

Women In Design I just read your article "Women In Design Speak Out" in the March/ April issue, and I wanted to thank you for publishing it. As a partner in a graphic design business that is owned by (and currently comprised of) women, I found most of the discussion to be a pretty good reflection of the current state of affairs. It's great to know that other people out there are faced with the same issues that we are!

It baffles (and amuse ) me that in the 200-odd pages of advertising in the issue, Duarte took offense only at these ads. Applying the ame yard tick, if he was enraged by page 48, he mu t have been a frothing lunatic by the time he reached the end of the book. By the way, I'm not a sociated either with the re taurant or the agency that created the work. Like the ACLU, this letter is written to defend against encroachment on the fringes.

May I suggest an additional reason that women get paid less in design than men? Our relationships with clients are different from traditional service business relationships. We do awardwinning work. For a good price. We don't screw up. We bend over backwards to give clients the best job their money can buy. But we don't socialize with clients. We don't take them to ballgames. We don't play golf with them on weekends. And they would hate it if we tried. It's a tough situation because some clients see the social side as being part of the relationship, but are very uncomfortable with having a woman in that role. Sometimes the only way we' ve been able to overcome this is by being so much better, faster or cheaper that they can't ignore it in a bid situation. And that contributes to the pay inequity we still see between men and women in design. JONELLE PATRICK

Patrick.Pillon Design For Marketing San Franci co, California D

Software packaging, round 2 Mr. Silverman, regarding your statement that the software packages featured in the January/February issue were a lot of "kaka" and your suggestion that the designers pend more time in supermarkets; is the enclosed photo the kind of advertising you were referring to? Right on Hal, very nice stuff! That 160

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stands right out there with the best floor wax and breakfast cereal packages I can ever remember seeing. And when the upgrade version comes out they can use "New and Improved" in the burst! KURT KLEIN

Graphic Arts Center Portland, Oregon D

Racial insensitivity, round 2 Okay, okay, I get it, I think ... Edward Duarte's letter to the editor (May/June ' 93) isn ' t a real one, is it? It's one of those "let's get a conversation rolling with a fake letter" deals, right? Seriously, though, while social consciousness must be an indi pen able part of our craft, it's a helluva stretch to say the Pepe's ads condemn an entire culture as a bunch of party animal . Looking for (and seeing) examples of insensitivity that far out on the fringe is equivalent to the ACLU's taking on cases at the outer limits of civil liberties in order to prevent having to fight the much harder, more entrenched attack on core values that would ensue if the nibbling went unchecked. This is admirable and necessary, but just as most people don't see the relevance of the farthest out ACLU cases, most people would see the Pepe 's ads for 1 993

JAMES MAHONEY

Lawrence, Massachusett D

Stock update Since we ran our feature on tock photography in Jan/Feb '93, Tony Stone Worldwide has changed it name to Tony Stone Images and opened its third U.S. branch office at 475 Park Avenue South, 28th Floor, New York, New York 10016; (212) 545-8220, fax (212) 545-9797. Their Los Angele office also moved to a new suite, 6100 Wilshire Boulevard, Suite 1250, Los Angeles, California 90048. D

Errata Robert Olding wa the studio photographer for the Hennessy Cognac campaign shown on page 66 of the Kirshenbaum & Bond feature in our March/ April issue.

• ADDRESS CORRESPO DE CE TO:

Letters to the Editor, 410 Sherman A venue, Palo Alto, California 94306. We reserve the right to publish letters and to edit for clarity and length.

No wonder. Every art director in the business looks for artists in the same place. They tum to the yellowed pages of Showcase illustration.

Technology

LOUIS FISHAUF BY

MICHAEL

KAPLAN

T WAS IN 1986, AFTER RECEIVING A MACintosh Plus as barter-payment for a couple day of design work for Apple, that Toronto-based de igner Louis Fishauf first switched on a computer. The newly minted Mac offered him speed, cachet and entree into a brave new world.

The machine lacked much in the way of power, its printouts were crude and the software painfully limited-but the technology intrigued Fishauf. So he took the computer home and bu hwhacked through it program 's facets, scrutinizing bitmap as if they ' d lead to ome kind of treasure. Ultimately, he found him elf mo t impre ed by the Mac 's ability to make perfectly ruled lines (and that, then, was no small thing). Fishauf went on to use it a a brainstorming tool for testing variations of ideas before committing them to mechanical . He figured that broader applications loomed in the future.

HARDWARE Macintosh llfx with 32MB Ram Apple 13" color monitor(for palette) and 16" color monitor (for images) 400MB internal hard drive 200MB External hard drive (2) SyQuest 44MB removable drives Wa com 6" x 9" pressure sensitive drawing tablet Hamm er CD-ROM Dri ve Canon RC-510 Still Video Camera Canon RE-650 Video Visualizer

SOFTWARE Adobe Photoshop 2.5 Adobe lllustrator 3.0 (also has beta version of 5.0) Adobe Dimensions 1.0 Alias Sketch! 1.5 LetraStudio 2.0 MicroSoft Word 4.0 Mi croSoft Excel 3.0 Editor's note: All projects were supplied as electronic files by Louis Fishauf on SyQuest cartridges. Our color separator resized the images, replaced the match color specifications with four-color screen tints and output.final.film in position. ] 64

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The future , for Loui Fishauf, arrived over the next three years in the forms of Adobe Illustrator and Photo hop. The new software metamorphosed him from de igner to illustrator, allowing his pictorial idea (w hich had previously been expressed via collages compo ed on color Xerox machines) to make the leap from his mind to the printed page with minimal compromise. Like a wildly inventive musician (with lot of idea but minimal chops) whose creativity is uddenly unfettered by access to a ampling machine, Fishauf no longer felt constrained by his less than stellar drafting skills. Souped up with hard drives and augmented by color creen , his computer ha since become a passport to the information age where ideas reign over craft as the most valued commodity. Today , operating in a virtually paperless milieu, the Toronto-based designer/illustrator divides his time between those two commercial art forms with a growing emphasis on the latter. He expresses surprise that many other art directors have yet to take the plunge: "It open up a lot of potential for designers to have complete control over their projects. I'm amazed at the number of people who know

Unless otherwise noted. Louis Fishauf was the designer and illustrator for all projects. Right Rolling Stone record page review of R.E.M.'s album "Out of Time." Fishauf isolated band members Michael Stipe and Peter Buck from a promotional photograph and impo rted their faces into two separate Photoshop files, which he later combined into one image. A long-time fan of the Athens. Georgia band, Fishauf had one week in which to produce this digital collage. Gail Anderson/Fred Woodward. art directors. Adobe Photoshop.

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Lours FISHAUF

QuarkXPress inside and out but don't understand a thing about Photo hop or Illustrator." Dressed in black and disarmingly unpretentious, Fishauf sits in a reception room at Reactor, Inc. (the graphic design and repping firm that he co-founded in 1982) and explains that he had no trouble making the leap from page to PageMaker. "All of my design work, and even the limited amount of illustration that I had done prior to the computer, was pretty mechanical," he says, pointing out that the Mac Plus' s inherently rigid limitations neatly dovetailed with his aesthetic ambitions. "My illustrations were hard edged, produced with straight edges and compasses. Additionally, I had never felt very comfortable with my hand and eye coordination in the first place, so the idea of putting down lines that can be changed and enhanced is very appealing to me," Louis says. "Unlike a lot of illustrators, who are heavily into the tactile sensation of the pencil on paper, the freehand thing was never a big deal for me. So I don't miss it."

sat down at the computer, did I have that image in mind?" He answers in the negative, then attempts to offer a more accessible description of his modus operandi: "I hate to intellectualize what I do because it is not conceptualized in that way. My work grows organically. I find two image that work together and build from there. Often, the ideas, the conceptual links between images , grow in my mind as the piece grows. At the start, I usually lack a specific idea of what the elements will be and the message that they ' 11 put across." Fishauf hesitates for a beat, contemplating all of this, before adding, "But it must be there intuitively, somewhere, because when I finish an illustration it makes sense in my mind. "

Fishauf' s prep work for a project has not changed, though the degree to which images can be manipulated and doctored in terms of color, re olution, size, and clarity have. Now, like the pre-Mac days , it usually begins at Toronto 's Central Research library where he 's likely to spend an afternoon combing through images. Applying the new technology, Fishauf With its capacity for holding digitizes the appropriate ones , and manipulating images, the storing what tend to be archival Macintosh has also revolutionTO THE PLANET photos and drawings (which, ized the manner in which among other things, cut down Fishauf creates the collages on copyright ha sles) on one that stand as his most distincof his removable SyQuest tive illustration form. "It's expanded my range," he undercartridges. Fishauf split the day, executing illustrations states, adding that clients include Rolling Stone, Adobe, during the morning at home, where he works out of a several computer magazines, and the Canadian Postal converted bedroom that houses an impressive array of Service. "I scan images into the Mac, use a CD-ROM for hardware; afternoons are devoted to design a signments and helping in the day-to-day running of Reactor's office. working with photographs, and have just begun to employ a still video camera. It works with a small floppy disc and Though Fishauf acknowledges that the computer has instantly digitizes images. I bring a lot of things together helped transform him into an illustrator, he dismisses any and play with them, moving elements around, making graphic delineations. "I don't see much of a difference things larger and smaller, operating very intuitively. The between design and illustration-I approach both of Mac lends itself to this because it doesn't restrict you to them the same way, " he says. "For somebody like meusing a certain picture at a certain size; it allows you a who's always been interested in images whether they great deal of flexibility. I just keep layering and altering were found or commissioned-the computer opens up a until the picture on my screen looks right." lot of possibilities. But the biggest difference is that I Inspecting a poster of his, Fishauf attempts to explain how he generates ideas. The blow-by-blow description becomes incomprehensibly obtuse before he asks himself, "When I

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am now achieving a visual balance that has more to do with pictures than it does with type. After I gravitated to the Mac, that just felt like the right thing to pursue."

Left: "Power to the Planet." One of a series of 30 posters on environment and development, published in conjunction with the 1992 Environmental Summ it in Rio de Janeiro, Brazil. Twenty-five designers from 25 different countries and five Brazilian designers were invited to create posters for an exhibition mounted at the Summit. All the designers were invited to come to Rio to show a larger body of their work as well . Design Rio Promotion Centre, client. Adobe Illustrator and Photoshop. This page : Illustration for PC World article, on different types of software maps and travel guides, "Getting There with Software Maps." Robert Kanes/Mitch Shostak, art directors. Adobe Illustrator and Photoshop. "Huntress ." Personal work using Adobe Illustrator.

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Left: Poster illustration on the theme of Discovery, promoting the World Philatelic Youth Exposition in Montreal. Canada Post Corporation, client. Adobe Illustrator and Photoshop. Fishauf used Alias Sketch!, 30 modeling and rendering software, to produce this poster. Louis Fishauf/art director/designer; Jonathan Steinberg, illustrator; Alias Research Inc .. client. Front and back covers for a directory of photographers and illustrators. Peter Kordy, publisher; Wilcord Publications, client. Adobe Illustrator. This page: Front page illustration for a Wall Street Journal special section on new telephone technologies. Gregg Leeds, art director. Adobe Illustrator and Photoshop . Signature image graphic for Macworld Exposition 1993, used in brochures, ads and collateral material. Jean Resteghini, art director; The Selig Group, client. Adobe Illustrator and Photoshop .

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Cover illustration for Azure, a design and architecture magazine, illustrating the changing landscape of the Canadian furniture industry. Nelda Rodgers, editor; Azure Publishing, client. Adobe Photoshop . Presentation comps exploring various ways in which the proposed identity design for the Living Arts Centre, a high-tech, multidisciplinary, visual and performing arts facility, could be adapted for multimedia applications . The logo design has been accepted and applications of the identity are being implemented. The Living Arts Centre, Mississauga, Ontario, Canada , client. Adobe Illustrator and Photoshop.

A J 70

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Printed in Canada on Provincial Papers Eoo Classic 100 lb Text.

Technology

REVIEWS ADOBE PHOTOSHOP 2.5

Adobe Photoshop is o many tools wrapped into one software package, it's small wonder that it instantly became the programme celebre of graphic arts professionals. Photographer , de igners, prepress experts, fine artists, multimedia developers, video producers, all have been affected and many have been radicalized by the power of a program that combines scanned images, type, computer special effect , format conversion and more. While the ea y-to-u e Photoshop filters packed the biggest wow, it was the ability to create masks and layer many image that enabled artists to create the best Macintosh work. Unfortunately, creating masks and channels was not particularly ea y. Another problem was that so many of the program's settings were couched in computer rather than graphics language. So it's good to see that in the latest version, Adobe Photoshop 2.5, the program is more intuitive and operations better mimic traditional graphics processes. Hopefully in the next version even more features will boast this graphic arts feel. While Adobe has added some new features, this version of Photo hop is notable primarily for the improved performance and ea e of operation. Most exciting is that Adobe has rewritten the entire program from the ground up. By doing so they were able to make it run faster and more efficiently; the most visible manifestation of this is in the way the creen redraws. Photoshop 2.5 uses an image tiling method of redrawing the screen that really kicks in when you're changing just a portion of the image. The program just redraws that part of the screen, not the whole thing. For thi review, I ran the program on a lower machine, a Mac Ilsi with 9MB of memory, and it performed acceptably. Of course, faster machines are always recommended. But don't even think about running Photoshop with less than 8MB of RAM if you're running System 7-if you're consistently using larger images, you'll need more memory. The ba ic rule of thumb is, add enough memory so that you don't need virtual memory. When Photoshop starts going to the hard disk for memory, you' re in trouble. Besides being a better piece of code, Photoshop 2.5 is also a better designed piece of software. While not everything about the program i improved, a dedication to userfriendline s interactivity hows through. The Brushes palette is the clearest example of this. First of all, it' a floating palette, so your brush settings are alway available. (In addition, there are nifty brush-editing capabilitie , o you can get your brushes just the way you want them.) It features a pop-up menu with effects options, a lider that lets you ea ily set value for opacity, pressure or expo ure and a menu bar that lets you customize the palette. But it's also a sort of floating command center,

controlling all kinds of tools, such as the dodge and burn tool and the airbrush. An important addition is the new Quick Mask option, which automates the previously tedious task of selecting and masking objects. Quick Mask doesn't help with the process of making election but it does let you view your image with a rubylith cast over the masked portion. You can edit the mask in full-image mode or in the actual blackand-white channel. Quick Mask really doesn't change the way the program handles masking or channels, but it makes it seem a lot more like traditional graphic arts processes. While Quick Mask gives you more interactivity, once you've made a selection, there are no improvements in selection tools. For most operations you' re stuck with that irritating old magic wand, which always seems to select too much or too little of your image. The ideal would be a selection tool that can see the edges of objects as well as shifts in color; at the very least, it would be nice to have a floating selection palette, one that would let you easily change the settings for the magic wand and lasso tools. The only new tool in version 2.5-the dodge and burn tool-is another example of how the new program is more like traditional processes, only better. Photoshop lets you specify what tones you'll be altering and at what exposure. Other than that, it works just like in the darkroom. Another new palette is the Colors palette, which lets you mix foreground and background colors using sliders or a scratch pad. It's much easier to pick colors in the palette than in the Color Picker and it includes a warning symbol when you've chosen unprintable colors. Thi is helpful but rather laid back, so it doesn't necessarily stop you from making bad color choices. Another mechanism is the Info palette, which acts as an onscreen densitometer, with readouts of the color values for each pixel; when the cursor hits an out-of-gamut color the percent character changes to an exclamation mark. This is a pretty faint warning compared to EFI' s Cachet program, for instance, in which unprintable parts of the image are highlighted red. Many of Photoshop's production tools-for such things as color balance and gray balance-are still difficult in this version, using line graphs and sliders that correspond to pixel values rather than graphic arts number . One new feature that addresses an important issue-color balanceis Variations. In this module, a thumbnail of your original image is surrounded by variations in each direction of the color wheel. You can change the color balance of the selected area or the entire image by successively clicking on these variation thumbnails. A slider lets you choose how coarse or fine these changes will be, so you can get fairly exact by progressively moving to finer variation . Still your decisions will be based on thumbnail images and these can be quite coar e. COMMU

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Ultimately it's unclear whether graphics professionals will really use Photoshop' s color balancing tools for anything but pecial effects. While Photos hop doesn't yet qualify as an easy-to-use application, it is getting easier. In the meantime, Adobe continues to add support for more software and hardware, such as Apple ColorSync, PhotoCD, video and other applications. If you're a current user of Photoshop, version 2.5 will make your life much easier. If you haven ' t jumped in yet, get it and tart playing; Photo hop i an unparalled creative tool. The system requirements for Photoshop 2.5 are an Apple SE/30, II series, Proforma or Quadra with 4MB memory , 4MB RAM available, Sy stem 6.0.7 or greater and for improved performance the company recommends that you have 8MB of memory available and a color monitor with 24-bit video card. Sugge ted retail, $895. Adobe Sy tern Inc., 1585 Charleston Road , P.O. Box 7900, Mountain View, California 94039; (415) 961-4400.

