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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 1994 by Coyne & Blanchard, Inc. 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.

Cover: © 1994 Robert Jew

COMMUNICATION ARTS 1994

ILLUSTRATION

6 ADVERTISING

30 BOOKS

53 EDITORIAL

Volume 36, Number 3

84 FOR SALE

94 INSTITUTIONAL

114 SELF-PROMOTION

128 UNPUBLISHED

ANNUAL

T E C H N 0 L 0 G Y EDITO R A

154 T ECHNOLOGY MicroColor, a New York-based network of digital illustrators.

D DESIGNER

Patrick Coyne EXECUTIVE EDITOR

165 D ESIGN TECHNOLOGY Wendy Richmond looks at the ramifications of using e-mail.

Jean A. Coyne CO

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EDITOR

170 TECHNOLOGY R EVIEWS Richard Koman reviews the latest versions of Illustrator and FreeHand.

D DESIG

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Stephanie Steyer-Coyne MANAGI

176 TECHNOLOGY R ESOURCES Books, magazines, newsletters, seminars and training .

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A

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Anne Telford ASSOC I ATE DESIGNER

Jane McCampbell PRODUCTIO

COLUMNS

Scott Perry

180 FREE-LANCE Barbara Gordon discusses the benefits of using illustration.

Ron Niewald Scott Teaford

MA

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188 D ESIGN ISS UES Mark Fox explores animation and storytelling in packaging.

ADVERT I SI

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C IR CULAT I O

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Michael Krigel

192 LEGAL AFFAIRS Lee Wilson explains the rights of publicity and privacy.

197 ADVERTISING Tom Monahan asks why there is so little great radio advertising .

R ETA IL SALES

Art Carbone ADM I

I STRATIVE

ASS I STANT

Nancy Hagemann ED I TO RI AL ASS I STA

D E P A R T M E N T S

Sue Garibaldi

142 EDITOR'S COLUMN

Jason Jackson

SUBSCR IP T I O

T

MANAGER

S• U B S C R I P T I 0 N

144 CONTRIB UTORS

Gloria Rosario Priscilla Solera T R AFF I C MA

146 L ETTERS TO THE EDITOR

AGER

Lisa Marie Perez FOUNDER

202 BOOK R EVIEWS 208 MATERIALS, AVAILABLE LITERATURE 211 C LUBS, CONFERENCES, SEMINARS 212 INDEX TO ILLUSTRATORS 218 INDEX TO ART DIRECTORS, DESIGN FIRMS, AGENCIES AND CLIENTS 222 DIRECTORY

Richard Coyne

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 Editeur responsable (Belgique): Christian Desmet Vuurgatstraat 92 , 3090 Overijse Belgique

ADVERTISING

Shane W. Evans. illustrator/art director/designer Odds & Ends, client Promotional flyer and poster for jeans designer. 24 x 36, oil on denim .

2 Gerald Bustamante. illustrator Jose Serrano, art director Mires Design , design firm Peninsula YMCA, client Poster for the bay to bay rowing and paddling regatta . 19% x 121!4, acrylic on chipboard .

3 Jerry Lofaro, illustrator Woody Litwhiler, art director Bozell, Inc ., ad agency Minolta, client Ad for copy machines sold with a no-risk guarantee. Headline: Maybe the best way to handle risk is to avoid it altogether. 22 x 28, acrylic airbrush and paint.

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Rick Sealock, illustrator Andy Anema, art director/designer Ogilvy & Mather, ad agency Sears, Roebuck & Company, client Ad for video games and adapters . 11 x 14, mixed media .

2 Rich Borge, illustrator/designer Rich Borge/John Murphy, art directors Gravity Workshop, design firm Black Vinyl Records, client CD cover "Propeller" for Shoes. 12 x 12, mixed media .

3 Mark Ryden, illustrator Jeri Heiden, art director/designer Warner Bros . Records/Third Matinee, clients CD packaging . 10 x 10, oil.

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Bra ldt Braids, i 11 ustrator David Bartels, art director Bartels & Company, ad agency Saint Louis Zoo, client Poster "Above and Beyond ." 14 x 28, oil on Masonite.

2 Gary Baseman, illustrator/designer David Carson, art director David Carson Design/Gary Baseman, design firms Ray Gun, client Subscription page . 16 x 20, mixed media .

3 Cathleen Toelke, illustrator Nelson Kane, art director Art Spikol, Inc., ad a·gency Promotrak Software, IMS America, client Brochure cover promoting the speed and maneuverability of the software . 71/2 x 9, gouache .

4 Brad Holland, illustrator Guy Marino, art director/designer Merkley, Newman, Harty, ad agency Banker's Trust, client Double page ad . Headline: Risks hardly ever travel alone . 22 x 20 , acrylic on Masonite.

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Leland Klanderman. illustrator Michael Cory, art director The Zipatoni Company, ad agency Ralston Purina. client Poster. 26 x 38. acrylic .

2 Mark Braught. illustrator Bill Carson. art director Hal Riney & Partners. ad agency Saturn Corp .. client

Ad depicting the fuel economy of the car.

10 x 10. pastel .

3 Joel Nakamura. illustrator Linda Cobb. art director/designer Warner Bros . Records/Not Drowning.Waving, clients CD cover of "Follow the Geography." 20 x 20. acrylic .

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Michael Schwab. illustrator Michael Schwab Design, design firm Lord Fletcher's Restaurant. client Poster. 22Y2 x 30, silk screen .

2 (series) Bill Mayer. illustrator Bill Haffner. art director Scripto-Toka i. Inc .. client Back to school packaging . Approximately 10 x 15, airbrush, gouache and dye.

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Joseph Daniel Fiedler, illustrator Howard Fritzson, art director Sony Music, design/client CD cover of "Billie Holiday, 16 Most Requested Songs ." 11 x 11, alkyd on paper.

2 Michael Bartalos , illustrator Jim De Barros, art director/designer Sony Mus ic, design/client LP and CD cover art for a compilation titled "Hey, Mr. D.J." 71/2 x 71/2 , gouache .

3 (series) Daniele Melani, illustrator Agostino Reggio, art director/designer Reggio Del Bravo Pubblicita, ad agency Eugenio Fabozzi Onoranze Funebri, client Billboards advertising an undertaking firm .

Headline: Why get there before you have to?

23 x 12, mixed media on paper.

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ADVERTISING

Doug las Fraser, i II ustrator Greg Roditski , art director/designer Mccaffrey & Company, ad agency Merck Group, Astra, client Ad image to promote a drug for high blood pressure . Headline: Who's a candidate? 10 x 15, alkyd on paper.

2 Waldemar Swierzy, illustrator/art director Galeria Sztuki, client Poster for the gallery featuring Duda Gracz. 9 x 11, gouache.

3 Gary Kelley, illustrator Connie Soteropulos, art director Matt Eller, designer Dayton Hudson, Department Store Division, client Poster to promote an animated Christmas display. 20 x 28, pastel on paper.

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ADVERTISING

Marco J. Ventura. illustrator David Hadley, art director KSK Communications, Ltd ., ad agency Lucas Management Systems, client Trade magazine ad and brochure cover.

Headline: What would happen if you chose the wrong project management software?

4Y2 x BYz . oil on paper.

2 Rafal Olbinski, illustrator Lisa Leleu-Gingras, art director/designer Full Moon Creations, Inc., design firm Eberhard Faber, client Poster headline: The art of recycling . 20 x 30, acrylic on canvas.

3 James Marsh. illustrator Keith Terry, art director Saatchi & Saatchi, ad agency Burger King Corp., client Poster headline: But you can change your burger to a Burger King Burger. 13% x 15%, acrylic on canvas board .

4 Stasys Eidrigevicius, illustrator Jimmy Seacat. art director Actors Theater of Louisville, client

Poster. 21 x 16, pastel.

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Paul Davis, illustrator/designer Fran Michelman, art director Paul Davis Studio, design firm Mobil, client Poster for "The Inspector Alleyn Mysteries." 30 x 45, acrylic.

2 (series) Ann Field, illustrator Aubyn Gwinn, art director/designer Foote Cone & Belding, ad agency Levi Strauss & Company, client In-store banners and panels. Approximately 12 x 15, pastel chalk.

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ADVERTISING

Ron Chan, illustrator David Hunter. art director Foote Cone & Belding/Technology, ad agency Adobe Systems, Inc .. client "Wild Thing" used for posters, buttons and various collateral material for the introduction of Adobe Illustrator 5.0. Digital.

2 James Gallagher, illustrator/designer Sasha Frere-Jones, art director Hemiola Records/UI. clients Concert poster. 18 x 24, mixed media .

3 (series) Colin Davidson. illustrator Alison Gault. art director Rodney Miller Associates, design firm The Lyric Players Theatre, Belfast, client Posters: Volunteers; The Hidden Curriculum; Taming of the Shrew. Pictures of Tomorrow.

11 % x 24, acrylic and oil on canvas .

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ADVERTISING

John Mattos, illustrator Jill Savini, art director/designer CKS Partners. ad agency S.S. Norway, client Poster for cruise ship. 15 x 20, airbrush ink.

2 C.F. Payne, illustrator Gary Greenberg, art director/designer Rossin Greenberg Seronick, ad agency Stratus Computer, Inc., client Ad headline: Before you commit to high availability computing , maybe you should take a closer look. 12 x 16Y2 , mixed media .

3 Gregory Manchess, illustrator Matt Reinhard , art director Foote Cone & Belding, ad agency Coors Brewing Company, Killian's Red Beer, client Ad headline: We spent Friday night at the fights at the Green Garden Arena . 33 x 24, oil on gesso board .

4 Braldt Braids. illustrator Arnold Arlow, art director TBWA Advertising, ad agency Carillon Importers, Ltd ., client

Ad . 18 x 24, oil on Masonite.

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5 Hayes Henderson. i 11 ustrator/art di rector /designer Henderson Tyner Art Co .. design firm Piedmont Guitar Society, client Poster. 16Y4 x 22:Y4, oil .

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ADVERTISING

Bryan Leister. illustrator David Schiedt/Herb Allison. art directors Thomas & Perkins. ad agency Central City Opera, client Poster. 9 x 22, oil.

2 Chris A. Gall, illustrator Ted Nuttal, art director Young & Associates, ad agency Software Marketing Association, client Cover of a software package for UFO enthusiasts. 8 x 12, scratchboard and dyes.

3 Allen Garns, illustrator Mike Pacelli, art director Kaizer Communications, design firm Spelling Films International, client Poster for the Robert Altman film, Short Cuts. 30 x 40, oil.

4 Jerry Lofaro, illustrator Kristine Pallas , art director Pallas Advertising, ad agency Brown & Caldwell, client Ad for a company that has developed a technique to blow-dry strawberries and other produce in the field to limit pesticide runoff into the water table. 24 x 18, acrylic, airbrushed and painted.

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Glenn Harrington. illustrator Glenn Harrington/Rick Fehrs, art directors Artefact. client Poster advertising the store . 8 x 12, oil .

2 Guy Porfirio, illustrator David Bartels, art director/designer Bartels & Company, design firm Anheuser-Busch. client Point-of-purchase poster. "Keep Florida Clean." 9 x 11 %, acrylic and colored pencils .

3 Gregory Manchess. illustrator Alfredo Paredes. art director Polo. Ralph Lauren. client Original art for the interior of the New York store. 24 x 36. oil on canvas.

BOOKS

4 Earl Keleny, illustrator Michael Accordino, art director/designer St. Martin's Press. design/client

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Cover of Footsteps in the Blood. a Charmian Daniels mystery, 12 x 17Y2 . acrylic .

5 Rebecca J. Leer. i 11 ustrator Lucille Chomowicz. art director David Neuhaus, designer Simon & Schuster, client A page from The Girl Who Listened to Sinks, a children's book about a girl who betters her life and her mother's by listening to inanimate objects. 14 x 19, pastel.

6 Adam Niklewicz. illustrator Michael Accordino/Doris Borowsky, art directors St. Martin's Press, client Cover for Third Man Out, a gay mystery novel concerning conspiracy. 10 x 15, acrylic .

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BOOKS

1 (series) Paul Cox, illustrator Howard Klein, art director Clarkson N. Potter, Inc. Publishers, client Illustrations from The Russian Tea Room, A Tasting. Various sizes, watercolor.

2 Joanna Yardley, illustrator/designer Nanette Stevenson, art director Philomel Books, client Jacket for The Bracelet, a children's book describing one child's experience in the Japanese internment camps . 11 x 13, watercolor and colored pencil.

3 Mary GrandPre, illustrator Terry Czeczko, art director Dell Publishing, client Stories That Go Hiss in the Night, a collection of ghost stories .

16 x 20, pastel.

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1 (series) Rocco Baviera. illustrator Gunta Alexander, art director/designer Philomel Books, cl ient Cover and interior illustrations for a children's book, A Boy Called Slow, the true story of Sitting Bull . Various sizes, alkyds and construction .

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BOOKS

1 (series) Christopher Denise, illustrator Nanette Stevenson, art director Ph il omel Books, client Interior illustrations from The Fool of the World and the Flying Ship, a Russian folktale. Approximately 12 x 9314 , acrylic on gessoed watercolor paper.

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1 (series) John Thompson. illustrator Claire B. Counihan, art director Scholastic Inc., client

Interior illustrations from Christmas in the Big House, Christmas in the Quarters. Various sizes, acrylic on Strathmore 5-ply kid finish Bristol board .

2 Wiktor Sadowski , illustrator Joan Sommers, art director/designer Joan Sommers Design, design firm University of Chicago Press, client Cover of The Bridge on the Drina by Iva Andric, winner of the 1961 Nobel Prize for Literature. 12 x 14, acrylic .

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1 Chris A. Gall, illustrator Nick Krenitsky, art director HarperCollins Publishers, client

Cover of Gypsy Davey, a novel about a poor retarded boy who gains freedom on his bicycle . 7 x 12, scratchboard, dyes.

2 Jody Hewg ill, illustrator Suzanne Noli, art director HarperCollins Publishers, client Cover of Sisters & Lovers, a novel that follows the loves, lives , choices and rivalries of three sisters. 9Y2 x 13Y2, acrylic.

3 Ashley Wolff, illustrator/designer Sara Reynolds, art director Dutton Children 's Books, publisher Interior illustration for Stella & Roy. Even though Stella's bike is much faster than Roy's, he manages to win their race around the park because she keeps stopping to enjoy its natural beauty. 7Y2 x 8%, linoleum block and watercolor.

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B OOKS

Ward Schumaker, illustrator Sharon Smith, designer Sharon Smith Design, design firm Mercury House, client

Reading Jazz cover illustrates a collection of historical pieces on the subject of jazz by famous authors. 6 x 9, ink on tissue on acetate.

2 (series) Tatsuro Kiuchi, illustrator Yumiko Sakuma, art director Masuro Tsujimura, designer Fuzanbo, client Children's book, cover and interior illustrations from Hyouga Nezumi No Kegawa (The Hunter and Fur). A man going hunting is stopped by polar bears. 20 x 18, oil on panel.

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BOOKS

1 (series) Gary Kelley, illustrator Rita Marshall, art director Louise Fili, designer Louise Fili Ltd ., design firm Creative Editions. client

Rip Van Winkle. Various sizes, pastel on paper.

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BOOKS

Pol Turgeon, illustrator Michael Accordino, art director/designer St. Martin's Press. client Cover of Unsolicited, a detective story set in the London literary milieu.

1a:% x 16, ink, gouache, pastel, colored pencils, oil, varnish and collage.

2 (series) Edward S. Gazsi, illustrator Laura Geringer. editor HarperCollins Publishers, client Children's book, Kimbo's Marble. At birth, Princess Kimbo, a girl of great spirit and independence, is given a magic marble and with it the gift of understanding the language of animals. 7 x 7, acrylic.

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Eric Dinyer, illustrator David Tran, art director Oxford University Press, client Book jacket. Goddess is a rich and respectful introduction to the archetypal figure, Goddess, as she has emerged in myth and belief from prehistory to the present. 8Y2 x 11 Y2 , mixed media, digital .

2 Chris A. Gall, illustrator Julia Kushnirsky, art director Warner Books, client Cover of Borderlines, one from the series of Joe Gunther detective mysteries set in Vermont. Arson ignites tension between cultists and townspeople. 7 x 12, scratchboard and dyes.

3 Scott Menchin, illustrator/designer Steve Brower, art director Carol Publishing, client History of Witchcraft cover. 5 x 8, pen and ink and photography.

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1 (series) Ward Schumaker, illustrator Michael Carabetta, art director Gretchen Scoble, designer Chronicle Books, client Cover and spreads from Let's Do It, a book based on the Cole Porter song . Various sizes, ink on tissue on acetate .

2 Cathleen Toelke. illustrator Georgia Morrissey, art director Ballantine Books, Random House, client Cover of Daughters of the House. In rural India, three selfsustaining women struggle with love and loyalties when a man enters their lives. 7Y2 x 11, gouache .

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Greg Spalenka, illustrator Nancy Duckworth, art director Los Angeles Times Magazine, client Article on Norplant. a controversial contraceptive drug . 12 x 18, mixed media.

2 Glynis Sweeny, illustrator Fred Woodward , art director Debra Bishop, designer Rolling Stone, client "Jackson's Dangerous Game," the selfcrowned King of Pop ruled on prime time, but did we get the truth? 9 x 12, Prismacolor pencil.

3 John Craig, illustrator John Lyle Sanford, art director Destination Discovery, client Article on artificial intelligence. "It Thinks. Therefore It Is." 12 x 11 , collage to film with overlays.

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EDITORIAL

1 (series) Seymour Chwast, illustrator Hans-Georg Pospischil, art director Frankfurter Allgemeine Magazin, client Article on the anniversary of Peter Tchaikovsky's death. Various sizes, Celotak.

2 Courtney Granner, illustrator Richard Leeds, art director Keyboard, client Magazine article on coming to terms with the critic within oneself, "Slings & Arrows." 7 x 11 , gouache .

3 Carter Goodrich, illustrator Richard Steadham, art director Governing, client Cover of a magazine for states and localities, "Can the Press Be Tamed?" 13Y4 x 16Y4 , colored pencil and watercolor.

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Rob Day, illustrator John Plunkett. art director Wired, client Portrait of Jaron Lanier, pioneer of virtual reality. 11 x 13, oil on paper.

2 Philippe Lardy, illustrator Patricia Bradbury, art director Doris Jewett, designer Newsweek, client The latest research from physicists may reveal where the smallest particles in the universe came from . 4 x 7, watercolor and ink.

3 Jack Unruh, illustrator Joseph Connolly, art director/designer Boy's Life, Boy Scouts of America, cl ient

First in a series of magazine articles on the American Indian .

25 x 18, mixed media .

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1 (series) Skip Liepke. illustrator David Cuccurito. art director/designer Penthouse. client Paintings for an ongoing series of articles on erotica . Various sizes. oil .

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Richard Thompson, illustrator Marty Barrick, art director The Washington Post. client Cover for national weekly section , titled "That Pesky Perot. "

2 Marshall Arisman, illustrator Tom Staebler, art director Playboy, client Magazine article about Catholic priests being arrested for pedophilia. "Sins of the Fathers."

28 x 23, oil on ragboard .

3 Alan E. Caber, illustrator Fred Woodward, art director Rolling Stone. client Movie review of Carlita's Way starring Al Paci no .

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EDITORIAL

Robert Andrew Parker. illustrator Laura Frank/Allison Martin, art directors World Monitor, client Magazine illustration. 18 x 20, monoprint and watercolor.