- Richard Koman IMAGE COMPRESSION OVERVIEW

Unlike the image compression products introduced several years ago, today 's solutions are well-tested, stable products that are ideal for graphic designers , desktop publishers, photographers and advertising agency art directors. Image compression products can save disk space, improve performance and reduce cost. A 24-bit Macinto h image that is 922K, for instance, takes almost 15 minutes to transmit over a 9600 bps modem; the same image compressed at a 10: 1 ratio takes only 90 seconds, according to Storm Technology Inc ., a leading image compression vendor. Even though image compression products have been available for several years, they have been accepted slowly by the market. Jan Ozer, vice president of marketing for Iterated Systems Inc., a compression vendor in Norcross , Georgia, says, "The prepress community is afraid to compress files becau se they are tremendously reluctant to lose data in an expensive image; one blemish on a model's face, and the picture is unusable. " Compression products reduce file size by either lo ssy or lossless compression algorithms. Lo sless compression uses algorithms that compress files by searching for repetitive data and converting it into codes. Also categorized as data compression products , they are desig ned to save space without losing data such as spreadsheet numbers or fine image details. While many of the lossless compre sion products are designed for text application, they can be used on image files; the only hitch is the compression ratios won't be as high as a los y product. Lossy compression, on the other hand , compresses files by deleting redundant data, which means that data is lo t. 176

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Although it allows you to compress images at low and high ratios, at very high ratios image quality is acrificed. An image compres ed at 50: 1, for instance, will lo e fine detail s and appear di torted. So , to keep your file usable for high quality print, vendors recommend sticking to an 8: 1 ratio for complex images. Simple images, which have a large solid color area, can be compre ed at high ratios. Vendor also say that repeatedly compres ing and decompres sing an image file will distort it. Many of the image compre ion products are ba ed on the Joint Photographic Expert Group (JPEG ) tandard, which is lossy compression. This standard went to final validation last October and has ince been widely adopted by leading Macintosh vendor in product such a Storm Technology Inc. , Apple QuickTime and Adobe Po tscript Level 2 printer language . JPEG compres ion products can be used to compress video, however each frame mu t be individually compressed. The Motion Picture Experts Group (MPEG), an outgrowth of the JPEG committee, is developing a video compres ion standard. Among the leading image compression product , which are currently available and briefly reviewed here, are Storm PicturePress 2.5, Fifth Generation Di kDoubler and Aladdin Stufflt Deluxe 3. Other vendors in the market with compression product for IBM PC DOS computers include Matrox Electronic Sy stem , Dorval, Quebec ; Integrated Information Technology Inc., Santa Clara, California; Sigma Design s Inc., Fremont, California; Iterated Systems Inc. , Norcross, Georgia; Xing Corp., Arroyo Grande, California and Telephoto Communication Inc. , San Diego, California. STORM TECHNOLOGY

A leader in the image compre ion field, Storm Technology Inc. offers a family of hardw are and software solutions. The company's premier product is PicturePress 2.5, which is $199, and has an installed base of 10,000 users. It fully supports JPEG, and consists of PicturePre , a tand-alone application, an Adobe Photo hop plug-in module, Picture Decompress for decompressing files , QuickPress and Apple QuickTime 1.5. QuickPress is a utility that routes the JPEG compre ion to an image processing accelerator. PicturePress allows you to compress individual or group files with pre-set compression ratio ettings of excellent (6:1), high (10:1), good (25:1) and fair (50:1). You can't type in a specific ratio like 13: 1, but the program does offer a slidin g compression scale of 1 to 100, and even more option for sophi ticated users. One great feature of PicturePress is the ability to specify an area in an image that you want compressed at a low ratio to maintain image quality . Picture 2.5 supports JPEG, PICT, TIFF and Encap ulated Po stScript (EPS ) file format . It has a plug-in Adobe Photoshop module for importing and exporting JPEG and EPS-JPEG files in RGB and CMYK formats. Picture-

Pres 2.5 requires a Macintosh II, System 6.0.7 and 32bit QuickDraw. Early PicturePress versions were criticized as being slow , but the company improved that in the latest ver ion. PicturePres ha been knocked by u ers as being "technical" or difficult to learn. Al o, PicturePress doesn't support Illustrator files; you can't compress Illustrator file because JPEG can only compre s files with individual pixels or dots. (Aladdin System Inc.'s Stufflt program can compress Illu trator files.) Finally, Quark users have expressed that they want the program to upport Quark's desktop color eparator format. Along with PicturePre s, Storm markets PhotoFlash, a $999 accelerator board. This product improves compression performance for large files (20MB). It also performs more preci e image compre ion calculations because these are carried to more decimal by the Digital Signal Processor (DPS) chip. Storm has licen ed its technology to many companies including DayStar Digital Inc. and SuperMac Technology. Storm Technology Inc., 1861 Landings Drive, Mountain View, California 94043; (415) 691-6600, fax (415) 691-9825.

Apple Computer Inc., 20525 Mariani Avenue, Cupertino, California 95014; (408) 996-1010. FIFTH GENERATION SYSTEMS

Fifth Generation System market DiskDoubler and AutoDoubler, which are proprietary, lossless image compres ion products for the Macintosh. DiskDoubler can double the capacity of a hard disk by operating as a system extension built into the Macintosh finder. It is designed to compress your entire hard disk except the system folder and any file you specify not to compress. It was released in February 1990 and has an installed base of 100,000. The major drawback of this product is that files cannot be compressed individually, and there is limited control over the compression ratios. The company also markets AutoDoubler, a transparent and automatic compression Macintosh program. AutoDoubler, which was introduced in January 1992, compresses files when the Macintosh is idle. Both DiskDoubler and AutoDoubler are priced at $79. Fifth Generation Systems Inc., 10049 North Rei Road, Baton Rouge, Louisiana 70809; (504) 291-7221, fax (504) 295-3268.

DAYSTAR DIGITAL

ALADDIN SYSTEMS INC.

Day Star Digital is bundling Storm's PicturePress software with Charger, a Macintosh Nubus accelerator board that features two 64Mhz DPS chips. As an application specific accelerator board, Charger is designed to accelerate certain programs including Adobe Photoshop and PicturePress. The board works with PicturePress through Storm's QuickPre utility; Charger can increase the performance of PicturePress as much as ten times. The board is available for $949 including the oftware.

For the Macintosh, Aladdin Systems Inc. market Stuffit Deluxe 3 ($120) and Stuff Space Saver ($59.95), a disk compression program for the Macintosh. The main program, Stufflt is a lossless compression program that was originally introduced in 1978. It compresses individual files, folders or entire hard di k . However, you can't select compression ratios. "It just compresses it as best it can," said David Schargel, company president.

DayStar Digital, 5556 Atlanta Highway, Flowery Branch, Georgia 30542; (404) 967-2077. APPLE QUICKTIME

Apple's solution for bringing multimedia-sound, video and animation-to the Macintosh is QuickTime. And while QuickTime is designed for video, it also features software compression and decompres ion schemes based on JPEG for till images. QuickTime also has Animation and Video Compre sors for animation and video. Apple plans to bundle QuickTime 1.6 into the System 7 .1 update kit, and with all the new Macintosh computers. QuickTime 1.6 will al o be distributed directly to customers and through bulletin boards and user groups. The major critici m of QuickTime's compression function, according to users, is its lack of speed and poor quality. Still, for the price, it' worth te ting on non critical images. The update kit, which includes At Ease, is $99; sold separately QuickTime is $139.

Schargel ays Stufflt is the number one compression program u ed for sending images and files to service bureaus. The major reason to use the program for image compression is that you don't lose data, he said. When compressing images, the program usually gets a 2: 1 compression ratio; TIFF images can be compressed as much as 15: 1. Aladdin Systems Inc., 165 Westridge Drive, Watsonville, California 95076; (408) 761-6200.

Now SOFTWARE INC. Now Software Inc. recently entered into the compression market with Now Compress 1.0, a proprietary, lossless compression and archiving program. Now Compress 1.0 compresses an entire hard disk, system folders or files. It is available for $99. Janet Johnson, product manager for Now Software said, "beta testers of the program have been able to compress Pagemaker files as much as 65 percent." Now Software Inc., 319 S.W. Washington Street, 11th Floor, Portland, Oregon 97204; (503) 274-2810.

-Lisa Spiegelman COMMU

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RESOURCES Books

PUBLISH YOURSELF ON CD-ROM By Fabrizio Caffarelli and Deirdre Straughan 320 pages, paperback $50.00 Published by Random Hou se Electronic Publishing 201 East 50th Street, ew York, ew York 10022

Unless you've been hiding under a rock for the last six months, it has been virtually impossible to mi s the incessant drumbeat of the media, as it pound out the news: This is the year of multimedia. King of the platform hill, at lea t until the phone companie and cable conglomerates jump into the fray , is the Compact Disk-Read Only Memory (CD-ROM). The boom in CDs is made possible by the confluence of a number of factors: CDs have always offered the benefits of an enormous torage capacity. One compact disk contains as much information as 70 high density floppies. Advancements in compression technology-the ability to digitize sound and video without hogging huge amounts of memory-now provide the mean to integrate voice, video, music and text in a seamless multimedia presentation. And, at la t, the hardware required to play a compact disk is getting cheaper than ever, with off-theshelf multimedia CD upgrade kitscomplete with speakers, CD drive, plug in card , and bundled CDs-retailing for about $600. Put them all together and that spells a huge increase in the installed base of CD-ROM playersat home, in the office, in schools and in libraries. Current estimates place the number at three million. For do-it-yourselfers yearning to take part in the explo ion of multimedia CDs, Publish Yourself on CD-ROM provides all the information , as well as the software, needed for a neophyte compact disk publisher to create custom multimedia project on a CDROM disk. Part software manual, part reference work, this volume will go a J80

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long way in demystifying the arcane priesthood of CD-ROM development. The authors have made an admirable attempt to convey complex information in plain, comprehensible English. And their approach is extremely thorough. The book covers everything from file naming conventions to the jewel box that houses the CD itself. In the reference section, which comes first, readers will be presented with more than they ever wanted to know about CD standards, the various flavors of CD platform and the ISO 9660. If you ever wanted to know how fast a CD spins and why, or which side of a CD is up , this is the ection for you. Once the reader is thoroughly grounded in the technical aspects of CD development, the authors move on to practical considerations. They explain how to design an application on CD that is compatible with the ISO 9660 standard, how to manage files and directorie to optimize CD player performance and minimize the dreaded "seek time"-the time it takes for a CD player to find the specific bit of information a user asks for. The authors include explanations of the hardware and software needed to create a CD, discuss the ins and outs of crossplatform development, recommend minimum memory configurations and provide information on choosing a disk manufacturer. The CD glued to the back cover includes everything a first time CD publisher needs to get started. The software manual is written in accessible, nonthreatening language and explains how to u e the Easy CD ISO image origination development software on the CD disk. As the authors promise, the process is remarkably straightforward. Once the right equipment is assembled , a Windows user can create a virtual CD, simulate and export it for pre-mastering in four simple steps. Two caveats: The authors have made 1993

no attempt to link their information to any particular project, hoping to provide a generalized, big picture overview of the field. Unfortunately, thi s "contextle " information make the ubject all the more di tant and difficult to understand. A ample project, presented as a step-by- tep procedure, would have grounded this information in the real world and made CD development even more acce ible. And, for one rea on or another, perhaps because the printed ver ion of this book is o closely linked to it accompanying CD version, Publish Yourself on CD-ROM contains an embarrassing number of typographical errors, including the deliciou , "The file name can be up to eight characters wrong." One last thing ... before you lay out the considerable bucks for your very own CD publishing system , you would do well to consider the author ' own experience. Before they wrote Publish Yourself on CD-ROM , they publi hed themselves on CD-ROM, too. Deciding that ex ell , they ran off 5,000 copies of A CD-ROM Unabashed History of Photographic Erotica. Care to gue how many were sold? Less than 200. Which proves that freedom of the press alway has a price tag attached.

MULTIMEDIA TOOLKIT By Ru sse ll Lipton 411 pages, paperback 45.00 Publi shed by Random Hou e Electronic Publishin o 201 East 50th Street, New York , New York 1002~

Is 1993 the year multimedia finally crosses over? With everyone from George Lucas to Penthouse offering a version of the "M" word, and Apple bundling a CD-ROM as standard equipment in their latest line of entry-level Macs, this could be the year multimedia becomes the new Golconda. And like gold fever weeping the country, there seems to be a palpable ground well of interest in striking it rich in multi-

media. Even Hollywood producers who once took lunch at Spago are now searching for the killer app that will make them rich. But the only ones turning a profit are the publishers cashing in on the do-it-yourself multimedia craze. The newe t entry in the "Multimedia ... it's ea y, it's fun!" sweepstakes is the Multimedia Toolkit, by Russell Lipton. Lipton divides his book into three main sections: an analysis of multimedia technology, an overview of the marketplace and a practical look at an authoring language called DocuSource. First, Lipton provides an overview of multimedia, di cussing the theory of hypertext and linking in electronic documents, early developments in the field, and how multimedia might transform the concept of traditional publishing. Next, Lipton take an in-depth look at the bewildering array of hardware and oftware choices available to the user. After thoroughly discussing the pros and cons of hardware platform and software tools, Lipton recommends the ba ic equipment the novice multimedia author will rely on. Price tag for the fully functioning toolkitabout $20,000. Finally, he devotes the latter portion of his book to explaining how to create a "living document" using a little known piece of software called DocuSource. Originally developed by Owl International, and now licensed from Bell Atlantic, DocuSource allows an author to create a "hypermedia" document that can include snippets of video, sound, graphics and animation. Lipton calls these documents "living" because they are interactive, multilinear and capable of being hared, updated and rewritten by user over a network. Thank to an automated tagging process, it i now po sible to structure a traditional document, with it table of content , chapter headings, ubheading and body copy, a if it were an interactive piece of multimedia. The tagging algorithm automatically inserts the "tag," or links, in the document, allow-

ing a file "made ready for processing" to be converted into a DocuSource electronic document. Of cour e, the rub in all of this is the substantial effort it takes to make a file "ready for processing." Included with the paper volume of the Multimedia Toolkit are two 3.5 PCcompatible disks that include a DocuSource tutorial and a limited version of DocuSource. The two disks suck up a lot of disk space, but they do include a tutorial, word processing and paint program and "Petra," an example of an interactive educational program done in DocuSource. With the tools included in these disks, readers can, if they are so inclined, begin creating their own DocuSource documents, and building a library of electronic multimedia documents. Unfortunately, unless you've got 20 grand to spend, you won't be able to include video, sound or animation. Without these goodies, DocuSource is essentially a glorified electronic outliner, and will be hard-pressed to compete in the whizbang environment of the multimedia gold rush. -Sam McMillan

THE LITTLE S YSTEM 7 .1 BOOK By Kay Yarborough Nelson 150 page , paperback 12.00 Publi hed by Peachpit Press 2414 Sixth Street, Berkeley, California 94710

The Little System 7.1 Book, the latest in the Peachpit Press series of short, simple books on using computers, does an admirable job of explaining software features of the latest version of the Mac operating system, but it has one fatal flaw. The Little System 7.1 Book suffers from the misconception that users just want to know about new features. On the contrary, anyone considering an upgrade in system software is concerned about one thing: Compatability. Will my favorite oftware still run under the new system, or will I have to spend money upgrading? Will the

advantages of the new system justify that expense? Once those fears have been allayed, the user will con ider learning how to use the new sy tern. Kay Yarborough Nelson makes narry a mention of compatability nor of the technical changes in System 7 .1. According to Nelson, "The big difference between System 7.0 and 7.1...is a little one: System 7.1 puts fonts in a Fonts folder so you can manage them better." The technical changes-which have a very real impact on compatability-are glossed over with a don't-worry-your-prettylittle-head-about-it aside: "The rest of the changes are behind the scenes, and they just make the system run smoother and help developers develop new software for the Mac." In reality, the smoother system requires that applications be "32-bit clean." If yours aren't you'll have to upgrade to System 7. I-compatible versions. In most cases the upgrades are free, but getting a hold of them could take some time. So the obvious strategy is to order the upgrades, then in tall 7 .1. But you'd never know that from The Little System 7.1 Book. Once you' re actually ready for 7 .1, this book does an admirable job of guiding users through the software features. It's not limited just to what's new in 7 .1 but serves as a guidebook for System 7. In fact this is an excellent guide for the move from System 6 to System 7. If you have questions about the System 7 interface, font management, memory management and networking, or even minor things like aliases, hide windows and balloons, this book will set you on the right track. But what's missing is of crucial importance. -Richard Koman

B RIEFLY NOTED :

The Windows 3.1 Font Book by David Angell and Brent Heslop (Publi hed by Peachpit Press, 2414 Sixth Street, Berkeley, California 94 710, paperCOMMU

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back, $12.95) takes the mystery out of using both TrueType and PostScript fonts with Windows 3.1. Furthermore, it simply takes the confusion out of TrueType fonts for anyone who might feel they've somehow missed an episode. For those who are still trying to decide how they feel about TrueType fonts, the authors have provided an interesting comparison of TrueType and Adobe Type 1, including a printing time chart. Once you've decided which type of fonts you prefer, The Windows 3.1 Font Book does treat them equally. A wealth of information is provided on succe sfully using and managing the two types of fonts. Further chapters cover Adobe Type Manager, proprietary font formats, accessing special characters, and brief descriptions of a few professional quality font utilities for Windows. Messrs. Angell and Heslop have also included a chapter on basic typography, as well as a small compendium of font samples. Overall, the modest price and concise 174-page format make this book a guaranteed good investment for those who have even the slightest question about Windows 3.1 and typography.

purpose and use of the programs furnished with Windows are all covered. Furthermore, the authors include an excellent explanation of how Windows runs on different types of computers, how it manages the computer's RAM and disk resources and how multitasking is done. An understanding of these concepts allows the user to make intelligent decisions on the numerous performance versus capacity issues inherent to Microsoft Windows.

- Cynthia Verdow

Publications

If you're looking for one source for desktop fonts, check out Precision Type's Reference Guide. The 264page catalog gives samples and price information for typefaces from Adobe, Agfa, Linotype, The Font Company and several small foundries. Version 4.0 costs $6.95. Write to Precision Type, 4 7 Mall Drive, Commack, New York 11725 or call (800) 248-3668.

"Tips for Scanning and Using Scanned Images in Desktop Publishing" is a free brochure available from Bob Stocki & Co., a Milwaukee design firm. Send a business card to Bob Stocki & Co., Dept. SC, 2618 W. Greenfield Avenue, Milwaukee, Wisconsin 53204. Or call (414) 645-6662.

Windows 3.1 Visual QuickStart Guide by Webster and Associates (Published by Peachpit Press, 2414 Sixth Street, Berkeley, California 94710, paperback, $24.95) is another in Peachpit Press's eries of reference guides bundled with tutorial software. The comprehensive reference guides in this series are presented in a clear, essentially pictorial style. The tutorial software provides an excellent duplication of the program being taught, through which the user may progres either step-by-step to cover the entire program, or by selecting specific functions to strengthen skills in that area. The reference guide begins with the traditional introduction to what Windows is, why one would want to use it and then how to use it. Installation, using a mouse, manipulating icons and program group , and the

The Apple Multimedia Program is an information pipeline from Apple to companies involved in creating multimedia products. The program includes

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A bibliography of books and reference dealing with color theory and prepress procedures has been prepared by Miles Southworth of the Rochester Institute of Technology. It's available for $8 from Graphic Arts Publishing Co., 3100 Bronson Hill Road, Livonia, New York 14487. (800) 724-9476.

Associations

videotapes, a multimedia area on AppleLink, market research reports, discount programs and The QuickTime Forum new letter. The annual fee is $750, although di counts may apply. Call (408) 974-4897.

Conferences

The third annual conference of QuarkXPress Users International, a u ers group, is scheduled for July 22-23 in New York City. Call (603) 898-2822 or fax (603) 898-3393 for more information. Spectrum '93, a national color advertising conference, takes place September 13-15 at the Phoenician in Scottsdale, Arizona. Industry experts will address the movement towards a fully digital reproduction process, technical impacts on color reproduction, economic repercussions of various new digital pathways and the print markets of the present and future, according to the conference sponsor the Graphic Communications Association. For more information call (703) 519-8160. Seybold Seminars, recently endor ed by Microsoft, is holding a conference and expo for Windows developers, systems integrators and information systems managers. It takes place September 22-24 at the San Jose Convention Center. Call (800) 433-5200 for more information. Following June's PageMaker Conference and Exhibition in Seattle, a second conference has been scheduled for October 25-26 in Chicago. The Chicago conference presents two dozen seminars in two tracks. The emphasis is on tools, tips and tricks for u ing PageMaker effectively. For more information call (800) 221-3806 or (206) 633-3431.

- Richard Koman

DESIGN

ISSUES

ELLEN S HAPIRO

CERTIFICATION FOR GRAPHIC DESIGNERS? A HYPOTHETICAL PROPOSAL big stupid multiple-choice exam. And ultimately, of course, they will veto the idea.

HE OTHER NIGHT I WAS STANDING IN line for a movie. The guy in front of me was talking with hi s date: "What d ' ya do?" she asked. ''I'm a graphic designer. " "J'learn that in school ?" " Nah , got a computer last summer and I'm learning a I go. "

No wonder. There are many good reasons why a certification program for graphic designers is a dumb idea.

Yeah , I thought, then I'm a nuclear physici t.

• A test will be a royal pain to develop and administer.

Somehow, at that moment- on a Saturday night when other things hould have been on my mind-the words "accreditation" and "certification" popped into my head .

• It will cost a lot of money.

Those two words have been much bandied about the design community in recent years, and are almost always accompanied by impass ioned debate. An accredited educational program meets standards set by an official body, such as a state or governmental agency; an individual who is certified to practice a profe sion or trade at a particular level has passed a te t or otherwise proven that he or she is qualified.

• No one wants more bureaucracy.

Although most graphic designers seem to agree that since the advent of computers as design tools standards have fallen , or at least gotten fuzzy , they don't know what to do about it. I recently polled a nationwide sampling of design firm principals and educators , and the results indicate that over 60% feel that there' s no accurate way to tell if a job candidate is really qualified-or for a client to tell if an independent designer really has the training and skill to manage a complex project.

• Certification could provide a veil of professionalism for the unscrupulous.

Yet the idea of certification has continually been met with skeptici m, if not outright di smissal. Jack Summerford, principal of Dallas-based Summerford Design , reports that when he joined the board of the American Institute of Graphic Arts (AIGA ) two years ago, certification was brought up at every meeting, and the debate always ended the same way: no progress. Steve Liska, of Liska and Associates in Chicago, agrees that the myriad arguments pro and con have been "discus ed a billion times," and says he doubt that it can effectively happen. Many de igners, however, will complain that, "Every yoyo with a Mac who does a flyer for a bake sale thinks he ' a graphic designer. " There i a real fear that jobs are being lo t to the new army of desktop publishers and 'para-designers' who have taken a layout course at an adult education program. They will express some kind of longing for a olution. Then , they will reflect for a moment on their fanta sy of what the world would be like if we all had to prove our qualification s, most likely by taking a

Certification, a dumb idea

• The profession is too functionally diverse to reach a common standard. • Everybody hates tests. • You can ' t test for creativity, anyway. • Some ~uperb designers who've been in the business for years might do poorly, or even flunk. • Some terrible designers will figure out how to pas .

• The problem is really in the design schools , and it doesn ' t make sense to go back and try to fix it this way. • No one has been hurt or killed by a graphic design, yet.

Certification, a smart idea On the other hand, there is one reason why a certification program for graphic designers is a smart idea. • We need it. Ed Gold, professor in the Publication Design department at the University of Baltimore and author of The New Business of Graphic Design, maintains that the certification process will automatically raise professional standards. "We've been trying for years to convince clients that design does something valuable, but we've failed. Clients buy design because they have to; they can't put out a product that isn ' t designed," he says. "But the decision is usually made on the basis of pure ego , pure taste. Nobody's suggesting that people won't look at portfolios and awards any more, but let's at least have omething they can use to judge who's got the right skills. " Massimo Vignelli, of Vignelli Associate in New York, believes that people would work hard to meet the standards, and that clients who are interested in quality work would be more likely to hire certified designers, who might even be able to charge higher fees. "Certification is inevitable," COMM U

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he said at last May' s AIGA Chapter retreat, pointing out that at one time architects and phy icians didn't have professional standards either, and that "now is the time for us. " I knew as little as you about this issue two years ago. And frankly, I cared even less. Then I was assigned an article on the subject, which appeared in the A/GA Journal (Volume 10, No 1.) as, " The Accreditation Debate: Give It Up or Give It a Try?" Since then, I have spoken to many colleagues as well as to repre entatives of the accreditation and certification bodies of the architecture, interior design and business communications fields-our closest siblings. I have conducted a fax poll of design firm principals and educators , and led a rather messy discussion among 35 AIGA chapter representative and board members. And I have come to the conclusion that even though all the reasons we shouldn't do it have some merit, we need it. Before you moan and groan and turn the page (or curse me for bringing up the subject), I want you to suspend your skepticism for a few moments. Let me walk you through a concept-perhaps a flight of fancy, perhaps an attainable goal-I hope will make some sense.

The Concept

There are too many de sign-firm-business failures. Dan Weiler, of Wefler & A sociates in Evanston, Illinoi , which publishes the Design Firm Directory, estimate that there are approximately 8,000 U.S. graphic de ign firm that work directly for clients. Hi educated A MEANINGFUL , VALID guess-there are no accurate government statistics-is that approximately TEST WOULD ASCERTAIN 10% of them go out of bu ines in a typical non-recession year. Perhaps thi IF YOU HAVE happens becau e the principal s open their own offices before they're ready; WHAT IT TAKES TO HANDLE they imply didn't know what they needed to know in order to succeed. A JOB FROM THE MOMENT

The concept has six major points. Read through them. Think about them. Think about what this could mean to the profession. Then share your thoughts. Use the coupon at the end of this article to re pond by fax to CA magazine.

YOU MEET THE CLIENT THROUGH SUPERVISING THE DELIVERY OF THE

1. Certification should be individual and voluntary.

3. Taste and style should have nothing to do with it. 4. Professional certification should determine whether an individual has attained the level of skills required to serve a client independently-or to open his or her own office. 5. Certification mu t not depend upon membership in any organization, nor should membership automatically be granted upon certification. 6. The test hould be developed and administered by a neutral organization in concert with the nation 's leading graphic design associations. 1. Certification should be individual and voluntary. Unlike architects, who must be licensed by the state in which they practice in order to engage in their occupation, graphic designers will never be required to pas s a state licensing exam. Designer certification must be strictly I L L U S T R A T I 0 N

N U A L

Rather than viewing certification as a bureaucratic nightmare, it should be looked upon as an opportunity to learn everything you need to be a qualified professional; what you weren't taught in chool or that you didn't have the opportunity to pick up on the job.

Ron Martin, vice president for employee communication at American Express Company and a past chairman of the International A sociation of Bu siness Communicators (IABC), which has a well-established certification program , says, "Certification mean that you 're more than a narrow speciali t. It mean , here ' a well-rounded professional who can serve senior management." Martin notes that many IABC candidates find that the learning that take place when going through the process itself-taking professional development seminars and participating in informal tudy groups-is one of it key benefits.

FIN AL PRODUCT.

2. It should be granted to graphic designers on the basis of a combination of education, experience and testing.

J 86

voluntary. Career or bu si ness doing well? Sati fied boss and/or clients? Level of professional knowledge up to the ta k you are doing-or would like to do? No problem. No pressure. However, for those who want to learn more, challenge themselves, move to the next level, mea ure themselves against the best, or for a host of other reasons attain certification, the opportunity should be there. If a program is administered correctly, the qualification will be fair and comprehensive. And people will be interested in learning the material , meeting the standard s, preparing for the test, making ure they 're ready to practice the profession in a eriou way.

I 9 9 3

Melanie Roher, principal of Roher De ign, Inc. in Ardsley, New York, recalls that there came a moment of truth in her career when she realized that she would have to improve her professional and project management kills. "I took a two-year entrepreneurial business course," she says. "If I'd been working toward a graphic design certification, I might have been able to avoid the trial-and-error route." 2. It should be granted on the basis of a combination of education, experience and testing.

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DESIGN ISSUES

Everybody knows a fabulous designer who majored in biology or who never graduated from college. Jilly Simons of Concrete, the Chicago design firm she heads, worries that she'd "hate to lose those great designers/thinkers/ practitioners with no formal design education." Not to worry. The mandate is to develop a program that makes sense for our profession, that reflects the way things really are. There need not be a formal education requirement, for example, for someone who can demonstrate professional competency through a portfolio or in other ways.

of interior designers. All U.S. and Canadian interior design organizations subscribe to the impressive testing program administered by the National Council for Interior Design Qualification (NCIDQ). To be eligible to take the test, an interior designer must have at least six years of combined educational and practical experience. This includes combinations such as: a four-year degree in interior design plus two years of professional experience; a twoyear certificate plus four years of experience, etc. Based on a comprehensive survey of the graphic design field , we can devise our own realistic eligibility requirements.

Likewise, everybody also knows someone with an MFA from an esteemed design school who they think would 3. Taste and style should have nothing to do with it. have better success as a biologist-or as anything but a "If professional standards are regulated by licensing archidesigner. Just as professional standards in graphic design tects and interior designers , why do we still have so are "all over the place," so are educational standards. many ugly buildings and offices?" asks John DuFresne, Graphic design is taught primarily by principal of Pig's Eye Design in St. oral tradition. College teachers impart Paul, Minnesota. Like most of us, what they know, with their own DuFresne questions whether an aptitude IF IT ' S DIFFICULT FOR personal bias. For example, in over for aesthetics can be tested. five years teaching both undergraduate DESIGN FIRM PRINCIPALS Well, we shouldn't even try. Whether and graduate typography and corporate you like hot pink or cool gray #3, design courses at two of the leading WHO ' VE WORKED IN Helvetica or Bernhard Modern, is up design schools in the New York area, to you-and the employers or clients no one told me what my classes should THIS BUSINESS FOR AN who hire you. The test must measure cover, what it was expected that knowledge and skill, not taste. It 's graduates should know. I created my AVERAGE OF TWENTY YEARS not whether you favor certain colors, own curriculum as I went along-as it's whether you know how to specify many of my colleagues do. And as TO TELL IF SOMEONE IS color so that a printer understands design educator Ed Gold points out, your directions. It's not which type graphic design is increasingly seen as REALLY QUALIFIED , it's whether you fashions you prefer, a "cash cow" by lesser colleges who can spec type accurately. A meaningare cranking out graduates with minimal IMAGINE HOW IT IS if you ful, valid test would ascertain training by a not-very-talented faculty. have what it takes to handle a job from According to one design educator, there FOR CLIENTS . the moment you meet the client are over 850 programs-from comthrough supervising the delivery of munity colleges through universitiesthe final product. The test must be that graduate many thousands of graphic a test of professional capabilities, not preferences or design majors every year. prejudices. It should not be solely a "production test." Given the unregulated and uneven nature of design educaFar from it. It should test those senior-level skillstion , a degree is not enough by itself. To assure true problem solving, analysis, organization of information , professionalism, a valid certification examination should communication and presentation-necessary to work be offered only to people who have practiced in the field with management to produce specific effects and achieve for a specified number of years. Experience and a portfolio desired goals. must be key ingredients. And because everyone's proThe NCIDQ test can be a paradigm for graphic design fessional experience is different, the test will most likely qualifications. An instructive 326-page book, Interior require exposure to and study of areas that one might not Design Reference Manual, reviews the subject matter and encounter in day-to-day work. If your boss doesn't know provides sample test questions. anything about signage standards, information design, or Security and Exchange Commission requirements for Here are highlights of the contents: financial statements, chances are you won ' t either. But I: Theory studying for the exam would give all candidates a chance Elements and principles of design such as color systems to expand their knowledge and very likely to prepare themand spatial perception. selves for new or higher-level positions. There is much to be learned from the standards required J 88

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II: Programming, Planning and Predesign

A checklist of the client interview , determining space and volume needs, circulation patterns, and methods of co t e timating. III: Contract Documents Construction drawings , specifications and bidding procedure , including the "dutie , rights and responsibilities of the owner." IV: Furniture, Fixture and Equipment

volume."t Several different solutions that would be given high marks are illustrated. Imagine how this can be applied to graphic design! In my mind, the question is not what can we possibly put in a test for graphic designers, but what we will have to leave out. Merely the equivalent of parts I and II-the production stuff-has to include process and flat color, principles of typography, the printing and bindery processes, paper grades and specifications, and on and on.

Types , election , and standards.

Michael Weymouth, of Weymouth Design, Inc., in Boston, can reel off a whole list of technical material he would V: Building and Interior Systems like to see covered: When should you use short-grain paper, Construction of partitions, door , ceilings and cabinetry; what constitutes a mailable envelope, should you reference finishes, lighting, mechanical and electrical systems, coated or uncoated ink swatches for matte-coated stock. acoustics. "I am very big on exploring the content," he says. "I VI: Communication Methods hate to see things done wrong, like a double-saddle-wire job that's bound Types of drawings, axonometric, isoRATHER THAN wrong, with a big gap in the middle." metric , etc. VII: Code and Standards Building codes, exiting, and barrierfree de ign.

VIEWING CERTIFICATION AS A BUREAUCRATIC

VIII: Business and Professional Practice

4. Professional certification should determine whether an individual has attained the level of skills required to serve a client independently-or to open his or her own office.

NIGHTMARE, IT SHOULD

The design firm principals I asked tend to agree that it's difficult to tell BE LOOKED UPON from a portfolio whether a candidate is qualified for a job. They rely on IX: Project Coordination AS AN OPPORTUNITY resumes, interviews, "chemistry," and From coordinating and directing, especially on references. Many report TO LEARN EVERYTHING changes in the work, to progress that they're only too aware that plenty payments. of good-looking stuff in portfolios was YOU NEED TO BE A done by a supervi or, perhaps the art X: Hi tory director, or was the result of a group A timeline of periods and art hi tory in QUALIFIED PROFESSIONAL. effort-and that dishonest references art, interiors and architecture. have helped non-qualified people get Test questions range from multiplejobs from which they had to be fired. choice, based on written information and graphic materials Joe Feigenbaum, of The Design Office, Inc., in Irvington, New York, says, "I've seen some 'great' portfolios where (" Which is the correct symbol for a duplex outlet?") to 'the designer' basically completed mechanical production." written answers ("What are the most important questions Feigenbaum thinks the most valuable benefit of certification you need to ask the client in such-and-such a situation in might be encouraging design schools to offer more comorder to plan a small medical office?"). The candidate then plete curricula and forcing lesser schools to improve or has 2 1/ 2 hours to complete a "practicum/scenario" that disband their programs. Steve Liska adds, "Schools evaluates ability to interpret a written program and develop graduate designers who can't conceptualize, problema floor plan. He or she is given an architectural plan with solve or functionally do much." He sugge t that if an perimeter walls, po ition of elevator bank, wet column, etc. accredited core curriculum were developed to teach a and the client's program requirements. The challenge is to broad spectrum of craft and concept, our indu try would develop and correctly draw an interior scheme that includes be healthier. "It would appear that the whole i ue is a all required pace , adjacencies , circulation, furniture reflection of our disappointment in our education system groups, lighting. Whether the wallpaper is floral or and the students it produces," adds Kenneth Cooke, execustriped-or there is no wallpaper pecified at all-i tive vice president and creative director at Siegel & Gale irrelevant. The manual warns, "Remember that the jurors in New York, who indicates that if schools were accredited are not looking for award-winning innovative solutions, it would, "help separate the cosmetics from the knowledge." just proof that you can respond to a program and integrate Owner-de igner agreements, ethics, insurance, business management and public relations.

design principals and lighting into three-dimensional

To assist in hiring, a brief entry-level or junior designer COMMU

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test could be developed to be administered in the office during interview situations. This would be a helpful tool for employers, and could serve as a guide for design schools which-in the hopes of producing better-qualified graduates-might endeavor to add the content to their curricula.

The IABC test, as an example, makes the assumption that you will be serving senior corporate management at the highest levels. The oral portion of the examination asks, "How would you advise the CEO to proceed with a communications program in such-and-such a crisis situation?" The NCIDQ test makes the assumption that you, the interior designer, will get this commission: a re taurant, a neonatal intensive care unit, retail shop, building lobby, whatever. And you will do it all by yourself. You will have no boss watching over your shoulder, no team to cover for your deficiencie . It will be done correctly, to the client's satisfaction, meeting all programming requirements, documents in order, construction supervised properly.

However, the type of professional certification I'm proposing here is something quite different indeed. It is intended to determine whether an individual has attained the level of skills required to serve a client independently and without supervision-or to open his or her own office. If it's difficult for design firm principals who've worked in this business for an average of twenty years to tell if someone is really qualified, imagine how it is for clients. As a graphic designer-whether you work at a corporation And they're the ones we should be concerned about. or a design office or head your own firm-only when you They want to know that you-the designer-know what can demonstrate the ability to earn that you 're doing, that you 're not a flake, level of trust should you be able to put that the thousands of dollars they ' re the initials that indicate profe sional investing in a project are going to be TO ASSURE certification (whatever initials they managed properly from start to finish. turn out to be) after your name. Like TRUE PROFESSIONALISM , Four areas should be covered: design other certified professionals , you theory and history, the design process would have to apply, submit a portfolio A VALID CERTIFICATION itself (problem solving and visual com(not to be judged on taste and style munication), professional and business criteria!) and take oral and written EXAMINATION SHOULD BE practices and production. Kenneth examinations that would be offered Cooke, who recognizes that, "a creative on a quarterly or bi-annual basis in OFFERED ONLY TO idea from the mind of a non-certified selected cities around the country. designer is worth more to a client PEOPLE WHO HA VE

Will there be economic benefits to certification? The de ign firm princiPRACTICED IN THE FIELD pals I spoke with were equally divided on the question of, "Will certified FOR A SPECIFIED NUMBER designers be able to charge higher fees?"-50% said no and 50% maybe. OF YEARS. However, some people do see a distinct advantage. "I do look at it from a competitive point of view," say Mike All this cannot be learned in school. Weymouth. " At a certain level you want people who Some of it is not academic material, it is professional, onaren't qualified to be weeded out. You want to have the the-job material. Like many of my colleagues who teach, them. " edge on I believe that design school is the place to get a good

than a pedestrian idea from a merely competent but certified designer," has developed a detailed list, a body of knowledge that he believes every senior or practicing designer should have mastered and it also includes marketing, client relations and environmental responsibility.

foundation in theory, then to experiment, to solve the crazy impractical problems, to not be constrained by the realities of the business world. Wouldn't it be awful if during those precious four years of learning the liberal arts and art history, and taking design theory and studio classes, you had to sit through lectures on contracts and proposals? Although good business practice can-and should-be introduced, perhaps in a senior-year portfolio class or a graduate-level seminar, in reality it is only learned through experience, years of experience. I have owned and managed my own business for eighteen years and I'm still learning. But how I wish I had had the opportunity to prepare for a certification program like the one I'm describing before I opened my first business in 1976. What mistakes and calamities could have been avoided! 190

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What do clients think about certification? I spoke to about half a dozen experienced "design buyers ," and to report that they're keen on the idea is an understatement. Once they understand the concept, which admittedly takes some explaining , they love it. They say-with the caveat that the credentials must be genuine, not awarded to unqualified people and not passed off as a sub titute for talentthat it would really make a difference. "If there were a directory of certified designers, I would limit the people I work with to that group," vows Jane Shannon, manager of human resources communications for Citibank, the global financial services giant. "Business people tend to romanticize designers, as in, 'they're artistes, they don ' t really do this for a living,"' Shannon notes. " Certification might raise respect for the profession and help put an end to

unethical practice like asking five designers to come up with ideas and then giving the best one to the in-house guy with a P.C." Mary Durkin, manager of creative services at the headquarter of Big Six accounting firm Deloitte & Touche in Wilton, Connecticut, reviews over 50 portfolios a year and work with ix or even design firms at a time. She says that the recent proliferation of desktop people who are unqualified to function as project designer ha been driving her crazy. "You can't ay everyone who's a board-certified surgeon i an equally good doctor, but it sure gives you a field from which to choose," she tates. "There's so much involved in designing omething, even if it' a one-page flyer, people undere timate the knowledge and the kill that's required." Durkin say that if she had to make a decision between two portfolio of equal quality, she would definitely choose the certified designer. In Philadelphia, at The Institute at Pennsylvania Hospital, Jane Friedman Century, a sistant director of marketing ervice , who wa trained as a designer and is now responsible for working with de igners on a range of publications, ays that the business community needs help. "Your basic businessper on doesn't know a font from a food chain," she remark , noting that she would probably choose certified designers because she'd be more confident that they'd have more bu iness savvy and wouldn't operate "purely from the gut." Century believes that keeping up the certification entitlement through continuing education hould be an intrin ic part of the program.

otherwise admirable, some organization require that "successful candidates retain their accreditation as long a they are members and continue to pay the annual maintenance fee." There are a couple of good reasons why graphic designer certification must not depend upon any particular affiliation. First of all, the Federal Trade Commission (FTC) will not approve a certification program that requires non members to join an association before they are allowed to seek certification. Secondly, the AIGA, the oft-cited example of the "right" organization to do this for us, i a national nonprofit organization that promotes excellence in graphic design-as an art, as a profession. If the AIGA got into the busine s of saying yea or nay to the qualifications of individual members, that, in my opinion, could very likely hinder its mission. Chris Jenkins, an associate director at AIGA national headquarters in New York, explains, "Although we are studying the appropriateness and feasibility of developing a certification program, our mission is to promote the field of graphic design, not to promote individual designers." And if certification were granted to members of one graphic design association or another, what about the printers, photographers, and illustrators who are members? Would

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"Everybody's so cost-consciou these days," notes Citibank's Shannon, "It would be great to have two levels of certification, more junior and more senior, so that we could choo e the level appropriate to the project."