2 Mirko Ilic, illustrator Wayne N. Fitzpatrick, art director Emerge, client "The First Amendment: Friend and Sometimes Foe," magazine editorial about freedom of speech and racism . 12 x 15, colored scratchboard .

3 (series) Eric White, illustrator Alex Alexander/Kevin Robie, art directors Movieline, client Magazine article, "Confessions of a Cineplex Heckler." 9 x 12, acrylic on board .

4 Andrea Ventura, illustrator Chris Curry, art director The New Yorker, client Magazine article on writer Nathan McCall. 10 x 14, charcoal and acrylic on paper.

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5 James Yang, illustrator Ron Stucki, art director Wordperfect Publishing, client Magazine illustration, "Terrific Text Borders ." 8Y2 x 11, acrylic, collage and ink.

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Gary Kelley, illustrator Ron McClellen, art director/designer Iowa City Magazine, client Story about a woman playing jazz in a man 's world, "Mama Played First Chair." 14 x 19, pastel on paper.

2 Richard Downs, illustrator David Armario, art director David Armario Design, design firm Stanford Medicine, client Office of Communications magazine article, "Gene Jocks & Docs." 13Y2 x 13Y2 , mixed media .

3 Joe Sorren, illustrator Scott Clum, art director/designer ride design , design firm Bikini, client Magazine portrait of The Velvet Underground for an article about their brief reunion, "The Velvets-What Happened?" 30 x 30, acrylic on canvas .

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EDITORIAL

Paul Cox, illustrator Mike Grinley, art director Walking Magazine, client Article, "The Changing of the Guides." It's royalty today, the Ripper tomorrow. The best way to see London is through the eyes of its walking tour guides. 23 x 22, watercolor.

2 Robert M. Pastrana, illustrator Nancy Cutler, art director NewMedia, client Magazine article, "Rights of Passage," about the complexity and confusion of multimedia copyright law and the caution software developers must take to avoid getting into legal trouble.

10% x 15314 , watercolor and colored pencil.

3 Jeffrey Fisher, illustrator Joe Dizney, art director SmartMoney, client Magazine article, "Confused About Insurance." 8 x 10, watercolor.

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EDITORIAL

Jack Unruh. illustrator Albert Chiang, art director Islands. client Magazine excerpt of Key West Tales by John Hersey, a collection of historical and contemporary stories set on that Florida island. "A Little Paperwork" concerns President Harry Truman . 16 x 14Y2 , ink and watercolor.

2 Tom Curry, illustrator J. Porter. art director/designer Yankee Magazine, client Article. "The Man Who Never Slept." 12Yz x 13Y2 , acrylic on hardboard.

3 Don Asmussen. illustrator Dolores Motichka. art director/designer The Washington Times, client Portrait of David Letterman. "The King of Late Night."

14 x 20, pen, ink and collage.

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4 Randy Lyhus, illustrator John Anderson, Jr., art director/designer The Washington Post. client Business section grades lending practices. "Good Bank, Bad Bank." 6% x 6%, scratchboard.

5 Peter de Seve, illustrator Fran~oise Mouly, art director The New Yorker, client Cover. 14 x 17, watercolor and ink.

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EDITORIAL

Nigel Buchanan. illustrator Tim Donnellan, art director Australian Penthouse. client Article about the lack of funding for male health issues in Australia.

"Men's Health." 7 x 9, gouache.

2 (series) Normand Cousineau. illustrator Tony Chambers. art director The Sunday Times Magazine, client Each week the magazine runs "Bookwise," a literary quiz with a different theme. This question was: Can you name these female impersonators? In which books do they appear? The Shadow; My Time With Rosie; Hugh MacDiarmid. The Complete Poems; How I Became a Holy Mother; Sir Lancelot. Marte d'Arthur. 51/2 x 6. ink and gouache .

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Philip Burke, illustrator Fred Woodward, art director Rolling Stone. client Portrait of Run of Run-D.M.C. on table of contents page . 40 x 72. acrylic .

2 William Burgard, illustrator Kristen Finn. art director University of Michigan Medical Center, client

Advance cover article examining minority health care. 19 x 24, charcoal.

3 Philippe Lardy, illustrator Fred Woodward. art director Rolling Stone. client Record review of New Order's album .

6 x 1OY2 . watercolor and ink.

4 Gary Kelley, illustrator Judy Garlan, art director/designer Atlantic Monthly, client Fiction by Garrison Keillor. "Don Giovanni ."

Figaro and the Don debate marriage at a piano bar in Fargo . 21 x 14, pastel on paper.

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Calef Brown , illustrator Chris Curry, art director The New Yorker, cl ient "Night Life" section. 51/2 x 91/2 , acrylic and oil.

2 Andrea Ventura, illustrator Chris Curry, art director The New Yorker, client Portrait of gu itarist David Starobin in the "Goings On About Town" section . 15 x 15, charcoal and acrylic on paper.

3 Robert Crawford, illustrator Susan McClellan, art director/designer Harrowsmith/Country Life. client

Article about food co-ops in small towns. "Side Stepping the Supermarket." 12 x 17. acrylic.

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Pete Spino. illustrator Christina Hansen , art director/designer Alaska Magazine, client Book excerpt. Johnny's Girl: A Daughter's Memoir of Growing Up in Alaska's Underworld. BY2 x 7%, gouache and colored pencil.

2 Jeffrey Fisher, illustrator Linda Brewer, art director The New York Times, client Summer Arts section "Events & Festivals." 12314 x 18, ink on paper.

3 Gary Kelley, illustrator Andrew Kner, art director Print, client Magazine cover art. 16 x 24, pastel on paper.

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Jardin Isip, illustrator Florian Bachleda, art director The Village Voice, client Article, "Shooting an Elephant." 11 Y'a x 13Y2 , mixed media .

2 Gary Taxali, illustrator Kristi Anderson, art director Utne Reader, client Article concerning the ethics of giving growth hormones to short youngsters, "Do Short Guys Finish Last?" 19 x 24, alkyd on Masonite.

3 Philip Burke, illustrator Rudolph C. Hoglund/Kenneth Smith, art directors Time, client In the spotlight: Michael Jackson, nowhere to be found and everywhere gossiped about, fights drug addiction and an intensifying probe of sexabuse charges against him. 30 x 40, oil on canvas.

4 Benoit Van Innis, illustrator Fran~oise Mouly, art director The New Yorker, client

Artist's Easel, "Boo ." 11% x 16, oil .

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Barry Blitt, illustrator Rudolph C. Hoglund/Paul Lussier, art directors Time, client How a sixteen-year-old stole a train and the hearts of New Yorkers, "The Great A Train Robbery." 2Y2 x 4, pen, ink and watercolor.

6 Brad Holland, illustrator Giovanni Russo, art director Men's Journal, client "Flying on Empty: The Midcareer Refueling of Michael Jordan." 16 x 20, acrylic on Masonite.

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EDITORIAL

Peter de Seve. illustrator Fran~oise Mouly, art director The New Yorker, client Cover. 14 x 17, watercolor and ink.

2 Eric Dinyer. illustrator Lucy Bartholomay, art director The Boston Globe Magazine, client Article titled "Men Who Batter Their Wives." 10 x 12, mixed media. digital.

3 Henrik Drescher. illustrator D.J. Stout. art director/designer Texas Monthly, client Article titled "David Koresh and the Myth of the Alamo ."

Perhaps the long cult standoff could have happened anywhere, but there are unsettling reasons why it happened in Texas .

12 x 12, collage.

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Joseph Salina, illustrator Carmen Dunjko. art director Scott Gibbs. designer Joseph Salina Illustrated Inc., design firm Saturday Night. client Fiction piece about the social and psychological trauma of a family in postwar Europe, "Family Portrait." 10 x 12314 , acrylic and oil glaze .

2 David Wilcox, illustrator Tom Staebler, art director Kristin Korjenek. designer Playboy, client

Article concerning shutting down the Pentagon and unifying our current military branches into a single service , "Nuke the Pentagon." 20 x 20. casein on hardboard.

3 Mike Benny, illustrator Tom Staebler, art director Kerig Pope. designer Playboy, client

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Article. "To Live & Die in L.A." by lce-T. 18 x 18, acrylic.

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FOR SALE

1 (series) Scott Gustafson, illustrator Lauren Guttenberg, art director The Bradford Exchange, client Series of collector's plates based on Lewis Carroll's Alice in Wonderland: Advice From a Caterpillar, A Mad Tea Party, The Queen's Croquet Ground . 26 x 32, oil.

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Barbara Banthien, illustrator The Nature Company, client Limited edition print and Christmas greeting card . 6 x 10, watercolor and colored pencil .

2 James Gurney, illustrator David Usher, art director/president The Greenwich Workshop, Inc., client Limited edition print. 24 x 36, oil on canvas.

3 Fletcher Sibthorp, illustrator/designer Phillip Arnott/Fletcher Sibthorp, art directors Stable Gallery, client 48 x 34, oil and pastel on canvas.

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FOR SALE

1 (series) Mark A. Fredrickson, illustrator Marna Henley, art director Mead Products, client No-Rules portfolio folders for school children .

20 x 30, acrylic .

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FOR SALE

1 (series) Jan Waddell, illustrator Malcolm Waddell , designer Eskind Waddell, design firm Canada Post Corporation, client Postage stamp illustrations. 6 x 3%, watercolor, digital manipulation.

2 (series) Braldt Braids, illustrator Rocco Callari, art director United Nations Postal Administration, design/client Stamps picturing climate . 28 x 7, oil on Masonite.

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1 (series) Mark Hess, illustrator/designer Dick Sheaff. art director Hess Design Works, design firm United States Postal Service, client Block of four stamps : Buffalo Bill, Sacagawea, Bill Pickett and Jim Bridger. 4 x 5%, acrylic and oil on canvas.

2 Gregory Manchess, illustrator Tricia Manchess, art director Manchess Illustration, client "Snow Angel" note card . 26 x 34, oil on canvas.

3 Dugald Stermer, illustrator/designer Leslee Avchen, art director Woof Productions, client Poster for sale to Irish Terrier fanciers . 24 x 36, pencil and watercolor on Arches Paper.

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INSTITUTIONAL

Becky Heavner. illustrator Linda Brown/Margaret Georgiann, art directors Tim Cook. designer National Institutes of Health. client Poster announcing a conference on the effect of corticosteroids for fetal maturation on perinatal outcomes . 14 x 20, digital.

2 Rene Milot. illustrator Tom Lennon, art director Dorritie Lyons & Nickel, Inc .. ad agency Pfizer Animal Health Group. client

Brochure illustration directed to veterinarians . 20 x 15, oil on canvas .

3 Simon Silva, illustrator Juan Silverio Gonzalez. art director/designer Don Juan Productions, design Mexican American Legal Defense & Education Fund, client Poster. 20 x 28. gouache.

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INSTITUTIONAL

1 (series) R.M. Kato, illustrator Mary Ruggieri, art director/designer Joseph A. Wetzel Associates, Inc., design firm The Florida Aquarium, client Five from a series of 200 illustrations of the various species in the forested wetlands section of the aquarium . Various sizes , ink.

2 Seymour Chwast, i 11 ustrator/designer Robert Putz, art director The German Post Office, client Poster to promote the post office . 15 x 20, Celotak.

3 Albert Rocarols, illustrator/art director/designer O.E.P.L.I .. client Poster announc ing Children 's Book Week, 14Y2 x 19Y2 , acryl ic on paper.

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INSTITUTIONAL

1 (series) Brad Holland, illustrator Claudia Brambilla, art director J. Walter Thompson Italia S.p .A., ad agency Ansaldo, client Annual report. 11 x 141/2 , acrylic on Masonite.

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INSTITUTIONAL

1 (series) Kinuko Y. Craft, illustrator Douglas May/Clay Freeman, art directors Clay Freeman, designer May & Co., Inc., design firm The Washington Opera Co ., client Promotional brochure and posters showing Turandot, Carmen, Manon Lescaut and Valentino. 20 x 25, 18 x 24, 18 x 22, 12112 x 25, watercolor and oil.

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INSTITUTIONAL

1 (series) David Rose, illustrator/designer Anthony Fortuna, director of marketing/ communications Greg Davy, senior communication representative Metropolitan Transportation Authority Marketing Department. agency Los Angeles County Transportation Authority, client Documentation of the Los Angeles subway construction . 20 x 15, pen, ink, watercolor and pastel .

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INSTITUTION AL

Chris Sheban. illustrator Joan Body, art director Studio Grafika. design firm Charter Medical, client As a leader in behavioral health care services. Charter Medical explored other strategies to reach new markets and develop new lines of business, hence "less traveled paths ."

81/2 x 161/2, watercolor. pencil and pastel.

2 John Rush, illustrator Mark Geer, art director Geer Design, design firm Texas Children's Hospital Center for Facial Surgery, client Brochure illustration. 12 x 6, etching and drypoint.

3 Matt Zumbo. illustrator Steven Wold, art director/designer Bender Browning Dolby & Sanderson Advertising, ad agency First Stage Milwaukee, client Program cover for James and the Giant Peach. 9 x 15. acrylic and pastel.

4 Michael Paraskevas. illustrator/art director/designer Paraskevas Gallery, design Bide-A-Wee. client Program cover for a night of comedy to benefit a dog and cat association . 30 x 40, acrylic .

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INSTITUTIONAL

1 (series) David Johnson, illustrator Don Owens, art director Don Owens Visual Communication, design firm American Jury Trial Foundation, client Portraits from booklet: Justice Theodore Sedgwick; Patrick Henry; Sir John Fortescue, Chief Justice of the King's Bench; John Dickinson; twelve men and women in the jury box are the cornerstone of the judicial process . Black-and-white, 8 x 11; color, 11 x 14, ink and watercolor. ·

2 Philippe Weisbecker, illustrator Ann Harakawa/Brian Sisco, art directors Dai Nippon, client Calendar illustration. 15 x 16Y2 , pencil, watercolor on paper.

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INSTITUTION AL

1 (series) Fletcher Sibthorp. illustrator Jimmy Yang/Michael Peters. art directors Jimmy Yang, designer ldentica. design firm Huhtamaki. client Five paintings for Huhtamaki's new corporate identity launch brochure . Huhtamaki is the tenth largest conglomerate in Finland and is comprised of three companies: confectionery, pharmaceuticals and food packaging . 32 x 44, mixed media on canvas .

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Gary Head, illustrator Keith Hart. art director Ed Tel, design Edmonton Telephone Yellow Pages. client Cover and poster to show community at another time period.

12 x 14, oil .

2 Harvey Chan, illustrator Andy Foster, art director Stratford Festival, client Cyrano de Bergerac illustration for the theater catalog .

18 x 24, mixed media .

3 Mario Sermoneta, illustrator Yarom Vardimon, art director/designer Vardimon Design, design firm The Tisch Family Zoological Garden in Jerusalem, client Identification plate . 18% x 12%. watercolor.

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INSTITUTION AL

1 (series) Robert Neubecker. illustrator Peter Deutsch, art director Peter Deutsch Design , design firm Joyce Foundation of Chicago, client Annual report for a foundation dedicated to funding dialogue and debate on pressing social issues to bring about more creative approaches to solving problems within the culture . 12 x 17%. ink, watercolor and acrylic .

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INSTITUTION AL

1 Filip Pagowski. illustrator Jeffrey Keyton, art director MTV, client Image on ethnic violence in response to the Bosnian conflict. made for the video music awards presentation . 12% x 16, paint. ink and photocopier.

SELF-PROMOTION

2 Gregory Manchess, illustrator/art director Richard Solomon, Artists Representative, client Source book.ad, "Lighter Than Air." 13Y2 x 17Y2 , oil on gesso board.

3 Mark Summers. illustrator/designer Richard Solomon , art director Richard Solomon. Artists Representative, client Source book ad . 9 x 12, scratchboard and watercolor.

4 Nancy Stahl, illustrator/client 6Yz x 9%, digital.

2

5 Tim O'Brien , illustrator/art director Source book ad and mailer. 17 x 23, oil on gessoed board .

6 Jim Carroll. dlustrator/client Promotional mailer. 11 x 17, digital.

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SELF-PROMOTION

1 (series) Mark English, illustrator/designer/client Tim Trabon, art director

Catalog for one-man exh ibition. 18 x 24, oil and pastel .

2 Regan Todd Dunnick, il lustrator Chris Hill, art director Chris Hill/Laura Menegaz, designers The Hill Group, design firm Gulf Printing/Regan Todd Dunnick, clients Poster, ''I'm into clowns and circus acts involving pigs ."

22 x 18, pastel.

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ILLUSTRATION

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1994

SELF-PROMOTION

David M. Beck, illustrator Promotional mailer and ad . 18 x 13, mixed media .

2 Regan Todd Dunnick, illustrator Chris Hill, art director Chris Hill/Laura Menegaz. designers The Hill Group, design firm Gulf Printing/Regan Todd Dunnick, clients Poster, "I do a really nice rendition of guys goofin' around in '53 Hornets." 22 x 18, pastel.

3 Alan E. Caber, illustrator = ==-:=------=== Sherri Squires. art director Denise Olding, designer Louisville Graphic Design Association, client

4

Poster. 20 x 16, etching/aquatint.

4 Jaeeun Choi, illustrator Sunghee Hahn, art director Jaeeun Choi/Sunghee Hahn, designers Jae & Hahn Design, design firm School of Visual Arts, client Art school poster. 11 x 14, acrylic.

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SELF-PROMOTION

1 (series) Martha Anne Booth, illustrator/art director/client Promotional postcards . Various sizes, oil pastel on paper.

2 Etienne Delessert. illustrator/designer Albin Uldry, art director Delessert & Marshall, design firm Uldry, client Greeting card for a printer in Switzerland . 20 x 20, egg tempera .

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SELF-PROMOTION

1 (series) Skip Liepke, illustrator/art director The Eleanor Ettinger Gallery, Inc., client Artist's catalog. Various sizes, oil.

2 John Collier, illustrator/designer Richard Solomon, art director Richard Solomon, Artists Representative, client Ad, "Ethics in Practice ." 24 x 30, pastel.

3 Janelle Cromwell , illustrator Mailer. 11 x 14, acrylic.

4 Gregory Manchess. illustrator/art director Richard Solomon, Artists Representative, client Ad, "Edward Hopper: Notes on Life and Letters ." 14 x 19, oil on gesso board .

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SELF-PROMOTION

Jennifer Renshaw, illustrator/art director/designer Ren Design, design firm/client Promotional mailer. 10 x 13, oil.

2 Kim Barnes, illustrator Mailer. Art originally done for the Miniature Art Society of Florida for their art show. 4 x 6, acrylic, pastel and oil.

3 Joseph Lorusso, i 11 ustrator Promotional mailer. 16 x 11, oil.

4 Stasys Eidrigevicius, illustrator 86 Gallery Poland, client Poster for Chicago International Art Exposition. 18 x 221/2 , pastel.

5 Dan iel Schwartz, illustrator/designer Richard Solomon, art director Richard Solomon, Artists Representative, client Ad, "The Ralph Lauren Look." 36 x 48, oil.

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SELF-PROMOTION

Wilfredo Rosas, illustrator Kurt Houser, art director/designer Silas H. Rhodes. creative director Visual Arts Press, design School of Visual Arts, client Poster, "You Are What You Eat." 8 x 13, oil and crayon on Masonite.