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5. Certification must not depend upon membership in any organization, nor should membership automatically be granted upon certification.

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If you' re with me this far, you' re probably wondering, who' going to do all this? Association Management magazine cites 151 national, state and local organizations that have education and certification programs for their member , beginning with Alabama Concrete Industries Association and ending with Wyoming Trucking As ociation. Forget it! I am oppo ed to any requirement that is dependent on membership in a particular organization. Sure, an a sociation can, if it choo e , et up self-serving, hollow qualification and try to make sure all its members pass. Many organization initiate a "grandfather" clause, which means that all current members are automatically certified on the day the program goes into effect. But what value would that have? Would clients have to wait until the current generation dies off to have a meaningful situation? And, like the International A ociation of Business Communicators, whose accreditation program is

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they be granted different status? Could they no longer join? Quite simply, granting certification would be a tricky business for a design organization to be in. 6. The test should be developed and administered by a neutral organization in concert with the nation 's leading graphic design organizations. Seven design organizations are represented in the National Council for Interior Design Qualification. These include the American Society of Interior Designers (ASID) , the Institute of Business Designers (IBD), Interior Design Educators Council (IDEC), and so forth. All assist-in conjunction with the Educational Testing Service in Princeton, New Jersey, with the development and constant update and revision of the NCIDQ 's tests. All participate in the review of education and practice requirements, research, surveys, analysis, question development, grading, and jury procedures. Doesn ' t this make sense for the graphic design profession ? Why not, as a start, invite the AIGA, American Center for Design , Design Management Institute , Corporate Design Foundation, Graphic Artists Guild , and perhaps the International Council of Graphic Design Associations (ICOGRADA) to form a similar alliance and create a certification board. Representatives of each organization, in concert with each other and with a panel of design educators and practicing designers, could compose the basic

outline and procedures, amas the funding, and oversee the inception of the program. Rather than grant acceptance to-or reject-individual member , the e organizations could use their expertise to advise, define , guide , set standards , and update; in short, to ensure that the program is developed and administered in the best interest of the entire profession and all its practitioners. Loren Swick, executive vice president of the NCIDQ, says that the interior de ign profes ion is as broad and diver e as graphic design , and that developing its program-it was founded in 1972- was a daunting challenge. "But that now the research and results speak for themselves." He acknowledges that in the early days there was skepticism among interior designers, too. "People don ' t like to ubject themselves to rigor and to po sible failure ," he say . "But when you have a benchmark to measure yourself against, a standard to rise to, it all pays off. "

What do you think? It ' s time for me to stop writing and start li stening. I welcome your comments. Is this fantasy o preposterous, after all? If you would like to have an input in the thinking behind the inception of any program that might be considered or developed, plea e copy and fax the following brief survey to Communication Arts. 1. Taken from the Interior Design Reference Manual by David K. Bal last with perm iss ion from the publisher. Professional Publ ica tion s, Inc., ©1992 .

urve PLEASE FAX A PHOTOCOPY OF THIS FORM TO: 415 . 326 . 1648

0 Yes, I think the kind of certification program you 've de cribed fo r graphic des igner make

0 No, even after reading thi s arti cle I don 't think it's a good idea and would veto it because:

Name

Age

0 I like the bas ic concept but would make these change :

Empl oyer

Pos ition

Number of years in field

0 I have the following suggesti ons:

Schoo l/college attended

Degree

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FREE-LANCE B ARBARA G ORDON

DOING WHAT You WANT vs. DOING WHAT SELLS E ALL KNOW THAT THE ART, PHOTOgraphy and design commi ioned in our busine usually falls into traditional areas. When ca ting people they are of a certain age and type; industrial and product shots are done in a straightforward , albeit, flattering manner; design is approached from a classical proven venue. Freelancers working in these areas will usually find their portfolios and techniques appealing to a wide spectrum of clients. The wider the audience, the better the statistical chances are of getting an assignment.

A a representative I often run into frustrated freelancers who cannot get reps and who truggle to get jobs because their work does not fit into the mainstream of what is selling. Often they ask me, "Should I change my portfolio to make it more traditional?" And I ask them, "Is that what you'd like to do-be more traditional?" And they usually reply, "No, but I can't seem to make a living doing what I like to do. What do you suggest?" I'm not a financial adviser, so I can't advise anyone on what they need to live on. But, on a personal level, my answer i that any freelancer who has a unique vision should pursue it heart and soul before calling it quits. I have een many artists, photographers and designers, who, through dogged persistence, have finally won out and become uccessful. One warning however, sometimes this per i tence needs to last decades. But again, isn't it worth years of struggling if you can finally achieve success at doing omething you truly love for the rest of your life? (Freelancing has no mandatory retirement age.) I know, I can hear some of you saying right now, "But how am I supposed to pay the rent?" You may have to pursue your vi ion part-time and do mainstream work part-time to pay the bills. Start by eriously analyzing your work to determine who your audience is. Ask yourself how and where your work can be used? Business? Advertising? Medicine? Books? Engineering? Get input from your family and friendsbrain torm. Once you get an idea of the potential audience for your work, you have to start building a list of prime prospect . You can begin with the Artists Market or the Photographers Market, two books that are usually available in local librarie . These reference books give you names of corporations and publications that buy art and photography.

Once you've assembled your list, then compose a one-page letter outlining how you work and what you are trying to accomplish. Send the letter, along with about five or six printed samples of your work (no originals please) , to your mailing list. Shortly after sending your letter, begin thinking about writing a press release on your work. Any public relations manual will show you how. Remember, publications are looking for topics to interest their audiences. A press release might center on a technique used in your work, how you broke into a certain market or perhaps a challenging as ignment that could be documented. Try to think in terms of what you are doing with your style and work assignments that would be of interest to a particular magazine's audience . Send copies to those magazines and all of the art trade journals. Initially, you should take any assignment that comes along, regardless of fee, because this will allow you to exhibit your work and gain credibility. You must also keep adding and mailing to your prime list. Every time you deal with a client, you must ask that client if they can refer you to anyone else who might be interested in your work. Mail your letter and samples to representatives periodically, just in case their situations have changed since your last contact. If you can afford it, you may want to consider going into one of the smaller or regional directories just to get feedback. If you can ' t afford it, wait a year or two, until you have built up your portfolio and gotten some feedback from mailings and then go into a directory. You have to keep adding to your mailing list, sending press releases and pursuing clients relentlessly. You are going to have to do the work yourself and it probably is going to be a long arduous up-and-down lifestyle for quite a while, but if you are good at what you do and determined to do it your way, it can work. You have to be realistic in your expectations, very persistent, have enormou faith in yourself and the ability to proceed beyond the point of discouragement. Every year there are a few freelancers who defy the odds and end up following their own original visions. You could be one of that cadre. I believe that no one should give up a dream without a fight.

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TAD CRAWFORD

ILLUSTRATOR-AGENT CONTRACT

HE FOLLOWING ARTICLE and form are from Business and Legal Forms for Illustrators. Authored by our regular legal columnist, Tad Crawford, the 160-page book includes a di cu sion and negotiation checklists for 17 forms. The form are also available on computer disk. An agent can be of immeasurable value to an illustrator. Instead of seeking assignment , the illustrator can devote full time to creative work and trust that the agent will provide marketing impetus. The cost to the illustrator is the agent's commission, which is usually 25 percent, but the hope is that the agent will enable the illustrator to earn more. The agent may have better contacts and be able to secure a better quality of client and more remunerative a ignments. The agent hould not be given markets in which the agent cannot effectively ell. For example, an agent in New York may not be able to sell in Los Angele or London. Nor should the agent be given exclusivity in markets in which the illustrator may want to sell or want to have other agents sell. The length of the contract should not be overly long, or should be subject to a right of termination on notice. While the agent may promise to use best efforts, such a promise is almost impossible to enforce. If the agent fails to sell, the illustrator must take over sales or find another agent. Promotion is an important aspect of the agent's work for the illustrator. The illu trator will have to provide sufficient samples for the agent to work effectively. Beyond this, direct mail campaigns and paid advertising in promotional directorie may gain clients. The sharing of such promotional expenses must be agreed to between the illustrator and agent.

accounts and the commission paid to the agent on such accounts must be negotiated. Termination raises another difficult issue, since the agent may feel that commissions should continue to be paid for assignments obtained after termination from clients originally contacted by the agent. There are everal approaches to resolve this. The agent may be given a continuing right to commissions for a limited time depending on how long the representation lasted. Or the illustrator may make a payout to the agent, either in a lump sum or in installments over everal years. If the relationship was brief and unsuccessful, of course, the agent should have no rights at termination except to collect commissions for assignments obtained prior to termination. The agent would usually handle billings and provide accountings . The illustrator would want to be able to review the books and records of the agent. Since both the illustrator and agent provide personal services, the contract hould not be assignable. A distinction has to be made between an agent obtaining assignments and obtaining a book contract. The agent for an author receives a commission of 10 to 15 percent, compared to the 25 percent charged by an illustrator's agent. If an agent arranges an assignment for a book jacket or a limited number of illustrations in a book, the 25 percent commission is reasonable. But if the illustrator is to be the author or coauthor of a book, it might be fairer to reduce the commission to the 10 to 15 percent range. One consideration might be whether the illustrator receives a flat fee or a royalty, since a royalty makes the illustrator more like an author.

• State whether the repre entation is exclusive or nonexclusive. (Paragraph 1) If the representation is exclu i ve, the agent will have a right to commissions on a signments obtained by other agents. Assignments obtained by the illustrator would fall under the hou eaccount provision in Paragraph 5. • If the agent uses other agents for certain markets (for example, for foreign sales or film sales), review the impact of this on commissions.

• Limit the types of art the contract covers.

Filling in the Form

• Any rights not granted to the agent should be reserved to the illustrator. (Paragraph 1)

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• Limit the cope of the agent's represention by geography and types of markets. (Paragraph 1)

• State that sales through gallerie or ales of original art in general are not within the scope of the agency agreement.

In the Preamble fill in the date and the

Negotiation Checklist

A good source to locate agents i the membership list for the Society of Photographer and Artist Repre sentatives (SPAR), P.O. Box 845, FDR Station, New York, New York 10017.

One sticky issue can be house accounts ; clients of the illustrator not obtained by the agent. Both the definition of house I L L U S T R A T I 0

names and addresses of the illustrator and agent. In Paragraph 1 indicate the geographical area and markets in which the agent will represent the illu trator and whether the representation will be exclusive or nonexclu ive. In Paragraph 5 fill in the commission rates. In Paragraph 6 check the party responsible for billings. In Paragraph 7 indicate the time for payment after receipt of fees and the intere t rate for late payments. In Paragraph 8 indicate how promotional expenses will be shared. In Paragraph 11 state when and for how long the agent shall have a right to commissions after termination. In Paragraph 13 give the names of arbitrators and the place for arbitration, as well as the maximum amount which can be sued for in small claims court. In Paragraph 17 fill in which state's laws will govern the contract. Both parties should sign the contract and, if necessary, fill in the Schedule of House Accounts by listing the names and addresses of clients.

• Require that the agent use best efforts to ell the work of the illu trator. (Paragraph 2) •State that the agent shall keep the illustrator promptly and regularly informed with respect to negotiations and other matter , and hall ubmit all offer to the illu trator. • State that any contract negotiated by the agent i not binding unle igned by the illustrator.

•If the illustrator is willing to give the agent power of attorney o the agent can ign on behalf of the illustrator, the power of attorney should be very specific as to what rights the agent can exercise. •Require that the agent keep confidential all matters handled for the illu trator. • Give the illustrator the right to accept or reject any assignment obtained by the agent. (Paragraph 2)

Edward Koren Cartoonist and Illustrator Pratt '64

• Specify the samples to be supplied to the agent by the illustrator. (Paragraph 3)

• If the amples are valuable, agree as to their value.

• Specify the commission percentage for assignments obtained by the agent during the term of the contract. This is usually 25 percent of the fee, and may be 21/2 to 5 percent higher for out-oftown assignments.

• Require the agent to insure the amples at the value agreed to. • Raise the agent's responsibility for the samples to strict liability for any los or damage. • Provide for a hort term, uch a one year. (Paragraph 4) This interplays with the termination provision. Since termination is permitted on thirty days notice in Paragraph 11 , the length of the term is of le s importance in this contract.

• If the contract has a relatively long term and cannot be terminated on notice at any time, allow termination if the agent fails to generate a certain level of sale on a quarterly , semiannual, or annual basis. • If the contract has a relatively long

term and cannot be terminated on notice at any time, allow for termination if the specific agent dies or leaves the agency.

• Define house accounts, probably as accounts obtained by other agents prior to the contract or obtained by the illustrator at any time, and specify the commission to be paid on such accounts. A reasonable commission might be 10 percent, especially if the agent does the billing. The illustrator may not want to pay any commission on the e accounts, while the agent may want the full commission. (Paragraph 5) • List house account by name on the Statement of House Accounts. This can be supplemented if hou e account are

For over a century, Pratt Institute has helped people distinguish themselves in virtually every creative field. From fine arts to architecture, from photography to computer graphics, Pratt nurtures and motivates students to take their talents as far as they will go. That's why Pratt students don't just draw it or build it. They also make it. For more information about Pratt's undergraduate and graduate degree programs in computer graphics, film/video, graphic design, illustration, packaging design and photography, call 1-800-331-0834, ext. 812, or write to the Office of Admissions.

Pratt

Draw it. Build it. Make it. I

c 1992 Ari work courtesy of&/ward Koren.

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LEGAL AFFAIRS Illustrator-Agent Contract AGREEMENT, entered into as of this _ _ day of _ _ _ _ , 19_ _ , between _ _ _ _ _ _ __ (hereinafter re ferred to as the "Illustrator"), located a t - - - - - - - - - - - - - - - - and _ _ _ _ _ _ _ _ _ _ _ __ _ _ _ _ _ _ _ (hereinafter referred to as the "Agent"), located at _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ __

developed after the contract is signed. (Paragraph 5)

WHEREAS, the Illustrator is an established illustrator of proven talents; and WHEREAS, the Illustrator wishes to have an agent represent him or her in marketing certain rights enumerated herein; and

• State that the commis ion shall be computed on the billing less any expenses incurred by the ill ustrator, e pecially if expen es are substantial and are not reimbursed by the client. (Paragraph 5)

WHEREAS, the Agent is capable of marketing the artwork produced by the Illustrator; and WHEREAS, the Agent wishes to re present the Illustrator; NOW, THEREFORE, in consideration of the foregoing premises and the mutual covenants hereinafter set forth and other valuable consi deration , the parties hereto agree as follows: 1. Agency . The Illustrator appoints the Agent to act as his or her representative : (A) in the following geographical area _ _ _ _ _ _ _ _ _ _ _ _ __

• State that commissions are not payable on billings which have not been collected. (Paragraph 5)

(B) for the following markets: Advertising Corporate 0 Book pu blishing Magazines

• Confirm that the agent will not collect a commission for the illustrator's speaking fee , grants, or prizes.

Other, specified a s - - - - - - - - - - - -(C) to be the Illustrator's 0 exclusive

Any rights not granted to the Agent are reserved to the Illustrator.

• Di tinguish between an assignment to contribute to a book and being the author or coauthor of a book. Agents representing authors charge 10 to 15 percent of proceeds from the book as the commission. While the dividing line may be a fine one, illustrators likely to make substantial contributions to a book should con ider whether treatment as an author may be appropriate in terms of the agent' s commission rate. (Paragraph 5)

2. Best Efforts. The Agent agrees to use his or her best efforts in submitting the Illustrator's work for the purpose of securing assignments for the Illustrator. The Agent shall negotiate the terms of any assignment that is offered, but the Illustrator may reject any assignment if he or she finds the terms thereof unacceptable. 3. Samples. The Illustrator shall provide the Agent with such samples of work as are from time to time necessary for the purpose of securing assignments. These samples shall remain the property of the Illustrator and be returned on termination of this Ag reement. The Agent shall take reasonable efforts to protect the work from loss or damage, but shall be liable for such loss or damage only if caused by the Agent's negligence. 4. Term. This Agreement shall take effect as of the date first set forth above , and remain in full force and effect for a term of one year, unless terminated as provided in Paragraph 11 . 5. Comm issions. The Agent shall be entitled to the following commissions : (A) On assignments obtained by the Agent during the term of this Agreement, _ _ percent of the billing. (B) On house accounts, _ _ percent of the billing. For purposes of this Agreement, house accounts are defined as accounts obtained by the Illustrator at any time or obtained by another agent representing the Illustrator prior to the commencement of this Agreement and are listed in the Schedule of House Accounts attached to this Agreement. (C) For books which the Ilpercent of the royalties or licensing proceeds paid to the Illustrator by the lustrator authors or coauthors . _ publisher or its licensees. It is understood by both parties that no commissions shall be paid on assignments rejected by the Illustrator or for which the Illustrator fails to receive payment, regardless of the reason payment is not made. Further.

• In the case of an agent for a book, consider letting the agency do only that particular title or project. • Determine who will bill and collect from the client. This would usually be a service provided by the agent. (Paragraph 6) • Give the illustrator the right to collect his or her hare directly from clients. This might provide some protection against the agent ' s insolvency or holding of money in the event of a dispute. Usually, the illustrator would want the agent to collect billings. • Require payments to be made quickly after billings are collected. (Paragraph 7)

no commissions shall be payable in either (A) or (B) above for any part of the billing that is due to expenses in-

advertising in directories. The agent may contribute 25 percent or more to these expenses. (Paragraph 8) • State that both parties must agree before promotional expenses may be incurred by the agent. (Paragraph 8) • Require the agent to pay for a specified minimum amount of promotional expense , perhap without any sharing on the part of the illustrator.

• Charge interest on payments that are overdue. (Paragraph 7)

• If expenses incurred by the agent benefit several illustrators , be certain there is a fair allocation of expenses to each illustrator.

• Require the agent to treat money due the illustrator as trust fund s and to hold it in an account separate from the funds of the agency. (Paragraph 7)

•Require the agent to bear miscellaneous marketing expenses , such as messengers , shipping, and the like. (Paragraph 8)

• Share promotional expenses, such as direct mail campaigns or paid page

• If the agent insists that the illustrator bear certain expenses , require the

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nonexclusive agent in the area and markets indicated .

illustrator' approval for expenses in excess of a minimum amount. • State that the illustrator hall receive a copy of the invoice given to the client at the time the illustrator is paid. (Paragraph 9) • Provide for full accountings on a regular ba is, uch as every six months, if requested. (Paragraph 9) • Provide the right to inspect books and records on rea onable notice. (Paragraph 10) • Allow for termination on thirty days notice to the other party. (Paragraph 11 ) • State that the agreement will terminate in the event of the agent' bankruptcy or insolvency . (Paragraph 11 ) • If termination occurs, specify for how long , if at all , the agent will receive commis ions from assignment obtained

curred by the Illustrator in performing the assignment, whether or not such expenses are reimbursed by the client. In the event that a flat fee is paid by the client, it shall be reduced by the amount of expenses incurred by the Illustrator in performing the assignment, and the Agent's commission shall be payable only on the fee as reduced for expenses.

6. Biiiing. The 0 Illustrator 0 Agent shall be responsible for all billings. 7. Payments. The party responsible for billing shall make all payments due within _ _ _ days of receipt of any fees covered by this Agreement. Such payments due shall be be deemed trust funds and shall not be intermingled with funds belonging to the party responsible for billing and payment. Late payments shall be accompanied by interest calculated at the ra te of _ _ percent per month thereafter .

8. Promotional Expenses. Promotional expenses, including but not limited to promotional mailings and paid advertising , shall be mutually agreed to by the parties and paid _ _ percent by the Agent and _ _ percent by the Illustrator. The Agent shall bear the expenses of shipping , insurance, and similar marketing expenses.

9. Accountings. The party responsible for billing shall send copies of invoices to the other party when rendered . If requested, that party shall also provide the other party with semiannual accountings showing all assignments for the period, the clients' names and addresses, the fees paid , expenses incurred by the Illustrator, the dates of payment, the amounts on which the Agent's commissions are to be calculated , and the sums due less those amounts already paid.

1 O. Inspection of the Books and Records. The party responsible for the billing shall keep the books and records with respect to payments due each party at his or her place of business and permit the other party to inspect these books and records during normal business hours on the giving of reasonable notice. 11. Termination. This Agreement may be terminated by either party by giving thirty (30) days written notice to the other party. If the Illustrator receives assignments after the termination date from clients originally obtained by the Agent during the term of this Agreement, the commission specified in Paragraph S(A) shall be payable to the Agent under the following circumstances. If the Agent has represented the Illustrator for _ _ months or less, the Agent shall receive a commission on such assignments received by the Illustrator within _ _ days of the date of termination . This period shall increase by thirty (30) days for each additional _ _ months that the Agent has represented the Illustrator, but in no event shall such period exceed _ _ days. In the event of the bankruptcy or insolvency of the Agent, this Agreement shall also terminate. The rights and obligations under Paragraphs 3, 6, 7, 8, 9, and 10 shall survive termination .

12. Assignment. This Agreement shall not be assigned by either of the parties hereto. It shall be binding on and inure to the benefit of the successors , admininstrators, executors , or heirs of the Agent and Illustrator. 13. Arbitration. Any disputes arising under this Agreement shall be settled by arbitration before _ _ _ __ , except that the parunder the rules of the American Arbitration Association in the City of ties shall have the right to go to court for claims of$ _ _ or less. Any award rendered by the arbitrator may be entered in any court having jurisdiction thereof. 14. Notices. All notices shall be given to the parties at their respective addresses set forth above. 15. Independent Contractor Status. Both parties agree that the Agent is acting as an independent contractor. This Agreement is not an employment agreement, nor does it constitute a joint venture or partnership between the Illustrator and Agent . 16. Amendments and Merger. All amendments to this Agreement must be written . This Agreement incorporates the entire understanding of the parties. 17. Governing Law. This Agreement shall be governed by the laws of the State of _ _ _ _ __ IN WITNESS WHEREOF, the parties have signed this Agreement as of the date set forth above .

Illustrator_ _ _ _ _ _ _ _ _ _ _ __

by the illustrator from clients developed by the agent during the time the contract was in effect. (Paragraph 11) For example, if the agency contract lasted for le s than a year, the agent might have uch a right for three months after termination. If the agency contract lasted more than a year but les than two years, the right might continue for six months after termination. If the agent has a right to commi ion after termination for too long a period, the illu trator may find it difficult to find another agent. • In tead of allowing the agent to collect commi ion for some period of time after termination , a fixed amount might be tated in the original contract. For example, 20 percent of the average annual billings for the prior 3 year might be payable in 3 installments over a year. The percentages and payment

Agent _ _ _ _ _ _ _ _ _ _ _ _ _ __

schedule are negotiable, but the illustrator must avoid any agreement which would make it difficult either to earn a living or find another agent. The percentage to be paid might increase if the agent has represented the illu trator for a longer period (or decrease for a shorter period), but should be subject to a cap or maximum amount. • Do not give the agent any rights to commi ions from house accounts after termination. • For book contract , it is customary for the agent to continue to collect royaltie and deduct the agent' commission even after termination of the agency contract. However, it would be better for the illustrator to have the right to direct payment of his or her hare after such termination.

contract, since both the agent and the illustrator are rendering personal services. (Paragraph 12) • Allow the illustrator to assign payments due under the contract. (Paragraph 12) • If the agent represent illustrators who are competitive with one another, decide what precaution might be taken again t favoriti m. Whether it is advantageous or di sadvantageous to have an agent represent competing talent will depend on the unique circum tance of each case. • If the agent requires a warranty and indemnity clause under which the illustrator states that he or she owns the work and has the right to sell it, limit the liability of the illustrator to actual breaches re ulting in a judgment and try to place a ceiling on the potential liability.

• Provide for arbitration of disputes in exce of the amount which can be sued for in small claims court. (Paragraph 13) • If there is an arbitration provi ion , consider pecifying the Joint Ethics Committee in New York City or a similar group near the illustrator ' s location to act as arbitrator.

• Compare the standard provision in the introductory page with Paragraphs 14-17. The schedule of house accounts, which lists the names and addresses of clients, i not shown here. It is included with the tear-out form. Business and Legal Forms for Illustrators may be ordered from Allworth Press, 10 East 23rd Street, New York, New York 10010. The 160-page book is $15.95. The computer di k (forms only) is $12.95 ; in WordPerfect for either Mac or IBM. Add $3 for shipping and handling. New York residents should also add sale tax.

•

• Do not allow assignment of the COMM U

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A D VERTISING TOM MO NAHAN

ARE WE RESEARCHING CAMPAIGNS TO DEATH? HEN I FIRST GOT INTO THE ADVERti ing business I used to be su pect of research. I was an unsophisticated, creative idealist, and that's the way unsophisticated, creative idealists are supposed to feel about research.

"Just let me create," I'd say. "I understand the consumer. I understand the market. I understand the competition. Don't bog me down with all that information." Then as my hairline started creeping back, light was better able to get to my brain and I began to appreciate the value of research. For the past fifteen year I've lived by research, and in most cases, would be virtually paralyzed without it. But there's something about this wonderful stuff we call "information" that's starting to scare me. I think we may have too much of it. And I think, beyond its best intentions, all this information could be undermining our efforts to build brands.

As Sting used to sing, "Too much information, driving me insane. " It's scary, but, I believe the ad business may be getting too sophisticated for its own britches. We have o much information; about the consumer, about the marketplace, about the competition, about the competition' ad campaign, about our own ad campaign, etc. etc. etc .... And it's o ever-current and ever-more-revealing and redefining-that we just can't resist the temptation to keep recalibrating, and restrategizing, and rewriting and redesigning our advertising to death. Think about it. How many truly enduring campaigns are there in the media today? Campaigns? You must remember campaigns, those series of ads that really hang together and build upon one another, and run for more than one quarter. Yeah , campaigns , the stuff we used to build brands with. The true campaign, with a consistent message that penetrates the din of the media and drives home a single , simple, clear, relevant point, is virtually an endangered species today. I may be wrong, but I think re earch has turned u into an industry of ad makers, where we used to be campaign builders. Yes , I know that the live-for-today 's-sale mentality is also a big culprit in making us mere single, stand-alone ad makers, too. Hey, we 've known that for year . But, this too-much-research angle seems to be a more recent phenomena. Don't get me wrong, though. I'm not saying to ignore all this information. It can still be very, very valuable. It can save us from making huge mistakes. And perhaps , better yet, it can save us from continuing to make the same mistake over and over again. But when I see a pretty succes fol ad campaign being "altered, " "evolved" or worse , "terminated," becau e it doesn ' t line up perfectly with today 's up-to-the-nanosecond data ... And, then I see a much weaker effort take its place ... Well, I'm sorry, but all I can ay is that we might just be getting a little too smart for our own good.

Call , send or fax for a free catalog. Name Title Company Industry

I swear, many a good campaign, with great potential to endure with the best of them-the Federal Expre se , the Lite Beers and the BMWs-has died prematurely becau e of too much information from the front.

Phone

Add ress City

State Zip FPG International Corp 32 Union Square East New York, NY 100 03-32 95 Ph one 21 2 777 421 0 Fac simil e 212 995 9652

2 04

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Give it a chance, for crying out loud! How many good idea are there in the first place, that we should dump one because it's not perfect?

It smell of the same kind of mentality that has killed many a television series, with great potential, just because it hadn ' t made its fall numbers by week number five of the new TV season. I'm told that if the "Dick Van Dyke Show" had to demonstrate the kind of trong early returns that the networks demand today , it would never have made it to its sixth episode. "The Dick Van Dyke Show" ! Rob and Laura Petrie! Mel! Sally! Buddy! Pickles! Jerry and Millie! And, little Ritchie! Icons of America' culture if ever there were any! Vanished in a flash, long before Rob ever got a chance to avoid falling over the foot tool to the tune of that great little piano riff in the opening to the later episodes! (Be still my remote control button.) Too much information could have killed this wonderful show , maybe thwarted a few careers and cheated me out of a bit of my youth to boot. Far fetched. Maybe. But since so many shows get the hook so early, I gues we ' ll never know what we're missing. And , I guess , we'll never know what great Hall of Fame ad campaigns we ' re missing either. Now , in the motion picture industry it's often quite different. We till see ome "late bloomers" make it big in the end. If only because the studios have so much inve ted in them that they have to stick it out no matter what the early research says. So they stay with them. They promote them like winners. And, sometimes the public finally embraces them big time. And sometimes they become blockbusters. Or even classics. And it happens simply because Hollywood doesn't give up too oon. And it's not because they don ' t have the sophisticated information we have in the ad biz. It ' because they're desperate, I suppose. And they know from experience that some of the truly original concepts that get brought to the creen are often so different and so new that the public needs a little time to figure out if they like them or not. The same i true in advertising. We pretend to see the value of creativity; to help products to be different and stand out. But if it' s o creative and so different that the public doesn' t fall all over it by the fourth bar of the score, we now know , thanks to all our sophisticated measurement techniques, and we pull the plug. In the old days we were dumb and happy. We didn't have all this high-tech stuff in the ' 60s for sure. And, for that matter, not a much in the ' 70s or early '80s. And many a decent campaign had the chance to make it to adolescence, at least, to find out if it had a hot at maturity. Think about it this way. Marketers use advertising to stimulate ale and build brands. Now how in the world are we going to build a trong , enduring brand if we keep moving the foundation and keep altering the blueprint

and keep changing the tools? Sometimes you can just know too much. They say if Churchill and the Allied forces had truly known how powerful the German war machine was , we would never have had the guts to make the bold moves we did to win the big war. And we'd all be driving German cars and drinking Becks beer today. (Well , you get my drift.) Who said, "Ignorance is bliss?" It definitely wasn ' t Nielson. Have you ever had rich butterscotch pudding, with whipped cream, crushed walnuts and plump juicy maraschino cherries on top and kept eating and eating until your belly ached o much you thought it might explode? Not that that's ever happened to me, but my guess is that you can have too much of a good thing. Let' s use research for what it was originally designed to do. To help us build brands. Let's not u e it to help us create never-gelling, non-campaigns where the constant tweaking, according to research, stops the brand building process dead in its tracks. All this safe, pull-your-neck-in-at-the-slightest-hint-ofdanger-thinking might help us win a few more battles, but it won't help us win the war.

"What can I say? I sent my son there. His book needed a little more refinement. To me the school is a rarity. It really prepares kids for entry level positions. Many students go on to do great things." Harry Jacobs The Martin Agency

PORTFOLIO CENTER Recom mended by the people you want t o w ork for School for Art Direction, Copywriting, Photography, Design & Illustration . 1.800.255.3169 125 Bennett St., NW, Atlanta, Ga 30309 C 1992 Jason Peterson , Paula Raymond- AO, Scott Wild , Hitt Peterson- CW

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IMAGE TRANSFERS. ON CD, RECORD, OR CASSEi IE.

Nowadays, some of the most colorful music is being created using Polaroid Image Transfers. Image Transfers, like this photograph taken by David Chalk, used to be the negatives you threw away. Now all you throw away is the rulebook. Like fingerprints, no two are ever the same. And the experimentation takes on the form of child's play. But remember, this is finished art. Found in galleries, brochures, annual reports, portrait photography, and magazine advertisements. Like the one you're reading now. To find out how other photographers are using Polaroid instant films for finished art, call 1-800-225-1618 for your free subscription to TEST

Magazine.

And

see

why

nothing

works

Polaroid

instant

films.

GREAT

AMERICAN

S Y MPH O NI E S

HANSON

COPLAND

Polaroid C 1 992 "POLAROID '.

BOOK REVIEWS

DESIGN A FTER DARK, THE STORY OF THE DANCEFLOOR STYLE

a visual groove of his or her own which then in pired someone else.

By Cynthia Rose Publi shed by Thames and Hud so n Inc. 500 Fifth Avenue, ew York , New York 10110

The book also profiles eleven "dancefloor designers" , like Paul Elliman, art director in the mid- ' 80s for Wire , a British jazz magazine. The lovely blends of conservative modernist typography with photographs in the classic ' 50s jazz cover tradition have now become the visual vernacular of the neo-bop movement in the U.S. as well a in Britain. A self-described unschooled designer, Elliman's elegant use of Garamond in Wire was just another case of using whatever was available, the "working-within-limitations" methodology that characterizes all of the work in Design After Dark.

$22.50

"During the latter half of the 1980s, London witnessed the making of remarkable social history. From illicit radio stations through improvised nightclubs, young Londoners helped to construct a completely alternative leisure landscape. Its aim was celebration, its glue was music ... " So writes Cynthia Rose of the visual fallout from the rave parties, the soul underground, the sound systems, the skateboarders and other musical vibes in the postpunk U.K. Design After Dark, The Story of the Dancefioor Style is a colorful hi tory of the many trends and artists of this visual youth movement. Evolving from the Anglo-Soviet graphic style of 1970s punk (a "designer socialism" inspired by the Russian Constructivists of the early 20th century) these diverse visual language all shared the same "do-ityourself' (DIY) ethos and fresh energy. Posters , fanzines and handbills (called "tickets") declaring both musical happenings and affinities, were created with the DIY limitations of lack of money and facilities, where photocopying becomes key. They were made with a graphic improvisation similar to the situationism of raves and other one-off warehouse parties , and each ticket had to compete with 40 others each night to grab the eye of the clubgoers. The art paralleled the sound sampling and remixing of house, acid, rare groove and other music, becoming a visual sampling and remixing of iconic images: Including famous logos like Chanel 's or Nike's, '70s album covers like "SuperFly" or symbolism from religions or from the '60s and '70s like the acid house "smiley face." A lot of the art in Design After Dark was created by young clubgoers whose pirate skills were learned outside of formal training, in record and clothing shops and from each other. There was a community of guerrilla communication, and the skateboarding culture and the dancefloor explosion admitted "no boundaries between art and life, work and enjoyment," sharing graphic design as they shared fashion and sounds. Teamwork outweighed individual celebrity, and the young artists didn't care what the design press said, for , as designer Ian Swift says, "They never thought it would notice them." This well-designed and well-printed book shows a dizzying number of different styles and designs. Even a casual flipthrough can convince the reader that the members of this scene were living their art, delighting in the mu ic and community. What a bonus that Design After Dark stands up to careful reading, building an engaging tale of how one look led to another, how this young entrepreneur created 208

I L L U S T R A T I 0

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Also of note are the portraits created for the New Music Express by Ian Wright: Grandmaster Flash rendered in table salt on black paper, or the cubist Sun Ra inked on a breadboard. Illustrator Fiona Hawthorne captures the bop musicians, both neo- and original, with pen and ink drawings and watercolors in the style of' 40 jazz cover artist, David Stone Martin. Ian Swift, the designer of the jazz fanzine Straight No Chaser (the layouts of which are done completely on the Macintosh) creates preads less classic modern than those in Wire, but more like visual jazz meets hip hop. Also check out Trevor Jackson's cartoon-happy logos and record sleeves, reflecting that he's "into haircuts, Saul Bass typography, JD King cartoons." He's "just trying to make things fun." Which serve a a fine assessment of all the work in this book. It might make one nervous to be seriou about a history so recent that there's no perspective available. But author Cynthia Rose has written in such an entertaining style and with images so infectious , that Design After Dark allows any reader to sample the fun and youthful in piration of the dancefloor without breaking a weat. -Angelynn Grant

THE ADVERTISING DESIGNS O F WALTER DORWIN TEAGUE Edited by Clarence P . Hornung Publi shed by Art Direction Book Company 10 Ea t 39th, New York , New York 10016

$27 .50

Borders, border , borders. From 1912 to 1927, Walter Dorwin Teague drew ads with such ornate demanding borders that he affected American advertising. His delicate, decorative, history-based scrolls and embellishment gave the association of quality to products such as Bulova watches, Packard motor car and Strathmore papers. His output was prolific and his ads so pervasive that the "classic" style was called "Teague border" in the trade.