2 C.F. Payne, illustrator Ben Ross/C.F. Payne. art directors Ben Ross, designer Ross Design, design firm Cincinnati Art Directors Club, client Poster for the Bad Art Burns & Chili Cookoff. 25 x 14, mixed media .

3 Nanette Biers. illustrator Vicki Morgan Associates, client Source book frontispiece for the representative's section . 22 x 28, oil on canvas .

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SELF-PROMOTION

Dugald Stermer, illustrator/designer Reuben Saunders/Marylynn Oliver, art directors Source book ad used Sedgwick County Zoo material.

24 x 36, pencil and watercolor on Arches Paper.

2 John Jude Palencar, illustrator Richard Lebenson, art director Larry Bode/John Jude Palencar, designers R.S.V.P., client Ad. 14 x 14%, watercolor.

UNPUBLISHED

3 Jack Endewelt, illustrator/art director/designer 12 x 9, oil on board . © Jack Endewelt 1994

4 Peter Sylvada, illustrator 30 x 20, oil. © Peter Sylvada 1994

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UNPUBLISHED

1 (series) Bill Nelson, illustrator/art director/designer/client 5 x 7, colored pencil. © Bill Nelson 1994

2 Nancy Stahl , illustrator 3% x 5, digital. © Nancy Stahl 1994

3 Martin Schechter, illustrator Portfolio piece . BY2 x 11 , acrylic. © Martin Schechter 1994

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UNPUBLISHED

David McShane, illustrator 50 x 381/2, oil on paper. © David McShane 1994

2 Paul G. Oxborough, illustrator The Beard Art Galleries, Inc ., client 20 x 18, oil. © Paul G. Oxborough 1994

3 Don Arday, i 11 ustrator Don Arday, Photocom Inc., client 5 x 8, digital. © Don Arday 1994

4 Bill Cigliano, illustrator Joseph Connolly, art director Experimental piece for a proposed Boy's Life article on the blues . 11 x 8, acrylic and oil. © Bill Cigliano 1994

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UNPUBLISHED

Simon Silva, illustrator

24 x 36. oil. © Simon Silva 1994

2 (series) Jose Ortega, illustrator Proposed murals for the Metropolitan Transportation Authority to be done as mosaics at the 149th Street and 3rd Avenue subway station in New York. 17 x 6. digital . © Jose Ortega 1994

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UNPUBLISHED

Robert G. Steele, illustrator 12 x 15, oil. © Robert G. Steele 1994

2 Michael Plank, illlustrator Paul Barker, art director Hallmark Creative Workshop. 11 x 17, gouache . ©Michael Plank 1994

3 Tristan A. Elwell , illustrator Ken Kleppert. art director Unused illustration for a Runner's World article on eating insects. 9Y2 x 8, oil on illustration board . ©Tristan A. Elwell 1994

4 Einat Peled , illustrator 18 x 15, acryl ic. © Einat Peled 1994

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Christopher Baldwin, illustrator 24 x 36, acrylic . © Christopher Baldwin 1994

2 Robert Jew, illustrator

40 x 36, acrylic on canvas. © Robert Jew 1994

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EDITOR'S

COLUMN

PATRICK COYNE

FTER TWO RELATIVELY FLAT YEARS, the Illustration Annual entries grew a whopping 17.2% this year, a fact not lost on our jurors who sat through 60 carousels of slides in addition to the numerous print entries. The 5,311 entries made this one of the largest illustration competitions we've sponsored. Of the 192 entries accepted this year, we saw increases in advertising, books and self-promotion.

Editorial was the only category with a significant decline.

A

The stack of SyQuest cartridges piled up in our production department is a testament to the increasing role of digital technology in contemporary illustration. Some images were obviously produced digitally and we knew what reproduction materials to ask for. A few images surprised us since they looked like they were produced by traditional means.

Several illustrators began projects in more traditional media before scanning and completing the work digitally.

This year's jurying began Sunday morning, April 10th, 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.

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 creened 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 while viewing slides.

The final voting took place on Monday with all five jurors working 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 allowed 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.

Four 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 were 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 conscientious efforts in making the selections for the 35th Annual Illustration Annual.

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CHRISTINE CURRY has been the illustration editor at

the New Yorker since March 1989. She introduced color illustrations to the magazine and created a department to facilitate this change, working directly with editor Tina Brown and the contributing writers. Prior to this position, Curry was a free-lance production coordinator at Conde Nast Publications and an assistant to Rochelle Udell at Gentlemen's Quarterly. Chris graduated from the Rhode Island School of Design with a BFA in painting and a minor in art history in 1983.

MICHAEL FARMER is the art director of children's books

at Harcourt Brace Trade Division, in San Diego, California, and consulting art director to the School Books Division in Orlando, Florida. He is directly responsible for the art direction and design of approximately 125 children's books each year. After undergraduate study in art and design at California College of Arts and Crafts, Farmer continued his education at California Polytechnic University, where he graduated with honors and a Bachelor of Science degree in graphic communications in 1982.

DITI KATONA is a partner and principal with her husband, designer John Pylypczak, of Concrete Design Communications Inc., based in Toronto, Canada. The firm has received international recognition for its work in various publications such as Communication Arts, Graphis, Print and Applied Arts as well as from the Art Directors Club of New York. In addition to lecturing and jurying for various organizations, Katona has taught graphic design at York University and the Ontario College of Art in Toronto.

GARY KELLEY is a free-lance illustrator based in Cedar Falls, Iowa. Kelley has a degree in art from the University of Northern Iowa, with an emphasis in drawing, painting and design and began his career as a graphic designer and art director before turning to illustration in the mid '70s.

Awards include the Hamilton King Award from the Society of Illustrators in 1992; seventeen gold and silver medals from the Society of Illustrators; the Ben Franklin Award from the National Booksellers Association, as well as numerous citations from CA's Illustration Annuals; Print's Regional Design Annuals; American Illustration; Art Directors Club of New York and the Bologna, Italy, Book Fair.

J ERRY SULLIVAN , a native of Montana, has been a

principal of Sullivan Haas Coyle Advertising and Public Relations in Atlanta, Georgia, for twelve years serving as co-creative director. Sullivan graduated from the Ringling School of Art and Design in 1962. His prior experience includes three years as vice president and creative director with Cecil West & Associates, three years as creative group supervisor with McDonald and Little and four years as an art director with Cole Henderson Drake.

KATONA

KELLEY

SULLIVAN

CURRY

FARMER

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CONTRIBUTORS COLUMNS

RICHARD KOMAN is a San Francisco Bay Area-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 two book reviews for the Technology Resources column and his reviews of the latest versions of Illustrator and FreeHand appear in the Technology Reviews column.

TOM MONAHAN is a founding partner/ creative director of Leonard. Monahan of Providence, Rhode Island, and president of Before and After 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.

ELLEN SHAPIRO is a graphic designer,

LEE WILSON, who was formerly cre-

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.

She is active in the AIGA New York Chapter as a vice president and 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 interviewed the members of MicroColor, a New York-based group of computer illustrators for the Technology feature.

ative director for a national marketing corporation, is an intellectual-property lawyer who lives and practices in Pleasant View, Tennessee, a suburb of Nashville. She is the author of Make It Legal, an advertising law handbook for advertising creative professionals published by Allworth Press of New York.

She wrote the Legal Affairs column, edited by Tad Crawford.

WENDY RICHMOND started designing

BOOK

a design studio in San Rafael, California.

He graduated magna cum laude from UCLA with a B.A. in fine arts. His work has been nationally and internationally recognized and three of his posters are in th_e permanent graphic design collection of the Library of Congress. Mark is also a lecturer in graphic design at the San Francisco campus of the California College of Arts and Crafts. He wrote the Design Issues column , which is edited by DK Holland. This is his first article for CA.

BYRON FERRIS has written for CA for 27 years. As a former college design instructor and creative director at Mccann-Erickson, his interests are in de ign, advertising, letterform and typography. His studio symbol is a pig with wings to denote "the flight of imagination with the reminder that we wallow in the mud of reality."

SAM McMILLAN is a San Franciscobased free-lance writer. He wrote the Technology Resources column for this issue, as well as a book review which appears in the Book Reviews column.

McMillan's Retirement Planning Kit software for T. Rowe Price Mutual Funds has sold over 60,000 copies and was cited as "easiest to use" by the Wall Street Journal. When not staring into a 9-inch Mac SE screen, McMillan can be found riding his mountain bike in the Marin Headlands.

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photographer 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 also the author of two books, How to Sell Your Photographs and Illustrations (Allworth Press) and Careers and Opportunities in the Graphic A rts Field (National Textbook Co .) . M s.

Gordon has been a guest speaker and seminar participant at many professional organizations and colleges including the art directors clubs of New York, New Jersey and Connecticut; AIGA ; ASMP; Advertising Photographers of America; Fashion Institute of Technology; School of Visual Arts ; Pratt and Portfolio Center. She heads her own firm, Barbara Gordon Associates, based in New York City. She has written on free-lance issues for CA since 1982.

MARK Fox is principal of BlackDog,

with and for computers in 1977 as a graduate student at MIT. She participated in the formation of Bitstream and Lightspeed Computers, and has led teams to develop computer-based tools for the graphic arts, and interactive products for the educational and consumer markets. She co-founded the Design Lab at Boston's public television station WGBH, and later served as Director of Market Development for Interactive Projects. She lectures extensively, is an NEA grant recipient, and serves on the national board of AIGA. She is currently an independent consultant. Ms. Richmond's column "Design Technology" has appeared in CA since 1984. Her book, Design & Technology: Erasing the Boundaries was published by Van Nostrand Reinhold.

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BARBARA GORDON, an artist and

REVIEWS

ANGELYNN GRANT majored in mathematics at Harvard, worked on a Ph.D. in topology at Brown and received an MFA in graphic design from Yale. She was an Artist in Residence at the Massachusetts Institute of Technology and is currently an adjunct faculty member at the Rhode Island School of Design. Grant is also a j azz disc jockey on WMBR, Massachusetts Institute of Technology radio and has reviewed books for CA since January 1993.

They're running Photoshop up to four times faster. They're running FreeHand up to four times faster. They're running Quark up to ten times faster.* They're running their existing Macintosh"system-based software. They're running most MS-DOS and Windows software~· They're doing more jobs. They're probably 'making more money. Something to think about. For the name of your nearest authorized Apple reseller, call 800-732-3131, extension 800.

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LETTERS TO THE EDITOR College/University Design Organization I am writing in response to your recent article (Jan/Feb ' 94), "For Better, For Worse: Professional Design Organizations. " I was disappointed when I discovered that the University and College Designers Association (UCDA) was not mentioned.

The UCDA is a professional organization for designers and design educators employed in higher education in the United States and Canada. Founded in 1970, UCDA supports the exchange of ideas and information between its nearly 900 members relating to the unique role of designers who promote education.

UCDA assists its membership in facing the special challenges met by designers working in an institutional setting.

UCDA sponsored programs include an annual conference, annual competition and exhibition, Hot and Now workshops (weekend workshops which teach seeing through the camera), KSU/ UCDA (weekly design seminars through which an MFA in design can possibly be earned) , a quarterly magazine (Designer) and a job posting service.

I hope you will in the future consider our inclusion when dealing with topics concerning design organizations.

KENT SMITH

UCDA Board President Walkerton, Indiana

D

letter and decided that it was important, as I am the professional practices chair, to be accurate and legally correct in my reporting. I called many associations to find out their written policies on spec work, and came across the story of what happened with the American Institute of Architects (AIA). It is a long story, but in the end they spent two million dollars in legal fees, and are still policed by a Consent Decree. This was a very alarming story, and in reading the provisions of the law that they violated, I became even more alarmed to notice that it was very similar to written policy in the AIGA code of ethics, and as a board member I am concerned about professional and legal liability. After many calls both to AIGA national and to Tad Crawford, no one could tell me why this law did not apply to us. Short of hiring an antitrust lawyer, I saw no other recourse to finding information that so affected us as an organization, and decided to call the antitru t hotline in San Francisco. I left my number for a return call. The man there gave my number to the lawyer who handled the AIA case. When I spoke with her I never mentioned graphic design. I never said anything about the Graphic Artists Guild (GAG) or AIGA. I gave them no names. I simply asked if there were any exceptions in the laws having to do with spec work. The long and short of it is that they implied that, no, there were no exceptions. I reported this to AIGA national, who then consulted their attorney. He affirmed that the code of ethics should be changed and it was.

My mission was accomplished .

Leslie 's report contained many inaccuracies. The foremost is the real reason I called the Justice Department (her statement that I also spoke to the FTC is untrue). I was writing an article on spec work for our local AIGA news-

A few weeks later, Jessica Cohen of the Justice Department called me and asked how and what I knew about the GAG case. I said I did not know anything about it and refu sed to answer any questions or give her names. I said that everyone in our industry was very interested in compliance with these laws and that I would in no way cooperate with implicating anyone. She said that the case with GAG was already reopened and underway, and that she had been speaking with Ron Basista for a few months. I do not know how she con-

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A/GA Spec Work I was very disturbed to read the article (Mar/Apr ' 94) by Leslie Sherr on spec work. I am the "over-zealous AIGA member" who was not mentioned by name. Nevertheless , I am willing to speak openly about my part in this story.

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nected me with this case, but it would not be hard to find that I was on the board of AIGA. All of us in business live with the fear of inquiry from many government bodies , guilty of violation or not. As a business person who also deals with this fear, I have no wi h to cause this to happen to GAG or anyone else. Most of all, I have no more information about the GAG than what was already in the files of the Justice Department, and no motive to call them and remind them.

Why in the world would I seek to undermine an organization of my profession? Why would I volunteer hours a week to promote professional practices in the field of graphic design only to cause my peers grief? How could I have benefited in any way by doing what she [Leslie Sherr] accuses me of doing? She implied that I was so determined to be right that I was willing to undermine the very entities that are designed to protect us. The blame she so willingly and maliciously sent my direction is not only unfounded, but sidesteps the real issue. The GAG book addre ses the specific law that the Justice Department is meant to police, as did the code of ethics of AIGA. Without the change in the AIGA code of ethics, we would have been vulnerable to a very powerful force , the U.S. Government, and the price could have risen to the millions.

Where Leslie and I agree is that "it is time to face a gaping hole in the profession 's knowledge of specific laws that pertain to graphic design. " I also agree that "the excuse, 'I wasn't aware,' doesn 't hold up in a court of law," and that "It is time to raise the standards of professional practice,'' and that "it is no time to be meek, uninformed or complacent." If there is "folly in endorsing ethical practices simply becau se they appear in a profes ional handbook," what would she have us do ? I was aware, knowledgeable, was not complacent, meek or uninformed and she still doesn 't approve.

Not complying with this law leaves us vulnerable to a battle we are unlikely

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'PerformanaJ claims based on romparison l<J a Maci11/()S/J f}uollra' 950. "Runs sta1ulard-mode Witlfiou• applicalions using Soj/W'mt/Qu.'$" from lns(gnia So/utio11s Inc. Depending on the Poo1er Macinl<Jsb mcdel you buy, you may netd wpurd!ase Sof/Windouo separately. @1994 A{1Jk Computer, l11c. All rigbls f"5erVWi. A/rlk, the A/rlk logo, Macintasb and Maci11tasb f}uol/ra al'I! regt<tered lmdemaris ofApple Colll{JUter, Inc. Power Macintasb is a /rademari ofA{1Jk Computer, Inc. Adobe P/J()/()sbop is a imdemari ofAdobe Sys/ems lnrorporaled and may be regt<tered ill certain jt1risdiclions. PugeJtalier is a regt<tered lmdemari ofAldus Corpora/ion. QuarW'ress is a regt<tered lmdemari ofQuari, Inc. Witlfiou• is a lmdemari of Microsoj/ Corporalio11, arul Sof/Windou• is a lmdemari of MiamJf/ Corpora/ion UStt/ under /iamSI!.

LETTERS TO THE EDITOR

to win, and is contrary to my goal as professional practices chair. My goal is to elevate the awareness of those in our profession to high business standards and lawful business practices. I can think of no better way to gain respect as a profession than by being educated and proactive in our behavior and policies.

At the end of my interview with Leslie she asked if I was aware of the case against GAG. I said yes, it was unfortunate timing and that I hoped she would not link me to it. She replied, "no one was blaming me,'' and since "there was no evidence" it would be unprofessional of her to do so. On this we also agree.

JILL K. MAXWELL BERRY

Professional Practices Chair San Diego Chapter AIGA

0

Leslie Sherr Replies I applaud Jill Maxwell Berry's letter to CA in response to my article on Spec Work. My only regret is that she did not provide me with the same detailed sequence of events during our phone conversation. No doubt Ms. Berry's intentions are honorable rather than malicious. In the end I believe, as she suggests, that we agree-even more than we disagree-and we are in fact working toward the same goals. It is our means of arriving there that differs.

In response to letters following my review of professional design organizations in the Jan/Feb issue of CA [see the May/June Letters to the Editor] one can only admire Tony Russell and Joe Feigenbaum for their passionate displays of allegiance to the A/GA. Mr. Russell may be pleased to know that I did, infact, make attempts to contact the current director and spoke with a former A/GA president, but my research, however, focused predominantly on the members, rather than those who sit on the board.

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In addition, while there are those who would dispute the A/GA 's opinion of the Joint Ethics Committee, I suspect most members would welcome a definitive update of precisely what steps have been taken to offer informed representation and counsel to graphic designers in the resolution of legal matters beyond investigating the possibility of an alliance with the American Arbitration Association.

Mr. Feigenbaum claims that by raising questions about some of the A/GA 's current practices I do the A/GA "a great injustice." He suggests I "scratch beneath the star system" to find more insight even when it is the star system I oppose. My article was a review of the national organization, not individual chapters. Clearly, if everyone at every level worked with the same degree of committment as Mr. Feigenbaum describes then the A/GA as a whole would fol.fill the active leadership role the profession so badly needs.

We are often too close to our devotions to see them plainly. Nothing, especially an institution, is immortal. Since the A/GA was founded, there have been deep cultural and creative changes. With the juvenation, feminization and automation of the profession, the pendulum is ready to swing again and it may well swing to a generation whose aesthetic ideals are opposed to those currently in favor.

This, like the A/GA itself, is neither good nor bad, since all institutions are products of their members, with the same share of insight, aspiration and myopia.

It will have a rejuvenating effect, calling on all members of the A/GA to re-think the purpose and meaning of the institution they revere.

to give credit where credit is due. A major problem in design.

First of all, Hans Knoll's first furniture designs that "forever changed the face of the office landscape," were not a product of Hans and Florence Knoll. The first Knoll catalog was published in 1942 on grey cardboard on which were pasted photographs. But the fifteen original designs out of the twenty-five designs offered were by Danish-born designer, Jens Risom. These were the so-called "600" series. The remainder, the "200" and "800" line are strange to look at today since they are over-stuffed and clumsy, what Risom describes as "nondescript, commercial Grand Rapids chairs, most uninteresting."

Certainly, the opposite of everything that Knoll has come to represent.

Hans Knoll left his first wife during the war and married Florence Shust, or "Shu" as she became known over the years, in 1946. This was also the year Jens Risom left Hans Knoll to form his own company, Jens Risom Design, a firm that became the thirdlargest manufacturer 'Of solid, welldesigned modern furniture, after Knoll and Herman Miller.

In the late 1950s, Risom ran a series of advertisements created by a young Richard Avedon, with only a photo of a model on a piece of Risom 's furniture, and the tagline: The answer is Risom.

There was nothing else, no address, no phone number, no call to action.