Decorative borders and formal balance were, of course, Renaissance inventions continued on European printers' pages. Borders had a very practical use in early printing, they surrounded the type set-up to take edge pressure in screw-down letterpress printing. Illustrative and decorative bordering became the look of quality in literature. During America's period of industrial growth in the late 1800s and the first half of the 1900s, the European tradition marked the perception of quality for U.S. goods. Walter Darwin Teague became the expert practitioner of the look of style and elegance. His main practice centered in the 1920s and this book is a compilation of that work. Two things caused the " Teague borders" style to lose popularity: One was the refinement of industrial printing presses that no longer needed pressure-bearing borders and the other was the shift of styles away from Renaissance, romantic, Belle Epoch and Beaux-Arts. New tastes were being formed and Art Nouveau, Art Deco and the Bauhaus attitudes were beginning to develop. The book tells some fascinating stories about American advertising and Walter Dorwin Teague' s molding of American taste. He wa a master of the pen in decoration, letterform and illustration and he worked with the best illustrators: J.C. Leyendecker, Coles Phillips and Norman Rockwell.

-Byron Ferris

BRIEFLY NOTED:

ARTIST BEWARE: THE HAZARDS IN WORKING WITH ALL ART A D CRAFT MATERIALS AND THE PRECAUTIONS EVERY ARTIST A D PHOTOGRAPHER SHOULD TAKE by Michael McCann, Ph.D., C.I.H. (published by Lyons & Burford , Publishers , 31 West 21 Street, New York, New York 10010, $29.95). This is a comprehensive look at a very daunting subject-toxic exposure in arts and crafts. This revised edition (the first done over ten years ago) lays down the basic problems in the first section: What types of items and procedures cause problems, what are the risks of exposure and what safety measures can be taken. The second section outlines the specific risks of certain art products. In other words, skim the first section to get the basics then cut to the chase. Look up the materials you work with on a regular basis. There are fourteen technique sections ranging from the standards (pai nting , drawing, photography) to the more specialized (wood and metal work, textiles, glass) and then back to the basics (computer technology, commercial art and children's art materials). An extensive list of materials used in each technique is then broken down by hazards and precautions. This is a valuable resource for anyone wondering what risks they are

taking. Interestingly, the biggest risk is often fire. Ventilation may be your single best investment-this book will make you think twice about a live-in studio. Each person will come to a completely different set of conclusions, however, it has something to offer everyone who works in , or around, art.

-Amy Herndon

THE ILLUSTRATORS BIBLE BY ROB HOWARD (published by Watson-Guptill Publications, 1515 Broadway, New York 10036, $29.95). The full title of this book is The Illustrators

Bible: The Complete Sourcebook of Tips, Tricks, and TimeSaving Techniques in Oil, Alkyd, Acrylic, Gouache, Casein, Watercolor, Dyes, Inks, Airbrush, Scratchboard, Pastel, Colored Pencil, and Mixed Media. And it lives up to its title. It's a great reference for illustrators who may need to brush up, an excellent tutorial for the student and a valuable resource for buyers of illustration. In 200 pages, the book covers all the basics in straightforward prose with extensive four-color examples.

-A.H.

Design, Form, and Chaos Paul Rand

"To have the preeminent graphic designer in America - the leading proponent of the Modern intelligently and forcefully speak out makes this a document for today and the ages. Rand's book is a classic." Steven Heller Yale University Press 92A Yale Station, New Haven, CT 06520

~ ~

224 pp. 64 b/w, 60 color plates $45

COMMUNICATIO

ARTS

209

MATERIALS THE DESIGN COLLECTION

For months now, I've been receiving press releases and phone calls regarding Letraset's "Mystery Door" campaign touting a "mystery" product from Letraset Canada that promised to "redefine the standard for profes ional resource materials. " Last month, via Federal Express , a package came and the product was revealed. After opening the package, the old adage, "The anticipation is greater than the event," never seemed more true. The "Mystery Door" campaign opened to reveal The Design Collection, a hinged box consisting of four design manuals (Type, Presentation, Color and Border-Line Design) and a 24" x 24" poster. Don't get me wrong, if the product is true to Letraset form, it will probably be an indispensable tool, but I was hoping for something a little more exciting. The Type Design Manual has more than 440 typefaces which include 164 FONTEK Digital Display Fonts in PostScript 1 and TrueType. The Presentation Design Manual incorporates Macintosh based layout software and FONTEK fonts, films and papers to show how easy it is for "anyone" to use Letraset products to produce brilliant presentations. I guess you get the picture, The Design Collection is obviously omething no designer can live without, and the cost is a mere $12.95 Canadian. Forget the manuals, I was interested in the 24" x 24" foldout poster of Letraset's new products,

210

I L L U S T R A T I 0

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1993

with photos and easy to read prices of things I really want. For further information on this or any of Letraset' other innovative products, phone Letraset Canada at (4 16) 4757511 , fax (416) 475-9609 or write to 175 Duffield Drive, Markham, Ontario , L6G 1B5 Canada. MARKER

Say good-bye to ink spills and stiff bristle . Elastobrush, the most recent invention of Interflo technologie , is a porou plastic marker tip that emulate the feel, texture and flow of a pictographer ' s brush with the ease of a marker. To find out more about the marker that leaves lines like a bru h, phone (718) 389-2860 or write Interflo Technologies, 19 Clay Street, Brooklyn, New York 11222.

-Sue Sprinkle

LITERATURE FOR YOUR FILES A request on your letterhead to the following companies will bring you the literature described. ..free unless otherwise noted. Whenever possible, fax numbers have been included for convenience.

The Hopper Papers Collection .. . is a whole new approach for the 71-year-old Atlanta-based paper manufacturer. The Collection was designed to simplify the paper election process and meet design color trends. Along the way , Hopper dropped some colors and paper finishes, and streamlined their offerings to form an effective color selection system. In tead of turning to many different swatch books, The Hopper Papers Collection work by dividing their product into three grouping : the Identity Color System, which consists of high-end product suitable for corporate projects; the Proterra Color System, a recycled premium paper system featuring 50% de-inked material with a high post-consumer content and the Graphic Series, which offers quality text, cover and writing grades at "an affordable price." Each feature core, accent and complementary colors and consists of 200 to 225 color . The groupings are designed to maximize color, finish and price options by "providing ophisticated colors that offer endless combination ." Key to the development of the Collection was Risa de Gorgue, who joined Hopper last summer a brand manager/color director. While utilizing the major color groups' prediction , the paper are not so trendy that they will be obsolete next season. Hopper claims to be the first to offer a color system grouped into interactive systems, enabling the designer to ea ily combine papers for a total identity. The watch books for each grade feature fine art illu trations and photography, packaged with a clever die cut fold. An attractive embo ed binder houses the Identity Color System and will be used for the Proterra Color Sy tern. A promotion piece aptly entitled Choices, was designed with tasteful re traint by Lisa Reynolds Reichrath of the Atlanta firm Wage Design; written by Matthew Porter ("The only true gamble is not

taking risks. ") ; Robert E. Wages, creative director. The dynamic photographs by Jerry Burns and Mark Shelton of Atlanta and Yutaka Kawachi and Thomas Francisco of New York are toned in complementary fashion to the papers they appear on. For more information on samples call (800) 635-6672 or write Hopper Papers , P.O. Box 105237, Atlanta, Georgia 30348.

LaserCast .. . is a line of premium coated papers for desktop laser printers. The special coating of the cover weight stock permits laser printer and copier toner to adhere to the glossy surface like ordinary laser compatible grades because the high gloss colors are actually part of the coating process. Could this mean no more smears-and smooth black type-even on bright colors? A test on our LaserWriter IINTX proved their claims valid. The paper fed easily into the printer and emerged smearless, although something slightly less than a resonant black, more like a softly muted black. It's available in three different assortment packs, or any one of seventeen single colors (including six bright accent colors, a medium gray, neutral gray and a bright white) and is the only coated paper designed to work in the desktop environment, according to the Phoenix , Arizona, design firm Richardson or Richardson, who created the promotional materials. LaserCast' s 6 pt. cover weight has been specially engineered to run in both laser and copier environments for ease as a presentation cover or flyer. It comes in 812 " x 11" and A4 (2 10 mm x 297 mm) cut sheets. Larger, 11" x 17" sheets are available on a special order basis. The 60-sheet assortment packets contain ten sheets each of six colors and are offered in three ranges-Accent, Business and Designer Series. The suggested retail price is $18.95; 50-sheet single color packets, $15.95. All colors can be ordered in reams and cartons through selected paper merchants. For availability information , call (800) 775-2320; for additional information contact Darcy Paper, Inc ., 15455 North Greenway Hayden Loop, Building C, Scottsdale, Arizona 85260, or phone (602) 991-2320. Exotic Printables .. .is a line of multi-fibered , patterned papers with matching envelopes from the Vicki Schober Company. If you' re fond of handmade papers or beautiful

Japanese Shinrikyu, Tairei and Reiko papers , you' 11 want to check out this line. Exotic Printables includes 30 imported and unusual papers either 812 x 11 with matching #10 envelopes , or 812 x 5 12 with matching A-2 envelopes. The papers come in a variety of colors and textures and are offset printable ; they also can be run through copy machines and laser printers. Some of the papers contain flecks of gold and silver; others have decorative swirling fibers , subtle color variations or textures such as light ribbing. White Ribbon looks like a jacquard weave fabric. Jiyu shi has light diagonal ribbing plus bits of what appear to be newsprint words imbedded in its creamy surface. The paper and envelopes are sold in packages of 25. The company will provide tips for offset printing, photocopying or laser printing on the line; they also stock handmade and mouldmade watercolor papers , graphic arts printing papers, limited edition art printing papers and specialty commercial printing papers. For samples and a price list of Exotic Printables, call (800) 541-7699, fax (414) 476-8041 or write The Vicki Schober Company , Inc. , 2363 North Mayfair Road , Milwaukee, Wisconsin 53226. - Anne Telford

"Ourshop grows because our creative side and our business side work together. That's why we use Clients& Profits.'' Successful ad agencies and desfJI studios get that way when everyone worts together. Over 800 of today's smartest shops do it with Clients & Profits~ the best-selling job traclq, costi1, biq and accounlq software for the Macidosh. It's designed only for creative businesses,so it works just like you do. Call 800 334-3001 today for a free glided tour and complete information. Or fax (619) 945-2365.

7be Tri"' ngle Building 4755 Oceanside Blvd., Suite 200 Oceanside, CA 92056 (619) 945-4334

COMMUNICATIO

A RT S

211

CLUBS, CONFERENCES, SEMINARS SEGD

AIGA

The 1993 Conference of the Society of Environmental Graphic Design will be held in Chicago, Illinoi s, Augu t 19-21. The que stion , " What Work s?" and an exploration of the answers is the theme of the 20th anniversary of SEGD , which began in Chicago in 1973. The program, at the Northwestern Univer ity Law School , starts with a session on the intellectual and spiritual premise of design , featuring Sheila de Bretteville of Yale University. Chandler Screvin will lead a di sc uss ion on methodology , process and re search related to use rs of de sig n. David Gib on will moderate a panel on other ways to work, featuring environmental graphic de s igners who are de signing products, restructuring companie , working internationally and using projects as incubators for re search. For conference information , contact Peggy Kelley , SEGD , One Story Street, Cambridge , Massac hu etts 02138; phone (6 17) 868-3381, fax (6 17) 868-3591.

The fifth national bi ennial American Institute of Graphic Arts conference wi II be held on October 14-17 in Miami at the Jame L. Knight Center and the adjacent Hyatt Regency Hotel. " Livin g Contradiction s" will be chaired by Jerry Herrin g and Mike Hicks, Texas-based AIGA members. "We live and work within a ea of contradictions," co-chairs Hicks and Herring ex plained , " between art and bu ine s, between being con um ers and conservator , between being helped or eliminated by technology, between organization and freedom, between say in g what we do and doing what we ay." The conference will feature a keynote address by author-communications theori st Neil Po tman and talks by 32 designers including Ivan Chermayeff, Michael Beirut, Tibor Kalman , Chee Pearlm an and Oliv era Toscani. Regi stration fees for member before 8/1/93 are $4 15 , after 8/1/93 $465. Fax your charge card information to AIGA at (2 12) 755-6749. If you have any que tion , call the AIGA toll-free at (800) 548-1634.

CAPE Coo The impact of technology on design and design management is the topic of the De ign Management In sti tute' s 18th annual conference October 3-7 on Cape Cod. From computer-aided de sign and de sktop publi shing to color canner , holography and digitally enhanced imagery, new technical advances and equipment have had an overwhelming impact on the de sign profess ion. To give conference participants th e opportunity to become well-informed about so me of the latest developments, the program will include some equipment exhibits. For more information, contact the De ign Manage ment In stitute , 107 South Street , Suite 502, Bosto n, Massachusetts 02111; phone (6 17) 338-6380, fax (6 17) 338-6570.

212

TORONTO

The Direct Marketin g Association will hold their 76th Annual Conference & Exhibition, in conjunction with the Canadian Direct Marketing Association, in Toronto , Canada, October 24-27, at the Metro Toronto Convention Center. In addition, the DMA will hold three additional segment-specific conferences on the weekend prior to the opening of the annual conference: Bu s ine to Bu iness Day s; Catalog Manage ment Iss ue s W eekend and the Creative Conference, October 23-24. To register or for more information , contact DMA regi tration, (212) 7687277, ext. 100. DMA , 11 West 42nd Street, New York, New York 10036.

UCDA

HOUSTON

The University & College Designers Association 23rd annual design conference is planned for October 3-6 in St. Loui s. The conference brings internationally known designer to hare their work, their experiences with clients and their solution . Among the confirmed speakers are CBS de ign emeritu Lou Dorf man ; Tim e magazine graphics director Nigel Holme ; desi gn hi storian Philip Meggs and Texas designer Bryan Peter on. Through workshops and seminars there i the opportunity to update and learn new ski ll s and technologies. During the four-day conference there will be computer workshops, listen and learn session and roundtable workshop . While in St. Loui s, attendees can take in the last home ga me of the Cardinals, explore the Science Center, tour the Art Mu se um and see why the St. Loui s Zoo is known around the world. $345 for member ; $445 for non-members . Conferees will tay at the Regal River Hotel (formerl y Clarion Hotel ). For further information, call Win ston Vanderhoof, (816) 785-74 75 at Northeastern Missouri State University.

The new roster of officers elected to the Hou ton Council, American A soc iation of Advertising Agencie , was announced by Robert P. Stephens, vice president of the national trade association's western division: chairman Charles Hively , chief operating officer and principal, The Hive ly Agency; immediate pa t chairman W. Charles (Chuck) Carlberg, a principal, Rive s Carlberg; vice chairman Charles Anderson, principal Ander on Advertising; sec retary-treas urer William (Bill) Fogarty, principal Fogarty Klein/Winiu s Brandon ; council legi slative coordinator C.R. Penny, principal Penny & Speier. The new slate of officers was elected to erve a twoyear term, 1993-1995. Contact Ann Garner, (713) 961-2888, The Hiv ely Agency, 520 Po t Oak Boulevard, Suite 800, Hou ston , Texas 77027 for information.

I L L U S T R A T I 0 N

UAL

1993

-Jean A. Coyne Copy must be received two months prior to the publication date. Please include a contact, phone number and an address.

SIMPSON

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INDEX TO ILLUSTRATORS

A Aitken, Doug 58 Phone (212) 608-1965 49 Ann Street. 3rd Floor New York. NY 10038 Allen, Julian 56 Phone (212)925-6550 31 Walker Street New York, NY 10013 Allen, Terry 90 Phone(718)727-0723 164 Daniel Low Terrace Staten Island. NY 10301 Arday,Don 127.134 Phone (214) 223-6235 616 Arbor Creek Drive DeSoto. TX 75115 Asmussen, Don 71, 134 Phone (313) 853-6039 695 Tall Oaks Boulevard. Apt. 25 Auburn Hills, Ml 48326 Atkinson, Janet 40 Phone (718) 836-9335 359 Ovington Avenue Brooklyn, NY 11209

B Barber, Rob 68 Phone (510) 674-9069 1963 Esperanza Drive Concord. CA 94519 Barrington, Brian 6 Phone (714) 731-8538 415 W. Main Street Tustin, CA 92680 Bartalos, Michael 16, 62 Phone (415) 863-4569 4222 18th Street San Francisco. CA 94114 Baseman, Gary 58, 87 Phone (718) 499-9358 443 12th Street. #2D Brooklyn, NY 11215 Beck, David 71 Phone(513)741-1228 4042 Appletree Court Cincinnati. OH 45247 Beck, Melinda 10, 51 Phone (718) 624-6538 44 4th Place Brooklyn, NY 11231 Benny, Mike 10 Phone(916) 677-9142 2773 Knollwood Drive Cameron Park. CA 95682

Charles, Milton 40 Phone (908) 832-7076 904 Ravine Road Califon, NJ 07830

Delessert, Etienne 46. 114 Phone (203) 435-0061 5 Lakeview Avenue Lakeview, CT 06039

Biers, Nanette 87 Phone (415) 927-1531 123 Willow Avenue Corte Madera. CA 94925

Chiappin, Anthony 114 Phone (61) 8-232-6961 24 A Stephens Street Adelaide, South Australia Australia 5000

Downs, Richard 80 Phone (909) 677-3452 24294 Saradella Court Murrieta. CA 92562

Bleck, Linda 102 Phone (312) 281-0286 2739 N. Hampden Court, #1 South Chicago, IL 60614

Ciardiello, Joe 34 Phone(718)727-4757 2182 Clove Road Staten Island, NY 10305

Booth, Martha Anne 54 Phone (415)728-7883 P.O. Box 208, 990 Acacia Street Montara, CA 94037

Cober, Alan E. 74 Phone (914) 941-8696 95 Croton Dam Road Ossining, NY 10562

Braids, Braldt 88 Phone (203)868-7577 P.O. Box 1145 Washington, CT 06793

Collier, John 33 Phone(212)683-1362 c/o Richard Solomon 121 Madison Avenue, #5F New York. NY 10016

Benoit. 58 Phone (212) 989-8770 c/o Riley Illustration 155 W. 15th Street. #4C New York. NY 10011

Bramhall, William 90 Phone (212) 989-8770 c/o Riley Illustration 155 W. 15th Street. #4C New York, NY 10011 Bridges, Gregory 12 Phone (61) 2-631-7100 lnhaus Design 76 Aurelia Street Toongabbie. NSW 2146 Australia Burke, Leland 106 Phone (404) 881-8255 675 Drewry Street. Studio 8 Atlanta. GA 30306 Burke, Philip 92 Phone (716)885-2179 163 College Avenue Buffalo, NY 14201 Burns, Charles 67 Phone (215) 925-7618 210 Brown Street Philadelphia, PA 19123

c Carruthers, Roy 28 Phone (718) 965-1330 270 Fifth Street, #1 B Brooklyn, NY 11215 Chalmers, Cheryl 118 Phone (212)826-3716 10 Mitchell Place, Apt. 13G New York. NY 10017 Chandler, Karen 131 Phone (516) 671-0388 80 Lattingtown Road Locust Valley, NY 11560

Conge, Bob 127 Phone (716) 473-0291 28 Harper Street Rochester, NY 14607 Cournoyer, Jacques 71. 77 Pho ne (514) 273-6237 5181 Jeanne-Mance Montreal. Quebec H2V 4K2 Canada Craig, Daniel 92 Phone (612)871-4539 118 E. 26th Street. #302 Minneapolis. MN 55404 Craig, John 92. 104 Phone (608) 872-2371 Tower Road, Rt. 2, Box 2224 Soldiers Grove, WI 54655 Curry.Tom 37,41,110 Phone (512)444-8780 309 E. Live Oak Austin, TX 78704

D D'Angelo, Peter 21 Phone(617)734-5330 338 Tappan Street Brookline, MA 01246 Davis, Paul 12. 73 Phone (212) 420-8789 14 E. 4th Street New York. NY 10012 Deas, Michael J. 31, 39 Phone (504) 581-7826 528 Governor Nicholls Street New Orleans, LA 70116

Drageset, Erik 127 Phone (714) 722-9707 254 Cecil Place Costa Mesa. CA 92627

E Eidrigevicius, Stasys 12 Phone (212) 289-5514 c/o Marlena Torzecka 211 E. 89th Street. Suite A-1 New York. NY 10128 English, John 102 Phone (816) 931-5648 4601 Rockhill Road Kansas City, MO 64110 English, Mark 92 Phone (816) 781 -0056 512 Lakeside Court Liberty, MO 64068

F Falkenstern, Lisa 40 Phone (908) 832-5789 904 Ravine Road Califon. NJ 07830 Fancher, Lou 6 Phone (612) 377-8728 440 Sheridan Avenue S. Minneapolis. MN 55405 Fisher, Jeffrey 61 Phone (212) 989-8770 155 W. 15th Street. #4C New York. NY 10011 Flaming, Jon 108 Phone (214)922-9080 2811 McKinney Avenue, Suite 320 Dallas, TX 75204 Fraser, Douglas 67 . 71 Phone (403) 244-6636 1742 10th Avenue S.W. Calgary, Alberta T3C OJ8 Canada Frazier, Craig 6, 117 Phone (415) 863-9613 600 Town send Street. #412W San Francisco, CA 94103 Fredrickson, Mark A. 19 Phone (602)722-5777 853 S. Pantano Parkway Tucson. AZ 85710

COMMU

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A R TS

219

I DEX TO I LLUSTRATORS

Hewgill, Jody 78, 128 Phone (416) 601-0301 17 Bellwoods Place. Studio 2 Toronto. Ontario M6J 3V5 Canada

G Garrett, Tom 110 Phone (612) 374-3169 623 3rd Avenue S.E. Minneapolis. MN 55414

Kolosta, Darrel 97 Phone (510) 530-5917 1212 El Centro Avenue Oakland. CA 94602

Mattos, John 106 Phone (415) 397-2138 1546 Grant Avenue San Francisco. CA 94133

Kropp, Steve 83 Phone (801) 364-7404 153 2nd Avenue, #17 Salt Lake City, UT 84103

Mayer, Bill 118. 125 Phone (404) 378-0686 240 Forkner Drive Decatur. GA 30030

Hynes, Robert 39 Phone (301) 926-7813 5215 Muncaster Mill Road Rockvi lle. MD 20855

Kunz, Anita 125 Phone (416) 364-3846 230 Ontario Street Toronto. Ontario M5A 2V5 Canada

Mc Entire, Larry 106 Phone (713) 520-1298 4916 Kelvin Drive Houston. TX 77005

Ilic, Mirko 78, 84 Phone (212) 645-8180 652 Hudson Street. #3W New York. NY 10014

Lardy, Philippe 104, 125 Phone (212)473-3057 478 W. Broadway. #5A New York, NY 10012

Isip, Jordin 27. 61 Phone (718) 624-6538 44 4th Place. Apt. 2 Brooklyn, NY 11231

Leister, Bryan 6 Phone (703) 683-1544 202 E. Raymond Avenue Alexandria. VA 22301

Lessard, Marie 58 Phone (514) 272-5696 4641 Hutchison Montreal. Quebec H2V 4A2 Canada

Hopkins. Chris 52 Phone (206) 347-5613 5018 Sound Avenue Everett. WA 98203

Genther, David M. 97 Phone (215) 925-5177 314 N. 13th Street. Suite 802 Philadelphia. PA 19107 Glaser, Milton 51 Phone (212) 889-3161 207 E. 32nd Street New York. NY 10016 Gran, Julia 54 Phone (718) 601-8820 3240 Henry Hudson Parkway, #6H Bronx. NY 10463 GrandPre, Mary 88 Phone (612) 645-3463 475 Cleveland Avenue N.. Suite 222 St. Paul. MN 55104 Graves, Keith 90 Phone (512) 478-3338 905 W. 29th Street Austin. TX 78705 Gurche, John 62 Phone (303) 370-8365 Department of Earth Sciences Denver Museum of Natural History Denver. CO 80205 Guy, Edmund 71 Phone (201) 653-3948 820 Hudson Street. Apt. 2-7 Hoboken. NJ 07030

Jackson, Barry E. 136 Phone (818) 769-7321 4118 Beck Avenue Studio City, CA 91604 Johnson.Steve 6 Phone (612) 377-8728 440 Sheridan Avenue S. Minneapolis. MN 55405

Kacmarynski, David Phone (612) 738-8276 1809 E. 5th Street St. Paul. MN 55119

Hanson, Eric 136 Phone (612) 374-3169 4444 Upton Avenue S. Minneapolis. MN 55410

Kato, R.M. 109 Phone (818) 441-8488 1026 Mission Street South Pasadena. CA 91030

Head, Gary 133 Phone (816) 363-3119 6023 Wyandotte Kansas City, MO 64113

Kelley, Gary 37, 77 Phone (319) 277-2330 301 Y2 Main Street Cedar Falls, IA 50613

Henderson, Hayes 10. 71 Phone (919) 748-1364 1043 Miller Street Winston-Salem. NC 27103

Kimber, Murray 40 Phone (403) 264-1541 1902 C 11th Street S.E. Calgary, Alberta T2G 3G2 Canada

Hess, Mark 67 Phone (914) 232-5870 88 Quicks Katonah. NY 10536

UAL

1993

Levine, Laura 22 Phone (212) 431-4787 444 Broome Street New York. NY 10013 Lewis, Tim 128 Phone (718) 857-3406 184 St. Johns Place Brooklyn, NY 11217

I L L U S T R A T I 0

Mattelson, Marvin 12 Phone (516) 487-1323 37 Cary Road Great Neck. NY 11021

Holland, Brad 16, 74 Phone (212) 226-3675 96 Greene Street New York. NY 10012

Gauthier, Corbert 27 Phone (612) 338-7033 Primary Colors 311 1st Avenue N.. Suite 403 Minneapolis. MN 55401

220

Koegel, Jeff 83 Phone (714) 969-1775 210 8th Street Huntington Beach. CA 92648

Liepke, Skip 83 Phone (212) 724-5593 30 W. 72nd Street, #2B New York. NY 10023 Lofaro, Jerry 9 Phone (212) 941-7936 270 Lafayette Street, #308 New York. NY 10012 Lorusso.Joseph 127 Phone (816) 756-5723 4600 J.C. Nichols Parkway, #403 Kansas City, MO 64112

M Masi, Eric 133 Phone(312)478-6337 4244 N. Bell Chicago, IL 60618

Mcfarren, Mathew 138 Phone (303)458-7445 1553 Platte Street. Suite 302 Denver. CO 80202 McKowen, Scott 27 Phone (212) 289-5514 c/o Marlena Torzecka 211 E. 89th Street. Suite A-1 New York. NY 10128 McMullan, James 15. 28 Phone (212) 473-5083 222 Park Avenue S.. #1 OB New York. NY 10003 Menchin, Scott 24 Phone (212) 673-5363 640 Broadway New York, NY 10012 Milelli, Pascal 131 Phone (604)687-3729 200, 416 W. Pender Street Vancouver. Briti sh Columbia V6B 1T5 Canada Miller, Steve 131 Phone (619) 758-0804 2586 Majella Road Vista. CA 92084 Milot, Rene 100. 106 Phone (416)425-7726 49 Thorncliffe Park Drive. Suite 1604 Toronto, Ontario M4H 1J6 Canada Minor, Wendell 45 Phone (203) 868-9101 15 Old North Road. P.O. Box 1135 Washington, CT 06793 Mongeau, Marc 6, 21 Phone (212) 861-9892 c/o Marlena Torzecka 211 E. 89th Street. Suite A-1 New York, NY 10128 Montgomery, Linda 48 Phone (416) 977-4002 20 D' Arey Street Toronto. Ontario M5T 1J7 Canada

Montoliu, Raphael 118 Phone (310 ) 798-2516 223 B S. Fra ncisca Avenue Redondo Beach. CA 90277 Murawski, Alex 117 Phone (706 ) 769-5060 21 80 OI iver Bridge Road Watkin svi lle. GA 30677

R Reagan. Mike 120 Phone (919)387-8230 303 Fern Va ll ey Lane Apex. NC 27502

Reed, Judith 68 Phone (310) 474-7701 1808 Manning Avenue. #103 Los Angeles. CA 90025

Nakamura, Joel 15, 73 Phone (818)301-0177 221 W. Maple Avenue Monrovia. CA 91016

Rocarols, Albert 15. 84, 138 Phone (34) 3-454-2971 Rossello 148. 5Q2Q 08036 Barcelona , Spain

Nass. Rhonda 122 Phone (608)798-3500 4130 Barlow Road Cross Pla ins. WI 53528

Rofheart-Pigott, Irene 134 Phone (718)832-0705 75 Prospect Park W., #1 A Brooklyn, NY 11215

Nessim. Barbara 24 Phone (212) 219-1111 63 Greene Street New York, NY 10012

Rogers, Lilla 64 Phone (617) 641 -2787 6 Parker Road Arlington. MA 02174

0 Olbinski, Rafal 64. 80 Phone (212 ) 532-4328 142 E. 35th Street New York. NY 10016 Ortega, Jose 37 , 74. 87 Phone (212)772-3329 524 E. 82 nd Street New York. NY 10028

Paulos, Martha 31 Phone (510) 601-1813 5941 Mac Call Street Oa kl and. CA 94609 Payne, C.F. 61 , 78, 88 Phone (513) 821 -8009 758 Springfield Pike Cinc innati, OH 45215 Pozzatti , lllica 51 Phone (812)335-0969 2379 Worth ington Lane Bloom ington. IN 47401

Roth, Rob 42 Phone (516) 544-4232 148 Lakebridge Drive Kings Park. NY 11754 Russell, Bill 46 Phone (415)474-4159 949 Filbert Street. #5 San Francisco. CA 94133

Parker, Curtis 28 Phone (602) 820-6015 1946 E. Palom ino Drive Tempe, AZ 85284 Pastrana, Robert M. Phone (818) 548-6083 473 A Riverdale Drive Glendale. CA 91204

Roman, Irena 131 Phone (617) 545-6514 P.O. Box 571 369 Thomas Clapp Road Scituate. MA 02066

Sabin. Tracy 114 Phone (619) 484-8712 13476 Ridley Road San Diego, CA 92129 Schumaker, Ward 112 Phone (415) 398-1060 466 Green Street San Francisco. CA 94133 Sealock, Rick 77 Phone (403) 276-5428 112 C 17th Avenue N.W. Calgary, Alberta T2M OM6 Canada Sevalrud, Thom 39 Phone (416) 922-9303 26 Gifford Street. Suite 6 Toronto. Ontario M5A 3J1 Canada Shehan. Chris 99 Phone (312) 271 -2720 1807 W. Sunnyside. #1-G Chicago, IL 60640

Stabbers. Ronald 131 Phone (31) 20-623-6184 Plantage Parklaan 11 1018 ST Am sterdam Netherland s

Viva. Frank 120 Phone (416) 923-6355 1216 Yonge Street, Suite 203 Toronto, Ontario M4T 1W1 Canada

Sposato.John 97 Phone (2 12) 477-3909 43 E. 22nd Street New York, NY 10010

w Walker, Norman 56 Phone (203) 226-5812 37 Stonehenge Road Weston . CT 06883

Stermer, Dugald 73 Phone (415) 777 -0110 600 The Embarcadero, #204 San Franci sco. CA 94107 Stutzman, Mark 56 Phone (301) 334-4086 200 G Street Mountain Lake Park. MD 21550

Wehrman. Richard 24 Phone (716) 271 -2280 The Bob Wright Creative Group 247 N. Goodman Street Rochester. NY 14607 Weisbecker, Philippe Phone (212) 989-8770 c/ o Riley Illustration 155 W. 15th Street. #4C New York, NY 10011

Suh, Ellen 128 Phone (213) 483-8683 500 S. Lake Street. #411 Los Angeles. CA 90057 Summers. Mark 83, 87 Phone (212) 683-1362 c/ o Richard Solomon 121 Madison Avenue. #5F New York. NY 10016

Wi Ilia ms, Will 134 Phone (410) 266-6550 c/o Wood Ronsaville Harlin. Inc. 17 Pinewood Street Annapol is. MD 21401

Sweeny, Glynis 90 Phone (716) 633-4679 346 W. Webster Ferndale. Ml 48220

Willms, Russ 80 Phone (604) 744-1231 c/o Suburbia Studios 53 Tovey Cresce nt Victoria. British Columbia V9B 1A4 Canada

Wilton, Nicholas 112 Phone (415) 488-4710 P.O. Box 292 Lagunitas. CA 94938

Taxali, Gary 67 Phone (212) 388-1334 254 Park Avenue S., #11 D New York. NY 10010

Woolley, Janet 74 Phone (908) 813-8718 c/o Alan Lynch 11 Kings Ridge Road Long Valley, NJ 07853

Toelke, Cathleen 46 Phone (914) 876-8776 P.O. Box 487 Rh inebeck, NY 12572 Turgeon, Pol 84 Phone (514) 273-8329 5187 Jeanne-Mance. #3 Montreal. Quebec H2V 4K2 Canada

y Yang. James 22. 58 Phone (301) 495-2818 2214 Wash ington Avenue . #203 Silver Spring, MD 2091 0

u Unruh.Jack 84, 94 Phone(214)748-8145 2706 Fairmount Dallas. TX 75201

Editor's Note

v Ventura, Andrea 64. 128 Phone (212) 689-4330 152 Mad ison Avenue. Suite 300 New York. NY 10016

Every effort has been made to ensure that the credits comply with information supplied to us. If, for any reason. a misspell ing , omission or other error has occured. notify us within thirty days and we will be able to issue corrected award certificates.

COMMU

I CAT I O

ARTS

22]

INDEX TO ART DIRECTORS, DESIGN FIRMS, AGENCIES AND CLIENTS

A Abrams. Kym 37 Kym Abrams Design 37 Accordino. Michael 40 The Adsmith 125 Aitken. Doug 58 American Diabetes Association 61 American Way, American Airlines 83 Anderson, Gail 67. 73. 83. 88. 92 Ansaldo 16 Don Arday, Photocom Inc. 127. 134 Arena 74 Arjo Wiggins Fine Papers Ltd. 120 Armario. David 90 Armstrong, Susan 12 Arts & Entertainment Cable Network 12 Asmussen. Don 71. 134 Atheneum Publishers 42 Atlanta Botanical Garden 106 The Atlantic 64, 80 Atlantic Records 22 Australasian Memory 12

B Baker. Eric 12 Baker. Peter 118 Ballantine Books 31 Baltimore. Andy 15 Banks. Steven 80 Barclay, Brian 28 Barnett, David 83 Barnett Design Group 83 Barrington, Brian 6 Bartels & Company, Inc . 28 Bartels. David 28 Bartholomay, Lucy 58 Bartsch. Randi 88 Bausmith. Wes 90 Beauchesne. Jean R. 6 Pierre Belvedere Inc. 48 Benchmark Advertising 114 Benjamin. Robin 39 Bernard. Walter 84 Berry, Deborah 97 Deborah Berry Design 97 Beyn, Bob 10 Bishop, Debra 67. 73, 74, 83. 88, 92 Black &White Dog Studio 54

222

I L L U S T R A T I 0

Blue Brick Design 117 The Body Shop 12 Boker. Akiva 117 Bon Appetit 68 Booth, Martha Anne 54 The Boston Globe Magazine 58 Boulay, Robert 100 Boyer. Mary 106 Bozell Worldwide. Inc. 27 Brains II 15 Brambilla, Claudia 16 Brewer's Retail Stores 128 Bridges. Gregory 12 Browning , Paul 118 Brunner. Jacqueline 106

c National Ballet of Canada 106 Capeci. Amid 74 Carroll. Allen 62 Carson. David 71 Cavalli & Cribbs 104 Center for Global Partnership 110 Chalmers, Cheryl 118 Chandler. Karen 131 Charles. Milton 40 Milton Charles Design 40 Chiappin. Anthony 114 Chicago Tribune 71 Chief Executive 67 Childsplay Theater 28 Chronic le Books 31 Ciardiello. Joe 34 Clarion Books 45 Clewes & Company 15 Clewes. Richard 15 Cohen. Marc J. 37 Columbia/Ruff House 21 Comedy Central/MTV Network 24 Conde Nast Traveler 87 Cange, Bob 127 Cook, Tim 61 Cooperman. Fabian 64 Corporate Communications Group Inc. 102 Corporate Graphics 106 Cranfill Advertising Agency 9 Creative Editions 37 Cunningham Communications Inc. 97 Curry, Chris 64

UAL

1993

D Davis. Paul 12 Defrin. Bob 22 Delessert, Etienne 46 Delessert & Marsha ll 46. 114 Delphinium Books 40 de Regt, Kelly Michele 40 Design Safari 114 Detroit Free Press 77 The Detroit News 71. 90 Deutsch Design 110 Deutsch, Peter 110 di Capua. Michael 28 Michael di Capua Books 28 Dieble. Anne 45 Dobner. Pablo 84 Dolan, Doug 120 Door Peninsula Winery 19 Drace, Matthew 73 Drageset. Erik 127 Duckworth. Nancy 73. 80

E ECO Marketing & Publicity 51 East West Records 22 Easterly & Company 106 Easterly, Gary 106 Eaton's 40 Electronic Data Systems 28 Emery, Don 99 Esquire 74, 90 Evening Standard Magazine 62

Fournel. Jocelyne 58. 71. 77 Frazier. Craig 6. 117 Frazier Design 6, 117 Frere-Jones. Sasha 27 Fugere. Louise 6