Thanks for considering this new information. My wife and I are currently interviewing Risom for an upcoming article for the New York Times.

MARK JESPERSEN AND SHARON OCCHIPINTI

Wilton, Connecticut 0

Due Credit Nice article on Chermayeff & Geismar's identity work for the Knoll Group (Mar/Apr '94). However, Ellen Shapiro leads off with a major error that fails 19 9 4

ADDRESS CORRESPONDENCE TO:

Letters to the Editor, 410 Sherman Avenue, Palo Alto, California 94306.

We reserve the right to publish letters and to edit for clarity and length. Please include a signature, address and phone number. Anonymous letters will not be published.

Beoinniiw 1his sprin t:lu ' we are b b changing the way we communicate with you. We are committed to leading the way in simplifying the mass of information and promotion that has grown up around the gTaphic art.s industTy, and in helping to simplify your work by simplifying our communication system.

In 1923, S.D. Warren introduced a publication called The TVarren Standard.

It was, as the masthead proclaimed, ~~ published from time to time as a service to our customers. '' Tll E

WARREN STANDA RD

We will produce nothing that does not have value to our customers.

This will include communications on important product and service developments as well as our Educational Library and Technical Bulletins, which have been continually cited by you as some of the most valuable pieces published in the graphic arts field.

Everything we produce will be the same size. And we will make a slipcase available for easy storage and reference.

Warren Lustro Gloss is available in sheetfed basis 70 lb.

(104 GSM) , 80 lb. (118 GSM), 100 lb. (148 GSM) book and 60 lb. (162 GSM) , 80 lb. (216 GSM) , 100 lb. (270 GSM) and 120 lb. (324 GSM) cover; in web 70, 80 and 100 lb. book and 80 lb. cover. For printed samples of Warren Lustro Gloss or any other Warren paper please call 1-800-882-IDEA. At S.D. Warren, we're as committed to the improvement of our environment and the preservation of our natural resources as we are to the making of paper. Trees are the foundation of our business, and we are dedicated to preserving the delicate balance between growing and harvesting. Each year, through natural regeneration and replanting, we grow more trees than we harvest. Over the years, both Warren and Scott Paper Company have won many awards from both industry and environmental groups for our efforts on behalf of the environment. In addition, the processes and techniques we use in our award-winning projects are shared with the rest of the industry, so that all companies can use the knowledge we gain to improve their environmental controls.

Printed in U.S.A. on Warren Lustro Web Gloss 80 lb. Warren can change the way you see things. S.D. Warren ~ Company, a subsidiary of Scott Paper Company, ~ 225 Franklin Street, Boston, MA 02110, 617-423-7300.

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Technology

MICROCOLOR, INC. BY

ELLEN

SHAPIRO

By the time Martin Hag gland, president of MicroColor Inc. , graduated from the University of Washington at Seattle, he'd majored in physics, math, architecture, urban planning and sociology. He received his degree in social statistics, the mathematical study of populations, in 1969. "I kept switching around because the Mac wasn't invented yet," he says.

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HARDWARE Macintosh Quadra 840AV with 57 MB RAM, 1 gigabyte HD, Apple 300i CD-ROM internal drive Macintosh Quadra 840A V with 32 MB RAM and 1 gigabyte HD Macintosh Quadra 800 with 24 MB RAM, 520 MB HD, Apple 300i CD-ROM internal drive Macintosh Quadra 700 with 16 MB RAM and 425 MB HD Macintosh llx with Radius Rocket 33 Accelerator, 40 MB RAM and80MB HD Macintosh llx with Radius Rocket 33 Accelerator, 40 MB RAM and 150 MB HD Macintosh JJFX with 16 MB RAM and 40 MB HD SuperMac Dataframe 150 MB external HD SuperMac Dataframe 200 MB external HD Rodime 210 MB external HD SyQuest 44 MB cartridge drive (3) SyQuest 88 MB cartridge drive Apple 16" RGB monitor (6) Apple 13" RGB monitor (2) NEC 13" RGB monitor Microtek 300ZS color scanner (2) Microtek ScanMaker 600ZS color scanner QMS ColorScript JOO, Model JO printer Apple Personal LaserWriter NTR Apple LaserWriter Pro 600 Hewlett-Packard 550C color inkjet printer Nikon H/8 video camera Canon FaxPhone TM23 Canon Fax-270S SupraFaxModem V.32Bis (2) Hayes V-Series Ultra Smartmodem 14400

SOFTWARE Apple System 7. 1 Adobe lllustrator 5.0.J Adobe Photos hop 2.5. 1 Geocart 1.3.J Strata StudioPro 1.0 Macromedia Director 4.0 PageMaker 5.0 QuarkXPress 3.3 MicroPhone Pro 1.0 Adobe Type Library Adobe Type Manager 3.6 Business Software Microsoft Word 5.1

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American Heritage Dictionary 3.0.1, Deluxe Edition Filemaker Pro 2.0 Microsoft Excel 4.0 OmniPage Professional 2.0 Quicken 4 Utilities DiskDoubler 4.0 DiskTop 4.0 Hard Disk Toolkit 1.5 Norton Utilities 2.0 SAM Virus Clinic 3.5 Suitcase 2. 1.4

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Unlike those who made the transition from pen and ink to keyboard and mouse, Haggland-and his a ociates Michael Crumpton and Wilbert Cruz-never worked a conventional illu trators. Instead, they bring to their work a rich mix of talents and experience including fine arts, crafts, product ©1994 Steve Micros. New York City design and drafting, which they practiced independently before entering the Macintosh universe.

Haggland spent the first ten years of his professional life as a stained glass artist. He bummed around Mexico for a bit after graduation, then opened what he call "a little stained glass workshop" in the woods outside Seattle, where he subsisted on commissions for replicating Victorian windows. Tired of rainy weather, he moved to New York in 1979 to study art, and financed hi education by doing stained gla s, odd jobs, painting and carpentry. One of those jobs was helping Carla Hall, of Carla Hall Design Group, renovate a brownstone on West 85th Street that she'd bought with her husband, the urban planner Ben-Ami Friedman. "I was working on the fireplace," recalls Haggland, "and Carla told me she needed someone to handle the phones and do office work. I'd never been in a design office before." Hall ays that Haggland's attention to detail was remarkable. "Martin wa also helping Ben with community development work for the block association, and I could see that he had the office skills I needed. I also knew that if my phones were answered with the kind of care he put into the mantelpiece, the studio would be in good hands."

Just as Haggland was getting into the office routine, Carla Hall Design Group got its first Mac. "Everybody in the studio went over to Computerland to see MacPaint run

Left: Clockwise from left, Moises Loayza, Michael Crumpton, Martin Haggland (seated) and Wilbert Cruz. Caption information provided by Martin Haggland.

Cross-section of woofer, Lynnfield Series speakers, one of 27 illustrations for owner's manual for Boston Acoustics, Inc. Isometric illustrations were drawn in Adobe Illustrator from prototype speaker components and engineering drawings for glossy, full-color owner's manuals with kraft paper covers . "Most such manuals are strictly utilitarian, cheaply printed in black-and-white-these set a new standard for the industry and won some design awards." This was an "off-shore" production : the designer and client were in Boston; the illustrator was in St. Croix .

Bruce Crocker, art director; Martin Sorger. designer; Michael Crumpton. illustrator; Crocker Inc ., design firm .

Series of illustrations showing the production and action of biotech company's "Centoxin" drug; for 1991 annual report. An interpretation of

the production process was created in isometric view in Adobe Illustrator, based on the designer's and company scientists' sketches, photos of the laboratory's equipment and a written description of the process. Stephen Ferrari, creative director; John Ball, designer; Michael Crumpton. illustrator; The Graphic Expression, Inc ., design firm; Centocor Corporation, client.

Illustration for computer disk label and cover of disk case; for a HyperCard stack about Agfa Corporation's Postscript products . A photo of an eye was scanned and converted into a low resolution image, creating the mosaic effect. Three art directors worked with illustrator Martin Haggland at the same time, choosing the colors pixel by pixel in PhotoMac. the Mac's first photographic-color, image editing program . James Waldron. art director; Robert Burns/Nat Connacher, designers; Burns. Connacher & Waldron, design firm .

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on a Mac Plus," he remembers. "I was kneeling down on the carpet in awe." During business hours, the new computer was reserved for the designers, so Haggland hired a consultant and learned on his own. That was the beginning of his total immersion. "Once you' re into it, everything else in your life seems to disappear," adds Michael Crumpton. A 1980 graduate of Rhode Island School of Design, Crumpton was trained as a sculptor and involved in fine arts and the design and marketing of fanciful kites before discovering the Mac. The group's other associate, Wilbert Cruz, a native of lea, Peru, studied architecture, interior design and fine arts at the Central University of Venezuela at Caracas, after which he worked for architectural, engineering and design firms there.

MicroColor's New York office is actually Haggland's apartment in a residential hotel on Broadway and 86th Street; its white interior is a slick contrast to the building's crumbling yet ornate facade, lobby and hallways. And everything usually associated with normal domestic life has seemingly disappeared. There is no visible kitchen or bed. No easy chairs, potted plants or floor lamps. Instead, there are three very heavy-duty-looking Macintosh computers (with hard drives with names like Coricancha, the most sacred shrine of the Inca religion, and Tahuantinsuyo, "The Four Quarters" of the Inca empire), a LaserWriter, a QMS color printer, a color scanner-and an assortment of fax-phones, SyQuest drives and other gray-beige boxes.

The walls vibrate with abstract paintings by Raphael Collazo, whose work Haggland collects.

Last time I visited, Haggland was poised in the lotus position on an ergonomic chair, Crumpton was creating a three-dimensional animated rendering, and Cruz was softly translating an article in Mac Week into Spanish for intern Moises Loayza, a recent Peruvian immigrant who is the team's newest member.

These guys aren't often in the same room; they work remotely, connected by fax modem to and from wherever they happen to be. Cruz is headquartered in New Jersey, just across the Hudson River. Crumpton currently works from his home in Portland, Maine. A couple of years ago he took off to do some interactive projects with Clement Mok in San Francisco and came back cross-country in a van, unpacking his FX every night and setting it up in his motel room, where he phoned Haggland to get the clients ' input to the work he'd modemed in the night before. He ended up in the Virgin Islands for ten months, during which 156

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the team, among other projects, completed 3-D renderings of the ASI Infinity signage system and the illustrations for Henry Dreyfuss Associates' reference book for industrial designers, The Measure of Man and Woman.

Crumpton and Haggland met in 1987 at a small ad agency where they cranked out Playboy sales promotion and fought ove-r who was not going to have to work on the Bagel Dog account. "It was one of the first agencies that was completely Mac," says Crumpton. "And we did it all with three Mac Pluses and very crude, now antiquated, programs." Then the Mac II came out, and at about the same time the first version of Adobe Illustrator. "That was the beginning of everything, the big breakthrough," says Haggland.

"We could finally draw and modify precise curves and assign process colors to the objects we drew." The two spent day and night test-driving the machines, memorizing manuals and dog-earing every issue of MacWorld, MacUser and Mac Week they could get their hands on. Crumpton, having had his fill of Bagel Dogs , hooked up with graphic designer Jim Waldron of Burns, Connacher & Waldron, an innovative corporate design firm in the Flatiron District.

Haggland joined him and MicroColor Inc. made its first home in an unused corner of BCW office space.

Wilbert Cruz appeared on the MicroColor scene in 1989 when the group was beginning work on a complex series of real estate connected maps for graphic designer Gail Wiggin , whom Crumpton met at an AIGA event. Cruz had just arrived in New York, didn ' t speak much English, and on

Above : The Continental and Commercial National Bank Build ing, for a brochure promoting LaSalle Street. Chicago . Michael Glass. art director; Wesley Rittenberry, designer; Wilbert Cruz, illustrator; Michael Glass Design, Inc., design firm .

Right: Photomontage of currencies. a bond and a stock certificate for Merrill Lynch & Co ., Inc. 1993 annual report. Objects were scanned on a Microtek 300ZS color scanner, color corrections were made with a ScanMaker calibration filter, scans were montaged in Photoshop, then the montage was mapped onto a 3-0 waving surface created in StrataVision 3d by using two curved lines and the "skin" command . Anne Patterson, art director; Martin Haggland, illustrator; OeSola Group, Inc., design firm.

Map of the North Sea, from a series of maps and illustrations showing Texaco lnc.'s oil fields, drilling methods and global operations; for use in a 1992 annual report supplement. Kurt Jennings, art director; Wilbert Cruz, illustrator; Pellegrini & Associates Inc., design firm .

I Strathspey

Norway

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his first night in the city, he was walking up Broadway and struck up a conversation with a fellow Peruvian, a friend of Martin's , who introduced the two. Hagglandfluent in Spanish and a Peru aficionado since high school-soon offered Cruz a job.

Since then, Haggland has taken two extended trips to Peru , once getting himself locked inside Machu Picchu for the night. "Definitely against regulations." On his most recent trip, he took up the offer of a young man in the Lima airport who was asking travelers waiting for the plane to Cuzco whether they needed accommodations. Most of us, conditioned to ignore such a request and perhaps fear for our safety, are not like Martin Haggland, for whom it was just another of life's serendipitous meetings. The young man, who turned out to be an excellent tour guide, had an older brother, Mofses , who inspired by his country 's artistic heritage wanted to come to the U.S. to learn computer design. Mofses Loayza has just completed his second project for MicroColor, a plan of Memorial Sloan-Kettering Cancer Center, and is working on a series of diagrams of Comsat's satellite system.

It's easy to get the sense, listening to these guys , that the conventional way of advancing one's career, say, through answering help-wanted ads and sending resumes, is as unsuitable for the computer illustration field as trying to do a 3-D logo on a Tandy computer from Radio Shack.

What matters is talent, dedication , drive and a passion for minute detail- not the usual pedigrees and protocols.

Over the last several years ' the team has collaborated on a rendering of the Prudential rock, carving it in virtual faux granite; refined and re-drawn a host of big-name company logos; rendered maps, elevations and plans of institutions, cities and proposed real estate projects; drawn trucks, shirt and hard hats for scores of identity manuals; worked with top designers and architects on half a dozen major signage projects ; illustrated award-winning annual reports for biotechnology companies ; and previewed the lighting and animation for giant outdoor signs. Most of MicroColor's clients trust and rely on them for "everything," knowing that no one else can do it better, faster or more graciously. Says graphic designer Diana DeLucia, "Like a house wine that's a great vintage you can always count on, Martin is our 'house ' computer expert, almost like part of the family. " Adds Pentagram partner Peter Harrison, "They've done a really professional job on some very complicated illustrations for us for the Northrop annual report. " Now the group is off in a couple of new directions. "We' re moving into the territory of the premier effects hou ses, such as RGreenberg," says Haggland. He open s a file in StudioPro. In a couple of clicks, Crumpton draws a wireframe model of a lozenge-shaped object. In another few seconds it's transformed into a dirigible. He applies color, J58

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textures, sets a virtual "camera" on it and views it from top, bottom, left, right. Weather conditions are selected.

He plots a path in relation to the buildings and helicopter that already exist in the scene and sets the airship in motion. As Haggland, Cruz and Loayza gather around the machine and suggest subtle changes in shadows and tones, each of the office 's three CPU begins to process a third of the 10 MB file containing 297 frames. "This technology can replace storyboards for commercials ," says Haggland. "We can take an art director 's sketch and visualize exactly how a complex shoot will work. It could save production companies many thousands of dollars. " They're also working on developing a game on CD-ROM. Haggland shows how you enter a fantasy landscape, a castle by the sea, click on an object, a book, picture or clock. Another vista opens up. Clues appear. "This is Myst

by Cyan ," he explains. [Myst is a Br~derbund Software Inc. product.] "It's beautifully designed but its value is pure entertainment. We ' ve been inspired by it to begin work on an interactive game with lasting educational value. " Indeed, MicroColor is taking its principal s' knowledge of and fascination with the Incas of Peru and developing ideas so the user can become a virtual archeologist and historian, conduct research at the Royal Archives at the Alhambra in Spain, and experience the Incas ' habitat, music and way of life through a series of interrelatedand visually stunning- three-dimensional environments.

Loayza is planning to bring to the images his interpretations of ancient Peruvian art, such as stone carving and the mantas of Paracas.

With a client list comprising many leading design firms, MicroColor is expanding its video and interactive capabilities and working to build a larger national and international clientele. Haggland is packaging portfolio s on disk and sending them out by the hundreds , serenely confident that growth of the firm won ' t affect its unique persona. "We' re constantly reviewing portfolios," he says.

"We' re starting to work with a new illustrator, Paul Mason, in Santa Monica, and hope to work with another artist in Seattle. And like our always-exacting client , we have to deliver, no matter what it takes. "

Right: "This project was created as a demo of the an imation capab ilities of StudioPro. with the searchlight, anemometer and rotor of the hel icopter all cycling at different rates . One of the problems of animations as opposed to still illustrati ons is that even a simple an imation ca n requ ire days of computer time to render." Michael Crumpton, illustrator.

Electron ic re-i mag ing of a photo for a poster, des igned to show the graph ic power of Mac intosh computers . "Th is projec t pushed the Macintosh llx and the first vers ion of Photoshop to the ir lim its." Martin Haggland, illustrator; Harold Burch, art director; Pentagram Des ign , design firm ; Agfa Corporation, cl ient.

"Hopi Dream ." Paul Mason, illustrator.

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Series of illustrations explaining biotech com pany Viagene, lnc.'s gene-transfer technology for a science report. Illustrator Wilbert Cruz developed a "vocabulary" of elements in Adobe Illustrator for approval by the designer and company scientists, for use throughout the report.

"A great client gave the designer a free hand artistically and financially and , in return , received an award-winning presentation of the company and its technology." Diana Delucia , art director; Patricia Kovic, designer; Diana Delucia Design, design firm.

3-D renderings of typical components of ASI Infinity signage system, for promotional brochure. "Most components were modeled in StrataVision 3d from engineering drawings, before prototypes had been fabricated . Models were constructed and assigned material qualities (color, texture, gloss, transparency, etc .), viewpo int and lighting were set, then renderings (two-dimensional paint images taking into account all of the above) were computed by the program and combined in Adobe Photoshop. The designer was in New York; fax, modem and overnight courier allowed the illustrator to work in St. Croix, U.S. Virgin Islands."

Roger Whitehouse, art director; Michael Crumpton, illustrator; Whitehouse & Company, design firm; ASI Sign Systems Inc., cl ient.

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Design Technology

WENDY RICHMOND

EXPECTATIONS@FINGERTIPS.COM OT LONG AGO , I SIGNED UP FOR America Online at home. I'd been putting it off for ages, but it got to the point where enough people were asking me for my e-mail address that I figured it was about time. I use it now and then, mostly in spurts. I like it.

N

Last week, I was asked to speak at a conference, and the organizer requested that the six speakers get in contact with each other, and discuss their respective topics. Good idea, I thought, and perfect for e-mail. But it turned out that only two of the six speakers are on e-mail. When I discovered this, I was annoyed. Now I have to send individual faxes, play telephone tag, etc. What a bother! Then I caught myself: I was annoyed at people for being in a situation that I was in only a few months prior.

How quickly we set expectations, and how quickly our intolerance grows when our expectations aren't met.

Our society is in the midst of a communications revolution.

But the real revolution, to me, is not Internet, or the home shopping network, or cellular phones. The biggest changes are not in the tools that we use to work and communicate and receive information. I think that a more radical, and more meaningful, change has occurred that pervades our entire society: We have very recently become a society that has extremely sophisticated and knowledgeable expectations.

We understand things that were incomprehensible to us ten years ago, and now we demand them. We understand the function of a database, and we expect that any clerk can get information instantaneously. ("Can't you just call that information up on your screen?") We expect that we will be able to request any movie at any time and get it immediately. We expect that we can place an order and have the item delivered the next day. We may not know how or why; we may not be "computer-literate," but we have been taught what to expect, and we are expecting it. Further, we are annoyed or intolerant when it doesn 't happen, when it doesn't deliver.

Whether through hype or reality, we have learned, within the past very few years, to expect that we can request, and get, anything, anytime, anywhere.

To me, e-mail is a symbol of this. It represents our society's expectations to have information now, without moving more than a few fingers.

On one hand, I'm delighted. I like e-mail. I love the freedom of composing and receiving messages of any length at any time. I like the distraction of browsing through the

unexpected treasures available on the network-especially when I have a column deadline! I like communicating with my friend in Seattle, where the three-hour time difference makes it necessary to book an appointment for a phone conversation. I love the convenience. I'm pleased to be part of a society that has sophisticated expectations about new forms of communication. But I still remember professor Neil Postman's remark in a lecture years ago: "Any fool can tell you what computers are good for; it's much harder to figure out what they will deprive us of."

What are the consequences as we shift our main modes of information exchange from ink to electrons?

Intolerance I worry that our intolerance and impatience will grow. If I have something to say to you, I want to say it now, whether you' re there or not, and I expect you to have a way to receive my message. Fifteen years ago, if you had an answering machine, people said you were rude. Now, you're rude if you don't have one. A fax machine is essential to business. E-mail will soon be a requirement.

This is all with good reason, of course. But being online means you must have a computer and a modem. There are a lot of people who don't.

Redundancy Let's say you ' re away from the office, just for the afternoon. What do you check on when you return? Phone messages; regular mail; e-mail; online meeting planner; faxes; written inter-office memos; Federal Express ... what have I left out? And much of this has to be re-checked during the course of the day.

Urgency Priority of urgency is becoming cloudy. Is e-mail more urgent than a fax? What are you supposed to worry about first?

Combination urgency/redundancy If I have something urgent and important I'll call you to

describe what I'm faxing to you, and I'll e-mail it also so you'll have it online, and then I'll send you original hard copy to follow up via overnight Fed X because it's urgent.

Teeny tiny range of vision and motion You don't have to move from your desk all day, except to go to the bathroom or a meeting. (Food can be delivered.)

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Losing what you never knew you had There is a danger that we will lose valuable resources that don't make it into electronic bits. An article by Nicholson Baker in the April 4 issue of the New Yorker describes the process of transferring the card catalogs of great libraries to online systems. He warns, among other things, of the loss of valuable references and mistakes which can " ... result in the complete disappearance of a title for a seeker-in its effective, though not physical, loss, its total unfindability of a title."

•

I think that we are in danger of losing something without knowing it, and then it may be gone for good. It may be something as small as missing the fun of choosing postage stamps; or as deep as missing the insight gained from faces, voices, gestures, context and pregnant moments of silence.

There will be a lot of things that we won't miss on the surface, but we will miss deeply, intangibly, the way you don't know you miss fresh air until you go out into the country and smell it.

This requires our diligence. It requires that as we add efficiency and volume to our communication, we remember and protect whatever we feel is too valuable to lose.

Remember my annoyance at the fact that my fellow lecturers at the conference were not on e-mail? As my own personal act of diligence, I decided to visit one of the participants. Her office was in a wonderful old brick building, and the walls were lined with beautiful books that dated back many centuries. As she talked, she pointed out specific volumes, and invited me to return sometime to browse. I had come very close to missing a memorable and valuable experience. © 1994 W. Richmond

• P.S. As you know from reading Patrick Coyne's Editor's column in the May/June issue, CA has gone online. Like many publishers, CA is exploring the services to determine what can be offered, and what the readers would, in fact, like to see. As I've said to many of my friends, let's try an experiment. If you like, respond to CA via the following e-mail addresses: America Online: CA MAG Via _Internet: ca mag@aol.com 166

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ANNUAL

1994

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Create complex 3D shapes quickly and easily with Designer's exclusive Modeling Wizard r.M Then brush color and texture directly onto the surface of your objects with 3D Paint. Don't worry about major industry standards, because Ray Dream Designer 3.0 supports them all, including multiple channels and special effects filters. It works with Adobe Photoshop™and Fractal Design Painter ~ as well as Adobe Illustrator™and Aldus FreeHand~ Hey, the new world's waiting and it's yours for only $349. Call Ray Dream today.

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Technology Reviews

R ICHARD KOMAN

ADOBE ILLUSTRATOR 5.0 VS. ALDUS FREEHAND 4.0 ERE WE ARE AGAIN AT THE REMATCH of the century, the old Illustrator vs. FreeHand debate. In past match-ups the smart money was on FreeHand for usability and Illustrator for drawing power and sophistication. Now all bets are off. Call it even odds on these familiar combatants who in truth resemble each other more than they do competitors.

H

First and foremost, Adobe Illustrator has gotten on the palette bandwagon, which was largely started by FreeHand.

Palettes are floating boxes that allow users instant access to a range of settings that would otherwise be accessed through time-consuming dialog boxes. And so in version 5, Illustrator has added palettes for fills and strokes, layers, type and other variables. In some cases, such as layers , Adobe has out-and-out copied FreeHand. In others, such as the Paint Styles palette, they have cleverly implemented an excellent control panel. Another major improvement is the ability to edit in preview mode, another change that merely brings Illustrator into parity with FreeHand. And down in the foundation of the program, Adobe has built a new filters architecture that allows for sophisticated path handling and special effects.

FreeHand, in the meantime, has not stood still. The most important improvement to its interface is the wonderful Inspector palette. The Inspector gives you the low-down on the attributes of objects and paths, gradients, lines, type and document settings. This can be very powerful. For instance, when drawing a path, the Inspector tells you how many points you have drawn and what kind they are (smooth, corner or connector). But it also offers the ability to change point type, to retract a point handle in one direction or the other, to automatically smooth a path and more. And that's just one of five modes within the Inspector.

The fill mode gives you multiple options for filling a boxbasic fill, graduated and pattern, as well as PostScript and custom fills , which can't be previewed. (Illustrator does preview custom fills, however.) Selecting any one of these types of fills brings up various options. Graduated fill, for instance, lets you pick two colors, decide between linear and logarithmic styles, and set the angle on a wheel (or enter a specific angle). I won't go through all the details of the Inspector right here, but let's just say it's more than an info box- it puts a lot of functional control of all types of elements right at your fingertips.

Drawing Tools Drawing tools have always been considered Illustrator's leg up on FreeHand. But now FreeHand offers some additional tools that make life considerably easier. Besides the pen tool for drawing Bezier curves, FreeHand offers something called the Bezigon tool. It's a handy way to 170

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quickly draw paths. The Bezigon draws only straight lines, so to use it you roughly sketch out the image using traight lines then convert points to curve , corners or connectors, and shape the path. It's a great tool for rough sketching but it's just not the same as precisely drawing a path with the pen tool.

As mentioned, the Inspector is a great help in drawing because you can so quickly convert points from one type to another. It also enables you to smooth out a line segment just by clicking on a box that says "automatic ," and the ability to retract one point handle. And if you thought you closed a path, only to click on the toolbox and find that you've drawn a huge line segment across the whole screen, you ' ll appreciate the fact that the Inspector tells you whether the path is open or closed. Better yet, just click in the "closed" box and FreeHand automatically closes the box for you .

Illustrator offers many more tools in the toolbox than FreeHand does and users reap the benefits. First of all , most of the tools pop up variations , while the cursor is constantly changing to clue the reader as to what is happening. While Illustrator lacks a unified status window like the Inspector, it does offer greater precision over drawing.

While it gets a little confusing sometimes, ultimately it's to the user 's advantage to have so many tools-direct selection, group selection, add anchor point, delete anchor point, cut path, etc. Still something like the Inspector is sorely missed for tracking kinds of points.

Path Hand ling FreeHand offers several commands for controlling pathsblend, intersect, punch and union. Basically these commands create new paths out of the overlapping portions of two or more adjacent paths. There 's also the standard tools for mirroring, skewing, rotating, etc. FreeHand also lets you do things like change the direction of a path, or split a path or join separate paths. Useful but not an abundance of riches on this count.

Illustrator, meanwhile , has integrated "Pathfinder" filters to take care of a whole bunch of path joining/deleting/ intersecting routines. There are about a dozen path controls that can be accessed through the filter s menu , such as back minus front, front minus back, merge fill s, etc. Cool.

There are so many possibilities here that FreeHand is simply left in the dust on this point.

Color As mentioned earlier, both programs use palettes for color management tasks. Illustrator 's Paint Style palette is a unified interface for applying colors. Whether you want to fill or stroke with a process color or one from a

color matching system or with a gradient, it's a simple matter to make your selection from this palette. The palette features five icons-none, black, white, process color, custom color, pattern and gradient. Selecting any one of these brings up the appropriate tools and lists.

For instance, clicking on process gives you an interactive CMYK mixer, which I especially liked for the fact that each of the four bars is colored to indicate the effect that choosing various percentages will have on the color. And not only that, but these color bars update based on the current color mix. For instance, if you started with a blue composed of 100% cyan and 50% magenta, the color bars would show that reducing cyan towards 0% would make a pinker color, while increasing yellow towards 100% would make a greener color. If you then change your color to pink, the color bars update, so that now the yellow bar shows that increasing yellow towards 100% will create orange. That's the best color mixer I've seen and I think it will be a great help to users who can't mix process colors in their sleep.

While Illustrator handles process colors beautifully, it's a lot less supportive of color matching systems like PANTONE® and Trumatch™. These colors aren't immediately available; you have to expres ly import them (or place them in your startup file, which demands more memory). When you do this, the entire color system is imported into your custom color list and you then have to go through and delete the extraneous ones (or put up with having a very long color list). Yuk! It's not really a palette when there's 2,000 colors. I much prefer FreeHand's method of viewing color systems and picking colors to use.

FreeHand's greatest color tool is click-and-drag color editing. Besides being handy, it's just so cool. To apply or change a color, jusi take a color chip from the color palette to the object. Bang, it's done.

FreeHand has three different palettes for color-color list, tints, color mixer and styles, plus the Inspector of course.

While not as elegant a Illu trator's Paint Styles palette, this approach does have its advantages, primarily in the ability to click and drag attributes around . To get started, mix a color in the color mixer. FreeHand offers three different color modes-CMYK, RGB (red/green/blue) and HLS (hue/lightness/saturation). When you have the color you want, click in the swatch box and drag the cursor (it changes to a colored paint chip as you do this) to the color list; your new color is added automatically. To create a tint of that color, drag the color chip to the Tints palette, pick the percentage you want and then drag that back to the color list. Now your list shows two colors-the original and the tint. Using the Inspector in tandem with the color palettes lets you specify colors for gradient fills, tiles or patterns.

Gradients One really weak point of Illustrator in the past was that a feature as important and heavily used as gradients was so

ADOBE/ALDUS

MERGER

What's the future of illustration software?

When Adobe Systems and Aldus Corp. announced this spring that they would merge, they said that the new company would continue to sell and support both Illustrator and FreeHand. In the meantime, Altsys Corp .. the developer of FreeHand, filed suit against Aldus for violating the contract between Altsys and Aldus. Despite protestations to the contrary, it is hard to imagine Adobus (or whatever the new company will be called) selling two directly competitive programs .

For a take on the merger and the impact of graphic design tools, we called industry pundit Jonathan Seybold, founder of Seybold Seminars. When asked if the new Adobe-controlled company would deep-six FreeHand, Seybold said : "I think so."

Here's his insider's view of the merger: "Paul [Brainerd, Aldus CEO] wanted to leave the company, he had not found a successor for it and when he thought about the future of his company and what hands to leave it in , it was pretty clear to him that Adobe was the logical choice if he could get them interested.

"He called John [Warnock, Adobe CEO] and John very quickly said, 'Yes, this makes sense.' From Aldus's standpoint, it gives a high valuation for the company, it gives them a future, it gives them a home, someone to run the company. The question is, why would Adobe do this? If you look at it, Aldus has PageMaker but PageMaker has lost out to Quark at the high end of the publishing marketplace. All the rest of the Aldus products are not category leaders.

"So why would Adobe spend this kind of money to acquire Aldus? And the answer, as far as I can see, is that Adobe has to be concerned about the ongoing revenue base from Postscript licenses. You can't get growth out of that and they're going to be hard-pressed to keep that revenue constant. So application software is the logical place to get growth and they have been very successful with that. By acquiring Aldus they have become a much larger application software company."

But does Adobe really need Aldus's applications? They have been a leader in virtually every market they have entered . "The thing that Adobe has done that is really very impressive," said Seybold, "is selecting a product developed outside the company, selecting the right one and bringing it in and polishing it so that it really works well . And that's something that Aldus has not done well. There isn't the polish-the things they've acquired from the outside don't have the polish that the Adobe stuff has had. So I think that the gamble here is that Adobe can run that business better than Aldus could . And I think that Adobe is gambling on that."

-R.K.

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difficult to apply. Gradients had to be applied as blends between paths and it took the program quite a while to do the calculations. Now gradients are managed in a floating palette that's linked to the main Paint Style palette. With the new gradients palette, you can make gradients with as many as 32 colors. The process is simple: Click below the gradient bar to create color stops, then select a color stop and mix a process color or select a predefined color. The gradient bar immediately displays the interpolation between colors. At the top of the bar, between color stops, are midpoint markers, which can be moved to adjust the point of color shift. With the "auto" box clicked in the Paint Styles palette, the illustration is automatically painted with the gradient. It only takes a few seconds for simple gradients, while complex ones take a good bit more time.

While the gradients palette is linked to the Paint Styles palette (you double-click on a gradient name to open the palette), not all modes are as well integrated. There is no custom color palette, for instance, and you can 't create or edit colors within Paint Styles. You have to open a separate dialog box (double-clicking on a color gets you there) for that.

Gradients in FreeHand are limited to two colors but the drag-and-drop still works. Selecting gradient or radial fill in the Inspector gives you two boxes for the first and second colors. You can drag chips from the color list into these boxes , or better yet, just drag the chips directly into a selected object. FreeHand figures out what order and direction to fill in. Give the advantage to Illustrator here since its palette mixes multicolor gradients and gives more control over color transitions. And one more thing: FreeHand often told me that my colors were "incompatible." I tried mixing the same colors in Illustrator without a problem.

Importing/Exporting Graphics Illustrator is grievously deficient when it comes to importing other graphics. It only accepts Encapsulated PostScript (EPS) files. No TIFFs or PICTs (with the exception of the Mosaic filter). This is especially a drag since EPS files tend to be much larger than other file formats . FreeHand not only accepts TIFF, PICT and EPS, but also native Illustrator files (versions 1.1 through 3.0). The unavoidable conclusion according to Deke McClellan, author of Peachpit Press 's The Illustrator 5 Book: "If you want to manipulate and transform scanned images or other bit-maps in a drawing program, we recommend that you use Aldus FreeHand."

When it comes to exporting artwork for use in other programs, FreeHand wins again. Illustrator creates only EPS files (for both Mac and PC), while FreeHand will export as EPS , PICT, FreeHand 3.1 and Illustrator 1.1 through 3 .0. This flexibility makes FreeHand more useful in the real world, where people use multiple programs to create and edit illustrations. For instance, you could create art172

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work in FreeHand, save it as an Illustrator file and import it into Photoshop (since, irritatingly, Adobe Photoshop imports Adobe Illustrator files but not FreeHand file s) .

Text When it comes to importing text, the tables are turned.

FreeHand supports only ASCII and rich text format, while Illustrator takes Word, MacWrite, WriteNow and WordPerfect files. In FreeHand importing a 20K text file was painfully slow. Importing the same file in Illustrator was almost instantaneous.

In analyzing text-editing features of the programs, I looked at a beta version of Illustrator 5.5 , which was slated for June 1994 release. The new version starts to give Illustrator parity with FreeHand in text handling. Compared with 5.0, FreeHand definitely handles text better. Seemingly simple things like setting multiple columns within a text block is outside of Illustrator 's purview. FreeHand offers a myriad of typesetting and typographic controls. But Illustrator 5.5 offers a Rows and Columns filter that lets you set the number of rows and columns, as well as the associated numbers. The new version also adds several other useful text filters-change case, check spelling, find font, smart typography. This last is an easy way to set ligatures, typographic spaces, en or em dashes, as well as correct quotes. These are swell additions, adding features not found in FreeHand. But ultimately, FreeHand still gets a tip o' the mouse for text handling because things like the ability to flow text between paths or from text block to open or closed path and back again. Typographic controls are also deeper, even after Illustrator's additions.

Masks/Layers FreeHand has had a serious advantage over Illustrator because of its Laye.rs palettes, which let you see what layer you are on, rearrange layers and hide or protect layers. Now Adobe has implemented a virtually identical palette in Illustrator. No points for originality, but it makes life a lot easier for Illustrator users. As for masks, Illustrator has a mask command that makes any selected objects masks for other objects. FreeHand requires that you do this manually, probably by pasting selected objects into the object to be used as a mask.

Special Effects With its new Filters menu, Illustrator offers a bevy of special effects, from coloring to distortion to path editing to text handling. I won 't go into all of them in detail here; suffice to say they offer a whole new range of control over your illustration. Some may find the filters to be useless bells and whistles; others will appreciate the ability to generate more natural-looking (softer-edged) images.

Apart from the Pathfinder filters discussed above and the ability to do Photoshop-like stylizations, the filters offer a

Are you reacling this? The experts predict the world of tomorrow will be fully wired and everyone will have headphones and virtual reality goggles and spend all their time buying cubic zirconium. Of course they usually make these predictions in IO-point Garamond. Keep the faith. Design it as if someone's going to read it. · MOHAWK. Makers of legible papers since 1935.

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May, 1994

®

Technology

REVIEWS

powerful capacity to select objects with shared attributes and make global changes. For instance, one filter lets you select all objects with the same fill, while another one lets you globally change CMYK values.

I assume that Illustrator's filter architecture will be opened to other developers and that a new industry similar to that of Photoshop filter developers will emerge. If that happens, Illustrator may be able to offer a lot more interesting filters than the ones that Adobe includes with the current version of the program.

The Bottom Line Overall, both programs are quite powerful. Artists who know what they're doing can create amazing things with either program. Adobe has made great strides at improving the usability of Illustrator while adding functionality.

FreeHand 's advances have been more modest, mostly because they were so far ahead of Illustrator in ease-ofuse and document management.

Overall, I give FreeHand the edge for page layout, text handling and format flexibility and Illustrator the edge for special effects, path handling, masks and gradients.

Call it a draw on ease-of-use, color management, layer management and drawing tools.

Illustrator 5.0 system requirements ($595; deluxe CDROM version $695): Macintosh II computer with 68020 processor or later; minimum 3.1 MB RAM (5 MB recommended); System 6.0.7 or later.

FreeHand 4.0 system requirements ($595) : Apple Macintosh Ilci or later model; System 6.0.7 or later; 120 MB hard drive; 8 MB RAM.

props and atmospheric treatments. Available locations range from city skylines to kitchen interiors to deep space. The views here are generic and sketchy, which is exactly what you want as a storyboard artist. Storyboard Quick provides enough details for a kitchen to be immediately recognizable as any kitchen, but not a particular kitchen.