G GRP Records 15 GTE Directories Corporation 109 GTE North Classic 9 Gallery 68 Garlan. Judy 64. 80 Gentlemen's Quarterly 78 George. Rob 61 Ghormley, Brad 28 Gier, Angela 28 Gilmore-Barnes. Cathy 67. 73. 74, 83, 88, 92 The Gingko Group Ltd . 100 Girard, Chantale 21 Glaser. Milton 51, 84 Milton Glaser. Inc. 51 Goard, Catherine 84 Goddard-Zaxis Publishing Inc. 40 Gonzalez. Robert 15 Gorman. Roger 10 Grabowski. Felix 71 Gramm Werbeagentur 15 Gran. Julia 54 Grenville Press 125 Grevstad. Alison K. 104 Grey Entertainment & Media 6 Grist Mill Co. 110 Grunthaner. Nancy 110 Grusin. Don 15

F Fabel la, Ted 106 Fehlau. Fred 109 Fernandes. Teresa 56 Fili. Louise 37 Louise Fili Ltd . 37 Finger. Arlene 92. 112 Finger & Smith Design Associates 92, 112 First Impressions 54 Flaming, Jon 109 Flanagan. Pat 21 Fly Productions 31 Flynn. Patrick 34, 51 Patrick Flynn Design 34 Fodera. Patrice 42 Foote. Cone & Belding 24 Ford, Tray 97 Four Way Communications 109

H Hambly, Bob 125 Hambly & Woolley Design 125 Hanson. Eric 136 Haroutiun. Georges 78 HarperCollins Publishers 28 Health 73 Heartland Bank 92 Helfand, Jessica 87 Heller. Steven 78. 87 Henkel! & Stihnle 15 Hess. Richard 67 Hessler. Geraldine 67 . 73. 74, 83, 88, 92 Hewgill . Jody 128 Hewitt Associates 99 Hill. Amy 46

Hill/A Marketing Design Group Hill , Chris 94 Hines Interests Lim ited Partnership 97 Hinzman, Laurie 24 Hiromura Design Office 16 Hiromura . Masaaki 16 Hoffman, Steven 67 Hogan, Mike 24 Hopkins, Chris 52 Hopper Paper 125 How Charm ing Inc . 54

I ITESM Campus Monterrey 94 Icarus Stud io 114 Imcera Group Inc . 102 lnhaus Design 12 Innes, Cla ire 77 International Typeface Corporation 84 lntral ink Film & Design 19

J Jackson, Barry E. 136 Jay, Alex 33

K Kacmarynski, David 19 Kampf, Cynthia 102 Kaufman & Broad 106 Khalifa. Jana 68 Kirilloff, Nicholas 62 Korp ics , John 77 Kostreba , Cathy 68 Kropp , Steve 83

Litho Productions 122 Lorenz. Lee 58 Lorusso. Joseph 127 Los Angeles Times Magazine 73, 80 Actors Theatre of Louisville 12 Lynch , Ray 10

M M Magazine 58 M.A.G . Graphics 78 MTL 58, 71, 77 Macy's 97 Madame au Foyer 67 Marshall , Alisann 83 Marshall , Rita 37, 114 Martin, Stephen 106 Martohardjono, Nanistya 106 McCaffrey & McCall 12 McCaffrey, Terrence 56 McFarren, Mathew 138 McGowan , Palma 58 McGraw-Hill Ryerson 39 McKowen. Scott 27 McMurray, Kelly 87, 92 Meingast, Susan 67 Men 's Journal 73 Mill Valley Film Festival 6 Miller. Steve 131 Minor, Wendell 45 Wendell Minor Design 45 Mitchell, Susan 37 Mocarsky, David 128 Mongeau , Marc 6 Montgomery, Linda 48 Moose's 112 Mortensen Design 104 Mortensen , Gordon 104 Murawski . Alex 117 Musee des Arts Decoratifs 46, 114 Music Express 73 Myers. Frances 12

L Larson Design Associates Larson, Jeff 122 Las ky Printers 117 Layton, Carol 74, 87 Lebovits, Irvin 100 Leff. Barbara 31 Levi Strauss & Co . 24 Lewis, Tim 128 Lidji , Alan 118 Lidj i Design 118

122

N The Nancekivell Group 110 Nancekivell . Jim 110 National Football League Properties. Inc . 52 National Geographic 62 Nelson, Patti 58 New York City Opera 21

The New York Times Book Review 78, 87 The New Yorker 58, 64 Noel, Chris 6 Chris Noel Design 6 Nordstrom 104 The Northeast 58 Nugent, Kirk 9

0 Occupational Health & Safety 84 Oldach, Mark 99 Mark Oldach Design 99 On-Line Computer Systems. Inc. Opper, Mary 39 Oracle 64

p Paine. Howard 56 Palecek, Jane 73 Palm Beach Life 80 Parisi , Elizabeth 39 Peck, Elbert 83 Peligra. Mary 84 Pelletier, Maryse 6 Perrizo, Ann 19 Ph iladelphia Inquirer 87 Phipps, Alma 67 Plain Rap Productions 6 Playboy 74 Playboy Jazz Festival 109 Polygram Records 10 Pooley, Shayne 114 Pope, Kerig 74 Porter. J 90 Porter. Lisa 114 Porter, Mark 62 Potter, Ke ith 24 Powers. Mike 87 Precision Filters. Inc. 24 Preiss. Byron 33 Premiere 77 Priest, Robert 78 The Progressive Magazine 51 Psychology Today 61 Pueblo-to-People 106

Q Ouebec/Amerique 21 Theatre Popu laire du Quebec

Rand , Vicki 10 Random House 46 Ran ieri , Anthony 97 Raygun 71 Reagan , Mike 120 Reaves. Steve 19 Reed , Judith 68 Reiner Design 10 Rigsby Design, Inc. 97 Rigsby, Lana 97 Robinson , June 12 Rocarols , Albert 138 Roelofs. Paul 71 Rolling Stone 67, 71 , 73, 74, 83, 84, 88, 92 Rombout, Maxine 48 Ross. Ruth 46 Rotman , Sara 21 Rotteveel, Marcel 131 Rovin , Jody 22 Rubinstein, Rhonda 74, 90 Russek Advertising 21 Ryohin Keikaku Co. Ltd . 16

St. Martin's Press 40 Samuels. Kevin 27 Santa Fean 56 Scholastic, Inc . 39 Schumaker 112 Schumaker. Ward 112 Scott. Foresman & Company 37 Seacat, James 12 Sealock, Rick 77 Seraphein Beyn 10 Shanley's Bar & Grill 10 The Shaw Festival. Niagara-onthe-Lake 27 Shearson Lehman Brothers 83 Sheeter. Therese 71 Sheng.John 118 Sherman, Connie 54 Shikatani Lacroix Inc. 128 Shupanitz, Paul 92 Sietsma K and H Advertising 92 Silver Burdett & Ginn 39 Skouras. Angela 67, 73, 74, 83, 88, 92 Slabbers. Ronald 131 Smit Ghormley Lofgreen 28 Smith, Don 125 Smith, Kirk 125

COMM U

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Vim & Vigor 88 Vintage International 37 Viva Dolan Communications & Design 120 Viva , Frank 120 Vivir en Barcelona 84

w WBMG, Inc. 84 Wadler, Scott 24 Walker, Norman 56 Warner Bros. 19 Weeks, David 27 Westbrook, David 102 Western Living 71 The University of Western Ontario 78 The Wherehouse 73 Wholf, Anne 80 Wiebusch , John 52 Williams, Will 134 Williamson Printing 118 Willy, Scott 9 Windham Hill Records 10 Wolf Winterkorn Lillis 24 Wood Ronsaville Harlin. Inc. 134 Woodward. Fred 67, 71, 73, 74, 83, 84, 88, 92 Worth 87, 92

y Yankee Magazine 90 Yellow Freight System Inc. Yokota, Kim 128 Yuen, Michael 6

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Taxali, Gary 67 Taylor & Browning Design Associates 118 Texas Monthly 61 J. Walter Thompson Italia 16 Carol Thorton Gallery 56 Art Directors Club of Toronto 118 Travel Holiday 56 Tri Valley Growers 92, 112 Tripp Design 102 Truch , Alli 22

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Sony Mediana 15 Spanfeller Press 34 Spencer Francey Peters 106 Spencer, Mark J. 102 Sports Illustrated 67 John Sposato Design & Illustration 97 Staebler, Tom 74 Stanford Medicine 90 Stanford University 104 Steady State 27 Stentor 100 Stermer, Dugald 73 Stone, Brad 73 Stout, D.J. 61 Stout, Georgie 27 Studio Graphics 19 Studio J 33 Sullivan, Ron 109 SullivanPerkins 109 Sunstone 83 Suzuki Design 61 Sweeny, Glynis 90

A D PHOTOGRAPHY]

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REMA!

INDEX TO FIRMS, AGENCIES AND CLIENTS

UAL

1993

v Valvoline Oil Co . 27 Veilleux. Jean-Pierre 100 Vella, Jenni 12 Verve/Polygram Records 22 Viking Penguin 33, 46 Villa , Achille 128

Ed itor's Note

Every effort has been made to ensure that the credits comply with information supplied to us. If, for any reason , a misspelling, om ission or other error has occured, notify us within thirty days and we wil l be able to issue corrected award certificates.

BACK ISSUES Some back iss ues are still available. We will refund your money on an y th at have sold out. All orders must be accompanied with payment. We pay the second-class postage, so allow up to three weeks to receive your shipment. Foreign orders will take longer.

May/June 1989

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September/October 1987

Michael Peter ; Seymour Chwa t/LeftHanded De igner; Howard Rai ner; Leonard Monahan Saabye; Hinsc he + Associ ate ; Lloyd Ziff; Poltroon Press Postcards; AIGA I (Bosto n) Conference ; Index to Volume 27

CS U Poster Co mpetiti on; Un ited Way Campaign; Carbone Smolan Associates ; Willi a m Cone; W illi e Moy ; Armando Testa; Aspen; Creati ve Greeting Cards; Roger Bl ack on Stay ing A li ve; Ed McCabe and Bac kwa ter Adve rti sin g

March/A ril 1986

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Steinhilber & Deu tsch ; Per Arn o ldi's Posters ; The Cali forn ias; Sue Crolick ; Casa Lupita Men u; Bu r on- Marste ll e r Design Gro up; Ed Soy ka; ASMP

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Statue of L iberty Ex hibi t; Doug las Sm ith ; Co los a l Pictures; Loui e Fi li ; James Seba t ia n; Fra nke nberry, Laughlin & Con table; The American Adverti ing M use um ; ext

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March/A ril 1987

$2 1

M useum Design Competition; Lev ine , Hu nt ley, S ch mid t & Beaver; Jeffrey J. Sm ith ; Barbara Bord ni ck ; Si bl ey/ Peteet ; Car Emb lem

John Ya n Dyke ; GSD&M ; Kath ry n Kleinman; Alan Cober Sends Hi s Best: Esp rit Bed & Bath ; Co lor Predi cti ons ; Michael Mabry ; San Franci sco Design Discu ssion ; Ardes hir Mohasses

July 1987

$ 14

Illustration Annual

August 1987 Photography Annual

$ 14

Lew is Mobe rl y; W illi am Coupon; Drentte l Doy le Partn ers; Anthony Rus o; Mc Kinn ey & Sil ve r; Mi chae l C ron an; Hans Rudi Erdt ; Ex hibit

December 1989

January/February 1990

$2 1

March/A ril 1988

March/A ril 1990

Robert Appl eton; Vint Law rence ; Muse um of Fli ght, Seattl e; Martin/ Willi a m ; Simpson's " An Ameri can Reader" ; Yu ri Dojc; Jack Robe rts; Ex hibit ; Marget Larsen

Mi chael Broc k; Rob Day; Great Mo ments in Des ign Tools; The Ba ll WCRS Partn ership ; Geo f Kern ; Madsen & Kuester; Chi at/Day: The B ook; Exhibit; Farewe ll to the Opul ent E ighti es

July 1988

$ 14

August 1988

Tim Girvin ; Paga no, Schenck & Kay; Aaron Jones ; Wine Labe ls Get Bo lder; T erre longe Des ign; " Des ign-Spea k Vs. C o mmunicating fo r Success" ; Ri chard Mante l; TED 2; deGra f/W ahrm an; Ex hibit

July 1990

$ 14

August 1990

$ 14

Se tember/October 1990

$2 1

Harry De Zitter; Mercede Mc Donald ; Cl arit y Cove rd a le Ru e ff; Aspe n; James McMull an' s Mu ra l fo r Lincoln Ce nte r; Ex hibit ; Recyc led Paper; Vi gne lli Assoc iates

CA-88 Des ign Annu al

November 1990

December 1988

$2 1

C A-90 Design Annu al

C A-90 Ad verti sing Annua l

November 1988

January/February 1989

December 1990

Ede ls te in Assoc iates ; Myron ; Joy Radi o; Muller+ Company; Polaroid Poste r Coll ecti o n; Matthew Carte r; John He r ey; The Partn ers ; Ex hibit ; Index to Vo lume 30

March/A ril 1989

January/February 1991

Tom Hughe ; Jim Arndt; Me li ssa Grimes; Goodby , Berlin & Sil ve rste in ; Ex hibit ; Des ign in Chi cago ; Je ff Barnes ; Kym Ab ra ms; Ri c k Vali centi ; Robe rt Petri ck; Steven Li ska; Japanese Des ig n Ad ve nture

$ 14

Fra nkfurt Gip s Ba lkind ; Annu a l Re po rts ; Ja mes Stagg; Cli e nts a nd Des igne rs: Th e Nature Co mpa ny and des ig ne r Kit Hinri chs; O ffice Ergonomics; Bri an Lanker; Crispin & Porter Ad ve rti s ing; Al an Ch a n Des ig n Co mpa ny; Ex hibit

March/A ril 1992 Concrete Des ign Communi cati ons; Mull en Ad ve rti sing; Cathl een Toelke; Emi g re; Bru ce Hand s; Sl aughte r Hanso n; The Ch anging De mographi cs of Des ign; Co lor Predi cti ons; The City of Phoeni x Logo Competiti on; Exhibit

July 1992

$ 14

Illu strati on Annu al

August 1992

$ 14

Ph otography Annu al Se~tember/October 1992

G ra phi c Des ig n in Chin a; Philip Burke; Fallon McElligott; Clients and Des igner : Gra nd Uni on and Milton Gl ase r, Inc.; Lo nnie Duka; Ori o le Park at Camden Yards; The Next Generation of London Designers; Exhibit

November 1992

December 1992

January/February 1993

$2 1

Soviet Graph ic De ign; Bill Westbroo k; C.F. Pay ne ; Graphi c De mographi cs ; Mi che le Cl ement ; Vaughn/Wedeen C rea ti ve; Creatin g an Eco- Safe Offi ce ; American Package Des ign; Exhibit

Softwa re Pac kag ing Des ign; Mark Fredri ckson; Morl a Des ign; Co lo r Predi c ti o ns; OMON ; Cra ig Cutl er; Childre n's Book Illu strati o n; Stock Photogra ph y; Ex hibit $7

Cra ig Frazier; Bill Yuk sanov ich; Vi ctor Papanek; Ray mond Meier; Bartle Boge l Hegarty; Sa lary Survey Res ults; Co lor Predi cti ons; Elli s Island Immi grati on Mu seum ; Ex hi bit ; Index to Vo lume 32

March/April 1991

August 1991

CA -92 Ad verti si ng Annual

Photograph y Annua l

T ony Schwa rt z; Juli e Li eberm an; Fra nr;:o is Robert; NFL Prope rties; ev ill e Brody ; Ex hibit; Creati ve Greeting Ca rds; Herbert Baye r

$ 14

CA-92 Des ign Annua l

Illustra ti on Annu al

Photography Annua l

September/October 1988

May/June 1990

July 1991

Se tember/October 1991

S mart Ye ll ow Pages; Willi am Nei ll ; Art Chantry ; " Des ign Jobs: Fac t and Ficti o n"; Kuni o Hag io; He ll er Breene; Ge ne Hoffman; AIG A Confe rence II (San Franc isco); Index to Vo lume 29

T ay lo r & Brow ning; Tho mas Bl ac kshea r; Li vingston & Co mpany; Omn i M agazine; Sex in Ad verti ing; Michael Go ing; Ex hibit; Heather Coo pe r's Carn aval Perpetue l; ine Ways to Improve an Ad

Photography Annu al

Intern ati ona l Posters; Deutsch; Joyce Kitche ll ; Tim Bi eber; Sko los, Wedell + Ray nor; AIGA Conference III (San Antoni o); Ea rthquake; Exhibit ; Index to Volume 3 1

CA-88 Ad ve rti sing Annua l

May/June 1987

Se tember/October 1989

November 1989

May/June 1991

Museum Design Co mpetiti on; Mande lbaum Mooney A hley ; James Marsh; C lients and Designers: Jose ph Abboud Appare l and des igner Tyler Smith ; Johns+ Gorm an Films; Ri ck Rusing; Emery Vincent Assoc iates ; Pric ing & Ethi ca l Guide lines ; Ex hibit

llu strat ion Annu al

CA- 89 Ad ve rti sing Annu al

Illust rati on Annual

He in z Centenn ial Annua l Report; Richard Ham ilton Smi th ; Dyer/ Kahn ; W ieden & Kennedy ; C harl een Kin ser De ign ; T wen ty- seven C hicago Designers; Magazine on Whee ls ; " Ho ld the Red Ink , Me rger o n the Ri ght" ; Index to Volume 28

$ 14

Photogra phy Annual

CA-89 Des ign Annua l

CA-8 7 Ad ve rti sin g Annua l

May/June 1988

CA-86 Design A nnu al

December 1986

December 1987

$ 14

Illustra ti on Annu al

August 1989 January/February 1986

A mmirati & Puris; Compu te rs in the Studi o; Scott Mo rga n; Ri chard on or Ri chardson; Ex hibit ; Yeste rd ay in C A

es nadny + Schwartz; Ra fa) Olbin ski ; Kirshenba um & Bo nd ; Cli e nts and Designers: Lomas Financial Corporation a nd The Ri chard s Group ; Ma lco lm Tarl o fsky; Wo men in Des ign Roundtabl e; Merchandi sing De igners: Charles S. Anderson, Tom Bonauro, Hi gas hi/ Gl aser, Cheryl Lewin, Michael Cronan; Ex hibit

May/June 1993

Margo Chase Des ign; Steve Hi x; Howard, Merre ll & Partn ers; Dav id Lancashire; Mi chael Paraskevas; Doyle Dane Bernbac h; Good Des ign is Good will ; Exhibit

90°

60°

30°

o·

30°

60'

90'

BRETT FROOMER ON THE 38 rH PARALLEL 38.32n, 86.37w, "Pinky" Phillips, Train Conductor, French Lick, Indiana 11:54 am, May 4, 1993

USA.

DeJign: PARTNERS &

Simons.