The props department tool allows users to paste in a limited amount of typical props and effects, including furniture and interiors, roadways, transportation scenes and the all purpose "POW! " starburst.

A menu of arrowheads and directional symbols make it easy to indicate pans, tilts and camera moves as well as visual cues for camera angles, motion and more. Users who feel limited by the pre-built graphics provided by StoryBoard Quick can import their own graphics by scanning in photos, drawings or importing PICT drawings and video capture files. Text can be created as both cartoon balloons spoken by the characters, or placed outside the storyboard panels, where it can either be read as dialog or screen directions.

As good as StoryBoard Quick is, it is not without its problems. It suffers from an inexcusably mysterious interface. Rather than identify the characters in the Character Library, the program displays a row of five identical generic figures in silhouette. It is up to the user to figure out and remember which of the five figures is male, female, villain or hero. And fierce copy protection on Story Board Quick means you should be careful how and where you install the software.

One of the surprise discoveries at this year's MacWorld Expo wa StoryBoard Quick, a nifty little application that allows anyone with a Mac to create professional looking storyboards. For art directors in a hurry, and for the rest of us who can't even draw stick figures, StoryBoard Quick provides a means of creating remarkably proficient storyboards in a matter of minutes. A familiar Macintosh point and click interface makes it easy for the user to get up and running quickly. Built-in templates allow the user to create storyboards in a variety of aspect ratios from television to feature film to wide screen.

For the writer or storyboard artist who needs a quick, allpurpose tool to generate rough and ready storyboards, StoryBoard Quick provides an excellent resource. Even better, it makes for an intriguing creative tool in its own right. Part of the fun comes in mixing and matching its environments in unexpected ways. With a little imagination and the right mouse click, you can matte the deep space background behind the kitchen. The result is a kitchen window with a view of the rings of Saturn, and delightful visual fun. StoryBoard Quick is simple to learn, fun to use and the combination of ready-made graphic elements with a copywriting tool can make for some bizarre surreal word play. If the folks at Power Production Software are smart, they'll recognize that its potential extends far beyond the graphic arts ghetto, and they'll adapt this tool for the home education market. And quick!

StoryBoard Quick comes with a library of five generic characters that pop into place with a mouse click. The resizable characters assume running, standing, walking and supine positions and can rotate to front, side and rear angles. Additional libraries of characters are available at $49 per set, and provide a complement of generic males and females, as well as comic and film noir types.

StoryBoard Quick system requirements: Macintosh Plus or later; System 6.0.5 or later; 1 MB of hard disk space; 1 MB of RAM; Macintosh compatible printer; Windows requirements are any MS-DOS compatible 386 processor or better; 2 MB hard disk storage; VGA graphics; mouse; Windows-compatible printer and MicroSoft Windows version 3.1 (4 MB RAM).

STORYBOARD QUICK

A familiar tool palette provides a variety of environments,

- Sam McMillan COMMUNICATIO

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ADOBE ILLUSTRATOR FOR MACINTOSH: CLASSROOM IN A BOOK By the staff of Adobe Systems Inc. 253 pages, paperback with CD-ROM $44.95 Published by Adobe Press/Hayden Books 201 W. 103rd Street, Indianapolis, Indiana 46290

This is the book that was used in Adobe's Classroom in a Box training materials used by schools and graphic arts programs. Now Adobe has published it as a stand-alone volume for self-paced instruction. It comes with a CD-ROM containing all the sample files used in the exercises, digital videos that demonstrate operations and Adobe Acrobat software for creating files that can be read on computers without Illustrator installed. (The inclusion of Acrobat is a nice giveaway for those interested in that sort of thing, but it's hardly germane to the task at hand.)

Classroom in a Book is a training manual, not a reference work. So while it's a great book for learning the program, it will not be useful for checking up on the concepts of a given operation. The book is project-oriented rather than operation-oriented. Each lesson is a sample project, such as designing logos, creating stationery, business cards and three-fold art brochures. Naturally each lesson brings in more and more functions of the program, so that Lesson 7, "Designing a poster of the French wine country," includes using filters , blending shapes and colors and rearranging layers.

For the most part this is a useful way to proceed and readers should have a better understanding of print production by working through these tutorials. In cases where this is not the best teaching method, notably color separations and trapping, the book abandons the project construct, taking a single image all the way through 176

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production. A final chapter on using other Adobe products for multimedia rings of selling to a captive audience and is slightly offensive. Also a little offensive is the high cover price, considering there are no color figures , although the presence of the CD-ROM justifies part of the price.

THE ILLUSTRATOR 5 BOOK

By Deke McClelland 648 pages , paperback $29.95 Published by Peachpit Press 2414 Sixth Street, Berkeley, California 94710

This is the Illustrator book. The definitive, everything-you-need-toknow tome about Illustrator. Astoundingly, for a software book, it's pretty interesting. McClellan, who also wrote the Macworld Photoshop Bible, starts with a history of Macintosh graphics from MacPaint to the present before moving into the nuts and bolts of Illustrator 5. Unlike many software books that methodically plod through the menus and the toolbox, The Illustrator Book somehow manages to combine that information in addition to drawing lessons and advanced tips and tricks. McClellan explains some of the technology behind the program.

Somewhat unusual for a book of this type, the author calls 'em as he sees 'em. When you can't do something or when doing it is unbelievably difficult, he says so. I can't think of a single issue that McClellan ignores or brushes off. Whenever possible he turns constructive criticism into practical technique. In the type chapter, McClellan notes that inserting a tab character knocks the text insertion cursor down a line. "This is probably an error on Adobe's part," he confides and then goes on to give a six-step exercise on how this little anomaly can be used to create perfect hanging indents.

This is an excellent book for beginners, with extensive exercises and explanations of drawing with Bezier curves 1 9 9 4

and other Illustrator tools, yet one that experienced users will return to again and again.

- Richard Koman COMPUTER GRAPHICS FOR DESIGNERS AND ARTISTS Second Edition 306 pages, paperback $49.95

By Isaac Victor Kerlow & Judson Rosebush Van Nostrand Reinhold 115 5th Avenue, New York, New York 10003

Described as a "practice oriented survey of the technical concepts and applications of computer graphics," this academic text places the emphasis squarely on the computer half of the computer graphics equation. The book begins with four introductory chapters on "Understanding the Computer" that are so dry, poorly written and incoherently organized that even the authors admit, "These opening chapters were a stumbling block for teachers and students alike." After overwhelming readers with a welter of irrelevant detail such as mflops, force feedback clothing, and the difference between machine and assembly language, the authors continue their kitchen sink approach in sections devoted to "Visual Language" and "Applications in Design."

A central organizing theme would have greatly helped Computer Graphics.

Information is presented almost at random, so that in the Visual Language section in the chapter on "Interfacing with the System," one encounters information on production, management contracts and quotations , right down to a definition of F.0.B. No, it's not Friends of Bill, either. While providing this kind of real-world information is commendable, one expects readers would be better served if it had appeared in the Applications in Design section.

Buried within this morass are occasional nuggets of practical

information as well as hundreds of stunning full-color images that illustrate the range of graphics the computer is capable of producing. Unfortunately, readers looking for an authoritative guide to the principles of computer graphic design, or even specific production techniques, will have to look elsewhere than this survey.

- Sam McMillan

Contents

Ray Dream's 2nd Annual "Modern Masters of 3D" International Art and Design contest is accepting entries until August 5, 1994. The grand prize is a trip to the New World of your choice: New York, New Orleans or New Mexico. All entries must be created using 'Ray Dream Designer, addDepth or both. Categories include Commercial Art, Commercial Art Logos, Non-Commercial Art, addDepth Art and New-World Art. For more information, call (415) 960-0768 or fax (415) 960-1198.

Conferences

The 4th annual international conference of the QuarkXPress Users group will be held July 21 and 22 at the Fashion Institute of Technology in New York City. This consortium of professionals in the prepress, printing, art, design and advertising industries will meet to discuss quality page production and communication issues. For more information, call (603) 898-2822 or fax (603) 898-3393.

Publications

PhotoStockNotes, a compendium of useful business information ranging from legal issues to the impact of CD-ROM discs on the industry, is

available for $48 for 12 issues. Call (800) 624-0266.

"PhotoCD Revealed," a 42-page fully illustrated technical brief for the graphic arts professional is now available from The Color Resource.

For more information, or to order, call (415) 398-5337 or fax (415) 398-5339.

The Color Resource provides a clearing house of information resources on training, and support tools for digital design and prepress. Their newest catalog offers dozens of titles that reflect the latest trends in desktop publishing and design. To order a catalog, call (800) 827-3311.

Tools

Aldus Fetch, a database software package designed to catalog, organize, sort and retrieve image and multimedia files has just been released in a single-user Macintosh version.

Graphics professionals can use Fetch to create a visual database, compiled of thumbnail images, to build catalogs.

Keywords and descriptions of graphics files provide traditional database sorting schemes as an alternative. Fetch Single User Version is $149. For more information, call (206) 628-2320.

For the advertising agency or production shop overwhelmed by image storage problems, CD Archives is offering a new service designed to store television and radio spots along with related job information on a single CD-ROM. CD Archives will digitize audio and video material, scan print images and enter script and job information into an interactive database; the completed data is then pressed on a CD-ROM. Storage options range from a single spot to large scale library archival. For more information, call (212) 575 4660.

Light Source announces Colortron, a handheld computer peripheral for precise digital capture and measurement

of color. Connected to a personal computer, Colortron creates an exact spectral curve to identify colors from a range of sources including reflective and emissive targets. Professionals in the design, prepress, printing, multimedia, fashion and photographic industry will be able to capture, manipulate, specify and control color.

Colortron will ship this summer at a retail price under $1,000. For more information, call (415) 925-4200 or fax (415) 461-8011.

Beyond the Border offers electronic clip art images of 100 full-color EPS borders. Compatible with most popular page layout, presentation and wordprocessing software, Beyond the Border is available in Macintosh and DOS/Windows versions. The introductory price is $29.95. Call Metro ImageBase at (212) 94 7-5100 for more information.

Motofax, from C.P. Gauger Company combines electronic database and publishing in one product. Motofax promises to automatically generate electronic or printed publications such as catalogs, price lists, buyer's guides and inventory information without repeated data entry or page layout chores. Relational database technology from Oracle allows one-time data entry to be applied to a variety of related publications. For more information, call (800) 541-8270 or fax (414) 529-4746.

Large format graphics can now be produced from the desktop with Scotchprint. Postscript files can be output to processed photographic images on pressure sensitive vinyls and papers.

Typical applications range from prototype packaging to billboards and murals. For more information, call (800) 344-44 77.

For those with a need of one-handed data entry, Infogrip has developed the BAT Personal Keyboard. The $294 BAT uses a color-coded seven-key C 0 M M U N I C AT I 0 N

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unit to deliver the functionality of the traditional qwerty keyboard. Users press a combination of keys with one hand while using their free hand to dial the phone, thumb through documents or mouse around the screen.

Proficient users report speeds up to 35 words per minute. For more information, call (800) 397-0921.

PR Edge for Windows is a software productivity tool for those in the public relations industry who must keep track of who they called, when, why and what the results were. A database allows users to track current and past opportunities for each media. PR Edge will also generate reports broken out by client, media and industry. Single user diskettes cost $495; network applications are $1,095. For more information, call (800) 9PR-EDGE or fax (316) 685-9806.

Island Graphics has enhanced their object-oriented trapping program IslandTrapper with a new utility called IslandChecker. IslandChecker will allow prepress service providers to check the integrity of a job by analyzing PostScript files before output. For more information call (415) 491-1000.

Hi-Fi ColorSeps, a software color separation screening technology, designed to add more than four colors to process color separation, is now available from TransCal Corporation.

HiFi ColorSeps, an Adobe Photoshop plug-in for Macintosh II and Quadra Series computers, creates multi-channel DCS 2.0 files to import separations seamlessly into popular page layout applications. Optimum color fidelity can be achieved using five, six, seven and eight inks. For more information call (800) 432-8896.

Digital Network telephone lines. Using a Macintosh point and click interface, users can e-mail their work as an attached file from their ImageN et gateway to a remote ImageNet gateway installed in a desktop computer at their client's office, a prepress house, service bureau or printer. For more information, call (908) 647-0353 or fax (908) 580-9488.

ITC Design Palette offers instant access to a wide range of graphics products using CD-ROM and online technologies. Users can purchase stock photos, backgrounds, textures, type, clip art, program extensions, productivity utilities sound and video clips, even multimedia tools. ITC Design Palette consists of a small hardware unit connected to a SCSI CD reader or Macintosh and out to a phone line, either directly or through a fax machine or modem. Products are continually updated by ITC which monitors the usage of the unit and sends out period invoices. For more information, call (212) 371-0699.

PortfolioMaker, an easy to use software product for the Macintosh available from Foxglove Communications, allows users to create their own electronic portfolio on a floppy disk. Users may scan color images from slides or prints, or import images from a photo-CD. Interactive browsing tools allow viewers to "flip " through the artwork on the disk. For more information, call (410) 426-7733.

ImageNet offers high speed digital transmission of text, graphics and images in black-and-white or color.

Entire layouts including type, color photos and illustrations can be routed electronically to clients, printers and proofreaders using switched 56 kilobytes per second or Integrated Services

Agfa now offers a full complement of ColorTags for FotoTune color management software via CompuServe 's online service. FotoTune is a device independent color management software that provides color consistency across a wide variety of desktop devices including scanners, monitors , printers and proofers. Color devices are linked together with Agfa's common color language, which describes the color behavior of each device. CompuServe users can access Agfa's software and support through the Desktop Publishing Forum within Library 2.

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For further information , call Agfa at (508) 658-5600.

For scriptwriters of film , video and multimedia production s currently struggling with the column format of Microsoft Word, there is SideBySide, a Word add-on that makes writing in a multi column format fast and easy.

Available in Macintosh and Windows versions from Simon Skill Sy terns.

For more information, call (800) 2728232 or fax (619) 756-1178.

FontChameleon for the Macinto sh, from Ares Software, provides a highly compact, flexible method of creating and storing any number of different fonts in TrueType or PostScript format.

Two hundred fifteen font descriptors instruct a master outline how to morph into a particular typeface design specified by the user. Six slider bars give the font descriptors control of weight, x-height, tracking, slanting, condensing or extending the characters in a font. A blend slider allows the user to combine the characteristics of any two font descriptors. For more information, call (415) 578-9090 or fax (415) 378-8999.

Workshops

One- and two-day hand s-on workshops for using Adobe Acrobat in the workplace have been announced by Adobe Systems Educational Services.

One-day workshops are designed for Adobe customers, resellers and instructors. Two-day workshops fo r technical support and MIS staffers provide the information and skill s required to support and maintain a network of Adobe Acrobat users. Classes are scheduled in Boston, Augu st 810; in New York City, August 1517; in Mountain View, California, Augu st 22-24; in Seattle, September 7-9 ; and in Dallas, October 26-28. For more information and additional class dates, call (800) 27-ADOBE.

- S.M.

Point, shoot, plug it into your computer, and presto - you've discovered Apple digital photography. It's the fastest, easiest way to give everything from proposals to catalogs more impact. No film. No waiting. just brilliant 24-bit color or sharp black-and-white photos that will make even a modest memo stand out.

The Apple• QuickTake"' 100 comes with everything you need, from software to cable.

And at $749; accountants love it, too. Th locate the authorized Apple reseller nearest you, give us a call at 800-732-3131, ext. 550.

The New Apple QuickTake 100 Digital Camera

FREE-LANCE BARBARA GORDON

ILLUSTRATION PRIMER WANT TO DISCUSS THE VARIOUS ASPECTS and benefits of using illustration commercially.

Reviewing the mechanics and benefits of a particular medium can help in making a decision about what to use to get the desired results in a project.

I

that clients who use illustration have as much or as little input and control as they desire.

To begin with, illustration can be used in different ways.

A visual or concept can be given to an artist and the artist can be hired to render an illustration to the exact specifications of the layout. A product illustration is a good example of this.

The first, and most obvious reason, is that a client always gets a one-of-a-kind piece of work that cannot be confused with any art used in competitors' ads. If ten comp.anies are advertising tires and ten illustrators are hired to do ads in their individual styles, each of the ads will show the unique style of that particular artist.

The client picks a style or technique that they feel is appropriate for the job and then directs the artist in the final execution. In this situation, the artist usually does a preliminary sketch and may also be asked to do a color sketch.

The client may provide reference or the artist may do the research and get the reference for the job. (A reference must always be cleared as to the legality of its use.)

If people are to be included in the illustration and the artist shoots reference photographs , the client may want to see head shots of the models to be used. Sometimes the client will provide the artist with a model or photo reference, but occasionally the artist will come up with a composite person. In this "render the layout" situation, the clients may even ask to see the work in progress so that they may exert as much control as possible over the finished project.

In other cases there is no layout and the artist is asked, along with the creative team, to come up with a concept.

Often this approach is used in esoteric situations, i.e., a client wants to illustrate "diversification" or "communication." Or the client wants to put a very complex situation into one illustration, e.g., show "the history of mankind" or "the evolution of medicine." In these cases the artist and creative team discuss what the client wants to achieve in the finished piece. Is this for an ad that is going to sell products or services? Is it for an editorial piece that is to inform? Is it for public relations purposes to enhance image? All aspects of the job, where it is to be used, color scheme and audience are discussed by the artist and the creative team. Once an approach is decided, the artist comes up with several thumbnail sketches to show the creative team a variety of ways the goals can be reached.

Once this is agreed upon, the artist takes the selected thumbnail and puts it into a finished sketch stage. Sometimes a further color sketch is done and the procedures outlined above (picking models, etc.) may be used again before a piece of artwork is finished. The bottom line is 180

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Control of the final product is only one of the many reasons why illustration can be used effectively by clients. Following is a list of some of the other reasons to use illustration.

Illustration can show things which do not exist or are too costly to access. For example, artists can render a building, complete with landscaping and people, that is still in sketch form on the architect's drawing board. Artists, from rudimentary photographic reference, can render a factory or job site that would be impossible to photograph because of lack of accessibility or the prohibitive costs o'f sending a photo crew on location. Outer space, the ocean floor, Antarctica, the earth's core, heaven, hell and Never-neverland are all examples of places not out of bounds to artists.

They can sit in their studios, with minimal reference and description, and use their skill and imagination to convey any place or situation.

In the same vein, artists can also enhance or improve on things that do exist. Let's say a company has a ~· transistor that doesn't photograph well; an artist can show it in beautiful detail, enhance it, make it "bigger than life" or "sex it up." If a client doesn 't want to hire five different models, they can hire one and let an artist give her five different looks. Or suppose a hired model is too tall, short, young or old; with a few strokes an artist can alter the model to a client's specifications. Want to show an operation on the brain without blood? An artist can render a completely bloodless picture of brain surgery, in stages, or as an individual piece of work.

As previously mentioned, art can also depict esoteric subjects such as truth, fear, civilization, loyalty or honesty by evoking a mood. And illustration, because of the diversity of styles, can be either photorealistic and use a hard sell approach or an impressionistic soft sell one.

Artwork can also be very effective in instructional situations. It may not be practical for someone to view brain surgery, but a detailed series of drawings of the operation can impart the necessary information. The same can be done to show how a computer works or how

Point. Shoot. Plug it into your computer.

Apple's new digital camera is the fastest, easiest way to add high-quality photographs to your work. No film. No waiting. Just sharp-looking digital photos that make everything from mailers to memos more memorable.

The Apple"QuickTake™ 100 can hold up to 32 standard resolution images. It only weighs a pound. And at $749: you can show off your business in living color and still stay in the black.

For the authorized Apple reseller nearest you, give us a call at 800-732-3131, ext. 550.

The New Apple QuickTake 100 Digital Camera

FREE-LANCE

to repair a car, restring a tennis racket or cook a souffle.

There is no limit to what illustrators can visualize and teach through their talent and vision.

With humorous illustration, text often isn't necessary because of the use of sight gags ; one simply has to look at the image to get the message. It can be one of the quickest forms of communication since it doesn 't depend on the ability to understand a particular language. And speaking of instant identification, what about characters designed for a particular product? They seem to have a timeless life span no matter when they were introduced.

Audiences immediately recognize the Pillsbury Doughboy, Mr. Clean, Joe Camel and Elsie, the Borden cow. The reuse of the character, developed by the artist, only serves to reinforce brand identification.

With illustration the client gets a finished piece of work that (when appropriate rights are bought) can be framed and hung in a gallery, boardroom or museum. You might also be purchasing an heirloom of the future. When you see the prices that originals by Norman Rockwell, J.C. Leyendecker, Maxfield Parrish, Andy Warhol and Howard Chandler Christie are commanding at art auctions these

days, you will be amazed. Originally the work of commercial illustrators doing assignments, their works are valued as part of American history just as the work of today's illustrators will be. An illustration purchased now could be a valuable museum piece in the future.

The purpose of this article is to focus on all the aspects of one available medium, without denigrating or eliminating the other available media. When clients are making a decision as to what form a finished product should take, they should consider all facets of all available mediums; the information presented here may be used to help clients consider the diversity of using illustration.

To remain current on what is going on in the art field, read magazines like CA, view the many available source books and see the shows and exhibits mounted by professional organizations. These are all good ways of keeping up on styles and what is going on in the contemporary art marketplace.

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Storytelling

I

'M EATING PEZ candies at my drafting table-pull the rabbit head back by the ears and it ejects a tiny pink brick from its throat-when I start to look around the house. Lucian Bernhard's cat is waving its ©1 994 Ki rk Amyx paw at me from a box of rubber heels on the bookshelf; the Virgin Mary prays nonstop from her candle on the mantle; a Mexican Day of the Dead skull smokes a cigarette atop my computer monitor. Everywhere I look there are packages with images of animals and people , symbols really, engaged in the business of storytelling.

Of course the primary story these images tell is a plug for their respective products: "Buy me." But commerce is only one of their narratives and, as some of these products are no longer made or sold , it may not even be a relevant one.

The stories that interest me are those that resonate apart from consumerism: folk tales, religious or cultural myth and fantasy.

But how is Lucian Bernhard's cat a narrative? It " tells a story" insofar that it triggers my imagination. I want to know: Does it have a name? Does it have any friends?

What do they do on weekends?

Shape as Symbol: Giving the Package Life Packaging at its most basic should contain and identify its contents. Beyond this , however, are limitless possibilities for embellishment and narrative. One possibility is the shape of the package itself.

Two packages that amuse me no end are the honey bear from E. F. Lane & Son and the soap bubble bear (Pustefix Zauberbar) from Germany. These squeezable plastic figures are not just receptacles for honey and soap , but are personalities in their own right; one fully expects these two to serve honey and blow their ow n soap bubbles , as well as gossip after hours. These packages are not examples of anthropomorphism - attributing human characteristics to 188

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i n

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n g

animals - but rather of a kind of animism , in which a life force is infused into an inanimate object. (This echoes the Native American practice of carving or painting effigies of animals on everyday, utilitarian objects to imbue them with the powers and attributes of the animal.)

Simple, jar-like containers function as well as bear-shaped ones in terms of holding honey and soap , but inanimate objects do not engage the mind like the animate , and my four-year-old neighbor Thomas will tell you as much.

When I showed him the bears he uttered a "Hey cool! " several times, and then proceeded to make them talk and , to some degree, live. "I'm the honey man! " said one bear; "I'm the bubble man! " said the other. Meanwhile , Thomas completely ignored the more typical jar of honey sitting on the table.

A surprisingly animate package is the six and one-half ounce Coca-Cola bottle introduced in 1916. This bottle design is so distinctive that in 1960 the U.S . Patent Office recognized it as a trademark in and of itself, separate from the name and logotype. But what is the significance of its form? What is the narrative implied in its unusual shape?

In his book , Symbols of America , Hal Morgan reports that "the fluted sides and bulging middle [of the bottle] were intended to suggest the shape of a cola nut." This is an interesting idea , but a laughable one; the walnut-like shell of the kola nut looks nothing like the bottle . Whether intentional or not, the shape actually evokes a human form and , more specifically, a female form ; the undulating shape of the Coke bottle is similar to the highly stylized statuettes of female deities produced by Greek and Cycladic artists in the period between 2500 and 2000 B .C. Thought to be fertility fetishes , these statuettes gracefully accentuate the upper body and hips, thereby creating a silhouette not unlike the soda bottle. Further feminine associations come from the Coca-Cola company itself:

"Seeing comes before words.

The child recognizes before it can speak."

JOHN BERGER

it refers to the bottle shape as the "hobble skirt" design; moreover, an earlier prototype of 1915 was nicknamed the "Mae West" due to its exaggerated curves. The next time you grasp that bottle around the waist and hoist it to your lip , a k yourself if what comes to mind is a kola nut.

A fine anthropomorphic design is the Old Crow whiskey bottle (c. 1930) which animates the distiller's trademark. The advantage of this limited edition ceramic is evident in its very existence six decades after its contents were joyfully consumed.

It will never be discarded and, as a result, will advertise Old Crow whiskey with humor and style 'til kingdom come.

Humanizing the non-human satisfies our desire to reconnect with Nature-a Nature we lost somewhere between Eden and Poughkeepsie. Rather than attempt a return to Nature, anthropomorphism brings Nature to humanity by making it one of us - almost. This allows us a sense of camaraderie with our four-footed friends while nonetheless letting us feel superior to them. It also renders the unknowable and complex accessible: is it any wonder that the user-friendly image of Apple Computers is due partly to its reliance on non-threatening metaphors? I don't own an impersonal computer but a "Mac"; I don't type commands on a keyboard but rather select options with the help of a "mouse."

images continues even after we can speak and read; unlike words, symbols do not need to be fully understood to evoke a strong emotional response.

An image that communicates quickly and efficiently can be found on the package for Death cigarettes from Holland. The icon of the skull and crossbones is so well known that a product name is unnecessary.

In fact, the package is more striking for its lack of text; too often words are used to define an image that would be better left to speak for itself. (Consider the typical description mounted adjacent to a painting in a museum and you'll know what I'm talking about.) Perhaps this package's most stunning aspect, however, is the unadorned veracity of its symbolism - cigarettes will kill you.

A more abstract but equally powerful symbol identifies Lucky Strike cigarettes.

With its four concentric circles isolated on a white field, Raymond Loewy's 1942 redesign of the classic 1917 label created a mandala for 20th century Western culture. The circle (or sphere) is an ancient and universal symbol, and its meanings are many: the Self; wholeness (hence C I G A R E T T E S "holiness"); perfection; eternity (no beginning or end); the sun; the eye; and God. The package's strength stems from the hovering bull's eye and the tightly controlled use of color: red and white, with accents of green-gray (formerly gold) and black1 . This design forces the eye to repeatedly Can You Read Me? Image as Text confront the name Lucky Strike and its associations with Images are more immediate than words; we respond to the Gold Rush, wealth, good fortune and success. the shape and color of a STOP sign faster than we can decipher its text. As John Berger observed in his classic l . Loewy 's redesign would seem to be influenced by the highly effective color palette book , Ways of Seeing, "Seeing comes before words. The of an earlier icon of American culture, the red , white, gold, and black Campbell 's soup can-a package design that later also caught the attentions of Andy Warhol. child recognizes before it can speak." The primacy of C 0 M M U N I C AT I 0 N

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DESIGN ISSUES

ONE

In his book Cigarette Pack Art, Chris Mullen gives one possible interpretation of the use of a "good luck" narrative in the tobacco industry: "The idea of 'Lucky' tobacco is one that crops up over and over again. In a primitive way, the pack of cigarettes is a talisman against fate. It is an old French superstition that, in the face of the incomprehensible or threatening, the man with his hand in his pocket touches his left testicle for luck. Perhaps the pack is meant to provide alternative consolation." Mullen's hypothesis gives new meaning to the Lucky Strike slogan, "When Tempted, Reach for a Lucky."

The Power of Myth

CONDOM

Biblical traditions as Moses and the Burning Bush , and the fiery furnace of the "Book of Daniel" into which Shadrach , Meshach and Abednego were thrown. In addition , the flame itself form a mandorla, the almond-shaped aureole enveloping representations of Our Lady of Guadalupe.

Who wouldn't want to shave with such mythic blade ?

For those of you amused by such a seemingly anachronistic marketing concept, consider these contemporary American products: Ajax cleanser, which seeks to associate the product's cleaning ability with the power of the legendary Greek warrior; the Eveready battery, which depict a cat with a bolt tail leaping through a numeral nine to suggest that the batteries have "nine lives" or Jolly Green Giant vegetables, a pairing which presents an even greater leap of logic than a Greek warrior scouring your toilet.

Design that references religious or cultural myth can be especially effective because it associates the product with the power and history of the myth. An interesting examNarrative as Teacher ple of this is the Lux .

Humanizing the non-human As Paul Rand has noted , the Perpetua (Perpetual Light) use of humor in design has prayer candle from Peru satisfies our desire to reconnect the advantage of disarming which features a portrait of and amu ing an audience the Virgin Mary. Like the while simultaneou ly perburning of incense in other with Nature. suading and educating it. religious traditions, the burnAlthough one might think ing of a prayer candle symthat condoms are inherently funny, most condom packages bolizes one's prayers ascending heavenward to God. What seem to be designed with the comedic and aesthetic ensiis unusual about this label, however, is that Mary is picbilities of Jesse Helms. A happy exception are the contured without her typical nimbus. It is only when one lights the candle that she finally receives her halo-in the doms distributed by the San Francisco AIDS form of the flame hovering overhead. By linking the Foundation. Rather than sidestep the delicate subject of sex, this design embraces it, promoting safe sex with appearance of Mary's nimbus with the acts of praying and humor by juxtaposing a rubber-sporting banana with a lighting the candle, the design symbolically connects one's religious devotion to Mary's holiness. chocolate doughnut. (The multi-colored jimmies evoke the rainbow flag of Gay Pride, a symbol of diver ity and tolerThe image for the Spanish "Celestial" razor blades (c. 1930) ance .)

This narrative is continued on the inside of the propels a mundane object of daily use into numinous package, where only the banana peel , the discarded condom, realms. This is clearly not a literal representation of the and a few jimmies are left; the banana and doughnut having product; the disembodied hand and blade reside in a flame been consumed by their passion. With a subject as serious without being consumed. Although on one level this merely as AIDS, a light approach _is something of a relief. suggests that the blades are durable and long lasting, on another it links the product with the divine by evoking such J 90

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A different but no less effective approach was taken by

The design is remarkable in that it effectively sells the product and delivers a strong social message to a traditionally unreceptive audience ...

Bureau in their design for the compilation compact disc "No Alternative," conceived a a project for AIDS awareness and fundraising by the Red Hot Organization. The title "No Alternative" refers to the music, of course-it features "alternative" artists like Nirvana, the Beastie Boys and Patti Smith- but it also emphasizes that we have no alternative but to respond to the crisis of AIDS. The "Jane, Dick, and Spot" images of the girl (or boy; there are two versions of the cover) were chosen because, in the words of Bureau partner Marlene McCarty, "The idea of children automatically infers the idea of future.

AIDS is going to be a part of the future of regular American kids." (This idea is further reinforced by the repeated use of a target.) Bureau superimposed typography across the child's eyes to de-emphasize her identity and thus allow her to symbolize all children, thereby negating the argument that AIDS can't happen to us. The design is remarkable in that it effectively sells the product and delivers a strong social message to a traditionally unreceptive audience: disenfranchised middle-class youth. McCarty describe this effort to market products whose sales benefit nonprofit causes as "grown-up activism."

PEZAnyone?

Narrative interests me because, quite simply, it gives my life meaning. Neil Postman, in his address to the AIGA

conference last October, asserted that narrative "gives meaning to the past, explains the present, and provides guidance for the future." But Postman's concept of meaningful narrative is more grand (and more narrowly defined) than my own. His idea of meaningful narrative"stories of human history" -revolves around religion, politic and ideology. Mine is as simple as the Bon Ami cleanser chick that "hasn't scratched yet." This particular narrative (and countless others like it) is meaningful to me because it is imaginative and playful. It creates an improbable association between a product and natural history that I find surprising, amusing, and even-in an odd way-comforting.

I reload my rabbit. This time with purple PEZ.

Editor's note: The icons of design, visual cliches or metaphors, hold deep unconscious meaning for many of us. Mark Fox, who uses these images with great power in his own work, brings a fresh view of iconography to us through this essay. - DK HOLLAND C 0 M M U N I C AT I 0 N

A RT S

191

LEGAL

AFFAIRS

LEE WILSON

THE RIGHT OF PUBLICITY, '

THE RIGHT OF PRIVACY, AND You OST DESIGNERS, ILLUSTRATORS AND photographers know they can create serious trouble for themselves and their clients by using copyrighted work without permission of the copyright owner. The problem is that these otherwise well-informed people often think that copyright infringement is the only sort of legal problem that they are likely to encounter. Consequently, they may fail to pay enough attention to other legal potholes that can impede their progress on the path to success. Fortunately, most legal impediments can be easily sidestepped if you know enough about the law to identify them. This column will examine and explain two sorts of legal transgressions that can make you just as miserable as a copyright infringement suit: infringement of the right of publicity and invasion of privacy.

M

R ight of Publicity Let's suppose that you and your partner decide to take advantage of the popularity of Elvis Presley memorabilia by turning one of your most treasured possessions, a fullfigure black-and-white photo of Elvis onstage in your hometown in 1967, into a limited edition poster. The photo was one of your first efforts as a photographer, and you are proud of it. Because there are so many Presley fans in the world, you expect to be rich before you sell out the first printing of your poster.

On the day you realize that you need to go back to press with your poster in order to meet the demand for it, you receive an ominous document in the mail. You and your partner have been sued by the Estate of Elvis Presley for violating something called Presley's "right of publicity."

You wonder if somebody is pulling your leg. You don't understand how a dead person can sue you. And you aren't worried about copyright infringement, since you know that because you took the photo, you own the copyright in it. But your lawyer says that the suit is legitimate and recommends that you settle with the Presley estate. He advises you to offer to pay the estate all the profits you have earned so far from your poster and to give up marketing it immediately, in return for the estate's agreement to drop the suit. You agree because your lawyer says you have almost no chance of winning in court and because you can 't afford to continue to pay him $250 an hour to fight a losing battle.

Right of publicity, sometimes also called "celebrity rights," is a relatively new and continually evolving area of the J 92

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law. The law governing right of publicity is not yet uniform throughout the country but, generally speaking , it allows a celebrity to exclusively control and exploit the use of his or her name and likeness for commercial purposes.

The publicity right is presently recognized only with regard to famous people , as oppo ed to corporations , but the right has been recognized as applying to famou s groups of people such as rock bands. At present fewer than a third of the states recognize and protect celebrities' rights by means of statutes (written laws). In some other states, the right has been recognized in case law, which is law that arises from judicial decisions in lawsuits that make it to the appeals court stage. The right of publicity is often "descendible," which means that the heirs of a celebrity can continue to benefit exclusively from the value of the celebrity 's name and likeness even after the death of the celebrity. The periods of protection for the right vary from state to state. For example, the right of publicity can be protected under California's statute for 50 years after a person's death; in Tennessee, protection is available for ten years after the death of the celebrity.

There is no ethical way to get around the restrictions that right of publicity law imposes on free enterprise. If you use any celebrity's name , photograph , likeness, voice, signature, nickname or performance for commercial purposes without his or her written permission, you will have infringed his or her right of publicity. "Commercial purposes" means a use in advertising or for other purposes of trade, such as an endorsement. Using a celebrity 's photograph in conjunction with a news article or mentioning his or her name in a book or magazine article or any similar editorial, educational or public interest use will not give rise to any liability for infringement of the celebrity's right of publicity.

And even if your state has , as yet, no celebrity rights statute, the famou s person whose rights you violate will find a way to sue you. Sometimes celebrities sue under the Lanham Act, which is a federal law that prohibits several kinds of "unfair competition," which is, generally, competitive techniques that mislead consumers, particularly by fraudulent attempts to benefit from someone else 's good reputation. This includes falsely implying a celebrity's endorsement of or connection with a product. Or there may be case law in your state that can be used to stop your unauthorized exploitation of the fame of a celebrity, or an existing state law that can be used by the celebrity 's lawyers to empty your pockets of your ill-gotten gains.

STEPHEN HALL, CREATIVE DIRECTOR, RUMRILL-HOYT, INC.

"It's simple! All the best people are in the Workbook."

LEGAL AFFAIRS

The Right of Privacy The flip side of the right of publicity is the right of privacy, which is the right of private persons to protect their lives from various sorts of unwelcome public scrutiny. There are four sorts of invasion of the privacy right. They are: • Misappropriation of name or likeness-the use without permission of someone 's name or likeness in an advertisement or for a product endorsement.

• "False light" publicity-the publication of private information that, even if it is true, creates a false impression about someone because of the context in which it is published.

• Public disclosure of private facts-the publication of true but embarrassing confidential information about someone that is of no legitimate concern to the public.

• Intrusion-the intrusive entrance into or observation of private areas or the collection of confidential information, usually in the course of news gathering.

As a practical matter, the only two of these four sorts of invasion of privacy that most designers, illustrators and photographers are likely to encounter are misappropriation of name or likeness and "false light" publicity. Either

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can quickly result in a lawsuit. It is even possible that one use of a photo or illustration can result in a lawsuit that claims the plaintiff 's privacy has been invaded in both ways.

Let's say that you have prepared an illustration for an ad for an alcohol treatment center. Your. illu tration is a penand-ink rendering of a black-and-white photograph of a man sitting at a bar, drinking a glass of lemonade. The photograph shows the man as a well-dressed businessman who is alert and cheerful. In creating your illu tration, you depict the man as well under the influence of too much alcohol; he grasps a glass of whi key, his tie is crooked, his hair is mussed, his eyes are bleary and his expression is dejected. The illustration is very effective with the headline your copywriter comes up with: Call Us While You Can Still Remember Our Number. It is also extremely offensive to the man whose photograph you used. He sues your agency for invading his privacy by presenting him in a "false light" and by misappropriating his likeness for commercial purpose .

The lawyer you consult offer you little hope. She tells you that it makes no difference that you turned a photograph of the man who is suing you into an illustration; you are a good enough artist that almost anyone who knows him will recognize him in your illustration. Your use of his likeness without his permission invade his privacy. And even though he consented to be photographed, he did not thereby also consent to the u e of hi likeness for any commercial purpose. And she tells you that the additions to your illustration that fal ely imply the man is an alcoholic have defamed him as certainly a if you had called him a drunk in print, because they convincingly present him in a "false light." She recommend that you settle the suit out of court. You do, but it i an expensive lesson.

The law regarding invasion of privacy varies from tate to state. Indeed, not every state recognizes all four type of invasion of privacy. However, it is dangerous in any state to use anyone's name or likeness without his or her permission or to present that person in any way that varies at all from a fair and literal reporting of circum tance as they presently exist. Be especially wary of using for any purpose, even those that are not obviously commercial, any photograph the provenance of which you are unsure.

Unlike right of publicity, which is sometimes descendible, the right of privacy is a personal right that expires when its owner dies. And corporations, as opposed to individuals, have no privacy rights as such.

The moral to this short account of the perils of using other people 's names and likenesses without their permission is simply this: Don 't do it. In this country, unauthorized use of the name or image of any living person and of many famous dead people is more likely than not to result in legal liability.

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ADVERTISING

TOM MONAHAN

THE R ADIO W ASTELAND HY IS THERE SO LITTLE GREAT advertising on the radio? If you've ever driven down the road in Oklahoma and listened to the radio , you know what I mean . Actually, if you ' ve ever driven down the road in New York, Los Angeles , or Minneapolis , and listened to the radio, you know what I mean.

W

When it comes to world-class advertising creative, radio is the poor stepchild living under the back porch.

Sorry, but it's just the way it is now.

As comic Richard Lewis would say, with. hands to temples, eyebrows raised, head tilted 13°, "I mean no disrespect to people in radio .. . I have many friends who make a living in radio ... It 's a fine medium ... " (If you don't know this Richard Lewis bit, believe me, this is funny.)

So why is doing great radio so hard?

I think I can explain why much of it is so horrible. (Am ' I sounding a bit judgmental?) Most of it is bad because it's conceived and executed by video store operators, rug cleaners, and heating and air conditioning guys. Most of it is unprofessional, simply because it's not done by professionals. Ask some of the best minds in the ad business to install your next heating and air conditioning system and see what happens.

When the wrong people do the wrong job, it's just not a pretty sight. Or a pretty sound.

That's the easy part to explain. Radio is such an inexpensive medium to buy and produce, it attracts a lot of small, unsophisticated players.

So how do we explain the radio for even the biggest spenders? And how do you explain the stuff coming out of even the best ad agencies in the world? Name a worldclass agency that consistently does great radio.

Yes there are, shall we say, "specialists" who have figured out this medium. Many of them started on the agency or production side, noticed that they were proficient in a realm where few succeed, so they became radio virtuosos.

And, boy, are we happy they ' re out there. Although their work represents a tiny fraction of the radio spot universe, it's definitely a welcome relief from the usual swill on the airwaves.

I don ' t know many of these people personally, but I do know a lot of their work. And therein lies the cloud surrounding even this rare silver lining. I recognize much

of these specialists' work, because most of it is pretty identifiable-even predictable. It seems a great many of these advertising role players have found a schtick that works, and play it to the hilt. Well, at least it's listenable.

Usually very listenable, and usually very funny. And in the wasteland that is radio advertising, I'll take it.

But let's get back to why even the best agencies have such a difficult time nailing this medium.

Whenever I judge a major awards show I'm struck by how truly difficult radio is to create for. Even at competitions like CA and the One Show, listening to the radio category is like being strapped to awards show judging's equivalent of the whipping post.

We're talking torture with a capital T. I mean a very big, heavy T with very sharp points on the serifs.

So much sameness. So much humor. So much, "We're here talking to ... ". So many lousy actors. So many of the same good actors. So much bad music. So much good music being bastardized. So many people trying to make poorly written scripts sound good by hiring great talent.

I've had to ask myself time and again, are we as an industry that far off? Or is there something about radio that just makes it very, very difficult to be really, really good?

I have never asked the top writers in the world to submit their best radio reels, but I think I would find the pickin 's pretty slim.

I have, however, looked at many, many very fine portfolios.

Want to know how many included radio?

I have creative directed many fine writers over the years.

Want to know how many raises were based upon great radio?

I've even interviewed some of the best senior creative players in the country for high-level creative director positions on a couple of occasions. Want to know how much radio shows up on their CD reels? Does any CD have a radio reel?

Now before I get any further along here, let me state very clearly that I, personally, do not have a radio reel either.

And there is a very good reason why. I have so little radio I'm proud of; they don't make reels that short.

I have though, in my twenty-some years in the ad biz, written a spot or two or three or four that, during the C 0 M M U N I C AT I 0 N

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writing stage I was really excited about. Then something dastardly happened. I produced them.

Production of radio is such a trick. More great radio ads have been lost in production than any other medium. Why do writers think they ' re producers? Or directors? Is that what's missing in this formula? I know there are some radio production/direction specialists around on both the agency side and in the free-lance world. Are they the magic wands? Is all of their stuff fabulous? Probably not. Could they be part of the solution? Probably. But just part of it.

If there is a solution.

Again from my experience, production alone is simply not the problem. I think the problem has something to do with acceptable range. Let me 'splain, Lucy.

It 's like golf and basketball. Well, sort of, if you really stretch the analogies.

In golf the objective is to get the ball in the hole. In basketball the objective is to get the ball in the hole. In golf you get closer and closer to the hole with each shot; the fewer "better" shots, the better. You can make a truly spectacular shot in golf that doesn't necessarily go in the hole. Yet it's still a great shot. And make enough great shots and you might have a great hole. Now in basketball, it either goes in the hole or not. There's no acceptable range other than absolute success. There is no such thing as a great basketball shot that doesn't go through the net.

That's the way radio seems to be-all or nothing.

There is no place to hide in radio. Weak copy can't hide behind great design. Weak camera work can 't hide behind great talent. In radio there's simply no place to hide anything. No place for the mistakes, the poor judgment, the weaknesses. Everything is right out there in front for all 30 or 60 seconds. Everything must be good for the spot to be good. The concept, copy, casting , acting, production-everything. One of them goes wrong and sorry, but tune out time.

So what's the answer, perfection? Well, yeah, that would be nice. But maybe it's not so much a case of what you do, but what you don't do. Maybe that's where we can start to surround this thing and make a little progress toward cleaning up advertising's most hazardous waste dump.

First, let's take on the subject of humor. If you want to stand out, humor is not an advantage on radio. If you haven't noticed, a majority of radio that has any concept uses humor. Is humor a no-no? Well, no. I think humor is one of the best creative tools advertisers have. People love to laugh. Just don't expect humor to make you distinctive.

Does standing out give you any kind of advantage with the listener? All I can say is that when I'm listening to a hundred or more ra'tlio spots as an awards show judge, golly do I appreciate it when someone tries to touch me J98

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somewhere other than the funny bone.

Another thing, do we have to do so many 60-second spots ?

For my ears, most spots just can 't sustain their quality for 60 seconds. Besides if you try to keep your material to 30 seconds then it will also probably force you to keep your concept simple and your selling points few, always good criteria for better advertising.

On the subjects of time and simplicity, how about writing 25-second scripts for 30-second spots. Or maybe 20 or 15 second scripts. Simplicity. Simplicity. Simplicity. Focus.

Focus. Focus. It will force you to use sound more, and words less. Surpri ingly, sound-beyond voice-is underutilized in this sound-only medium.

As far as what we could probably use more of in radio, it's not as visual as it could be. A creative team that once worked for me used to do all their radio together. Copywriter and art director together, writing and directing the scripts and the production. It worked for them. I know they're not alone.

I haven't said a lot about music. That's probably because I'm not really sure what to say. I happen to think the best music in broadcast is music you don ' t hear. Not unless you listen for it. It's like great music in a film. It adds texture, but if it owns the scene, it's usually gone too far.

Now don't get me wrong, radio is after all a good medium for music. (Has MTV made music visual ?) But if the music leads, it usually means the conceptual or verbal message doesn't. (Which isn't always bad. ) But it 's definitely the exception when music can convey the whole message.

As for jingles. I don ' t think many people reading thi s publication would try to argue the jingle thing too much.

Let's just say parrots can be taught to hum a melody, but few parrots make up the target audience for many brands.

So the conclusions are simple. If we want to clean up this underachieving medium-radio-we need to leave it to the professionals; don ' t rely on proven , predictable formulas ; make it distinctive ; make all the elements pluperfect; don't overuse humor; keep the spots shorter; make the music great but not overpowering and don 't appeal to parrots.

That should be easy enough.

•

1994 ALDUS MAGAZINE DESIGN CONTEST

Contest Details Prizes: Grand-prize winner receives a Tektronix Phaser 300i color printer. Category winners receive their choice of one copy of any Aldus software product~ To be eligible: Your submission must have been principally created using Aldus PageMaker, Aldus FreeHand, Aldus PhotoStyler, or Aldus Persuasion; it must have been printed, published, or (for Persuasion entries) presented since August 1, 1993 (except unpublished illustrations); and you must be a registered user of an Aldus product, or have created your entry by legally using registered Aldus software (e.g., your company's). Entries submitted in the Gallery Effects category need not have been principally created with Aldus Gallery Effects. However, submissions in this category must list the Gallery Effects filters used.

Fees and deadlines: All entries must be received by August 19, 1994. Fee is $20 for each entry, paid by check or money order drawn in U.S. funds on a U.S. bank, payable to Aldus Magazine Design Contest.

Preparation of entries: Each entry must be the actual printed piece, except for Persuasion presentations (send Persuasion Player files) and oversized items (may be submitted as 35mm slides). Submit slides in page-sized transparent sleeves. An entry form (photocopies are OK) must be taped securely to the back of every entry. Sorry, entries cannot be returned. Logos must be submitted in black and white, although a color version can be included. Please limit the elements of an identity system to five items. Logos, illustrations, and other pieces whose context or purpose are not apparent may be accompanied by a brief explanation (maximum 50 words). For items with text not in English, please provide a translation. Non-U.S. entrants should mark each package: "Materials for contest entry. No commercial value." Any entry that doesn't meet all these requirements may be discarded.

Filling out the form: Entries may be entered in more than one category; submit a separate entry form and fee for each category entered. Judges reserve the right to recategorize entries and to forgo selecting a winner in every category.

If you have questions, call us at (206) 233-7430. Employees of Aldus Corporation or of its advertising agency are prohibited from participating in the contest. Void where prohibited by law. All federal, state, and local laws and regulations apply. Taxes on prizes are the sole responsibility of the prize winners. *Excluding Aldus TrapWise and Aldus PressWise

Contest Categories (circle one)

1994 Aldus Magazine Design Contest Entry Form (cliporphotocopy) Please fill out this form and tape it to the back of your submission. One form per submission, please. Fee is $20 per entry.

1. Annual Report

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2. Brochure

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4. Catalog (including product school, exhibition)

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D Aldus PageMaker D Aldus FreeHand

0 Aldus Gallery Effects (See "Contest Details")

Aldus product serial number _ _ _ _ _ _ _ _ _ _ _ _ _ Entry fee enclosed as:

5. Packaging

D Aldus Persuasion D check

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I certify that the enclosed submission is entirely my own original work created using the Aldus product(s) checked above. I grant to Aldus Magazine the right to reproduce and distribute the submission in their December 1994 issue, which includes the right to reprint, overprint, publish, exhibit, and otherwise use it to promote the Aldus Magazine Design Contest free of charge and with no obligation on the part of Aldus. Use by Aldus of the submission and the images contained in it will not in any way violate the copyright of any third party. I understand my submission won't be returned to me.

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Send entries to: Mail: Aldus Magazine Design Contest, P.O. Box 4910, Seattle, WA 98104-0910, U.S.A. Express (FedEx, UPS, Airborne, etc.): Aldus Magazine Design Contest, 83 South King Street, Suite 806, Seattle, WA 98104-2871, U.S.A.

13. Newspaper (page, spread, section, or entire publication) 14. Book (cover, jacket or entire publication) 15. Illustration/Published 16. Illustration/ Unpublished

6. Logo

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7. Advertising (magazine, newspaper, direct mail, etc.)

18. Map

8. Poster 9. Technical Documentation

19. Gallery Effects 20. Persuasion Presentation (must be submitted as Persuasion Player file)

10. Invitation/ Announcement

21. Self-Promotion

11. Newsletter

23. Two-Color Piece

12. Magazine/Journal (cover, page, spread, entire publication)

24. Miscellaneous

22. One-Color Piece

CA 2

A quarter-million exposures Here's your chance to be seen in the Aldus Magazine rM Annual Design Contest issue.

Besides the judges, our readership of some 250, 000 art directors, designers, illustrators, and other electronic-publishing professionals will see your best work-

a sizable market of potential clients (or employers).

And prizes range from a Tektronix printer

DEADLINE: August19, 1994

to Aldus software.

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BOOK REVIEWS These were more detailed in technique and Raymond's proportioning and shading techniques dominate the action comic books of today.

THE CARTOONIST

By Roy Paul Nelson Published by Seven Gables Press P.O. Box 5964, Eugene, Oregon 97405

$11.95

Kids have had Nintendo for years and comic books for decades. Before those delights, back in the innocent 1930s, there was only the newspaper comic strip for the kid who loved picture stories. Kids who could draw saved the comics pages, got together with their friends to pore over the collections and spent hours drawing cartoons for each other. Those who would become designers often started as cartoonists.

Roy Paul Nelson has used this heritage to write an illustrated book, The Cartoonist. The story follows a rather aimless cartoonist, always puzzled by his wry way of looking at the world, trapped by his sense of absurdity and caricature. The narrative isn't based on "gags" as such, but on observations as, "Old Mrs. Griffith has been using a walker 'for three years running now.'"

The cartoonist attitude, however, shines through, a sort of joy-of-life manner tinged with gentle views of how people reveal their foibles and inner characters. This attitude, too, is in the dozens of Roy Paul Nelson drawings that fill the pages of the book. The cartoons come in a variety of styles and subject matter, are drawn with verve and capture action and cartoon pleasure.

Roy Paul's cartooning is not that of the animated or editorial cartoon or the technique of Boynton greeting cards. Rather it stays with the well-drafted human figure, only paraphrasing body characteristics, exaggerating stance and posture, face and gesture, so that both personality and attitude are revealed. This essence of cartooning, the revelation of character, refers to the storytelling ability of the comic strip master, Roy Crane.

It was Roy Crane who first developed the action-adventure story strip in newspapers of the early 1930s. Crane's comic character, G. Washington Tubbs, played off the first action hero, Captain Easy; Wash Tubbs and Captain Easy followed their swashbuckling adventures on comics pages until 1942. They were true action adventures; when characters walked, they strode purposefully, when they ran, they ran with their whole bodies, horses galloped and bodies flew in the fight scenes and explosions said, "Boom" and "Pow." Each frame showed action in posture and intent. Captain Easy stood nobly and the women were both simply drawn and lusciously beautiful.

Roy Crane's drawing ability and his imaginative storytelling introduced a new comic page genre, the continuing adventure story. Alex Raymond's expertly drawn "Flash Gordon" and Milton Caniff's stylized "Terry and the Pirates" soon followed.

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But it is the more direct drawing style of Roy Crane that Roy Paul Nelson's cartoons favor, allowing simplicity and action of line to express character and humor. Nelson relays a quote by Malcolm Muggeridge, former editor of Punch, the British humor magazine, who says, "[Cartoonists] were, I discovered, inclined to be morose, abnormally sensitive and surprisingly solemn, to the point that they seldom laughed at their own jokes. On the other hand, they were kindly, gentle and blessed with a curious kind of innocence that is seldom found in writers." Nelson seems to have fleshed this characterization out during a full career as a reporter, ad agency writer, editorial cartoonist and university journalism professor. Among his more than a dozen books are four on the cartoon subject: Humorous Illustration and Cartooning, Comic Art and Caricature, Cartooning and Fell's Guide to the Art of Cartooning. His studio walls are filled with original drawings given to him by the Who' Who of the cartoon world.

The Cartoonist is Roy Paul's distillation of the cartoonist's character, wryly written, witty and filled with humor you've not seen before. As old Mrs. Griffith say about travel, "I've always wanted to circumcise the globe." If you like cartooning, this small book will be a pleasure.

Matt Groening has one.

INSIDE/OUTSIDE

By Malcolm Grear Publi hed by Van Nostrand Reinhold 115 5th Avenue, New York, New York 10003

$59 .95

Beautiful. Inspiring. To study this hardbound book is to find the depth and maturity of attitude of a thoughtful designer. The author, Malcolm Grear, grew up in rural Kentucky. His father was a first-class carpenter, who told him that his tables were made for those who look underneath to look at the craftsmanship, "Know what' inside and bring it to the outside."

Inside/Outside includes photographer Aaron Suskind's quote, "If you work intensely and slowly, things will happen that you would never imagine." Malcolm Grear has been teaching design with intensity and considered exploration for 33 years at the Rhode Island School of Design. One result is this book of wonderful design examples and philosophies. It is a magnificent book, with over 300 pages of design studies and experiences; the cover ymbolizes its contents with wood-workers ' calipers used for the measurement of inside and outside.

Grear's methodology is fundamentally Constructivist, analyzing the inner structures of a design problem

and constructing the understanding into a clearly considered outside.

As such, his graphic design equals the mature work of European designers Max Bill, Joseph Muller-Brockman and Armin Hoffman. The many examples of class exercises from his teachings at the Rhode Island School of Design replicate those of the Hochschiile fiir Gestaltung of midcentury Ulm, Germany. He's brought them, however, to full development and vitality for the American '90s, while retaining the clarity of superb graphic design.

The studies begin with letter fragments abstracted from established typography assembled into aesthetic patterns to find new ways of looking at what is familiar. The exploration of letters and organic shapes moves on to threedimensional studies, a series emphasizing dimension, reflection and movement, the analysis of form and essence, type and image and finally page layout. Young designers may find themselves seeing in ways they never would have imagined.

In spite of Grear's bow to the earlier European teaching methodology, he promotes a freedom of typography, a free-form attitude which flies beyond the disciplines of the Swiss poster; posters whose typographic legends had to be understood in multilingual Europe. Students are encouraged to treat letters and words as scattered elements, playing "Gotcha!" with the reader, "See if you can read this."

In his own professional design practice, his studio follows a more balanced and accepted typography and clients include the Guggenheim, the Metropolitan Museum of Art, the Museum of Fine Arts in Boston and the Harvard Art Museum. Many of these projects are shown in the book and exemplify design clarity and sophistication.

They also prove that design philosophies work in practice.

Malcolm Grear writes, "I am persuaded that design, like music, language, mathematics, art, science as an outcome of curiosity, and the rest, is part of the structure of the mind. Design, done by nature with blind but dazzling elegance, as with the structure and growth of a leaf, or by us with human purpose, is no mere cultural confection; it is in us." As a general design principle, "There is no substitute for knowledge about the object or process one is attempting to convey through graphic design.

"We work from the inside out."

GRAPHIC DESIGN: AMERICA Edited by DK Holland, Michael Bierut, William Drenttel Published by Rockport Allworth Editions 10 East 23rd Street, New York, New York 10010 $49.95

Three years ago, Graphic Design: New York was pub-

lished. Now a new book, Graphic Design: America, surveys additional cities across the country. The organizers, all AIGA, New York-connected, invited design firms from Boston to Hollywood to send their work and be willing to "defray some of the publication expenses."

The book which resulted is a compilation of 28 portfolios from 17 cities and shows a sea-swell of American design work on 250 beautifully printed pages. It is an ample presentation. If every design center, such as Austin, Baltimore and Sacramento had been included, the book would have been too heavy for our mouse-moving muscles to manage.

As it is, the book is heavy with content and visual richness.

It is also loaded with essays on the condition of design and designers. Rick Valicenti borrows the style of a TV essayist and writes an uproarious "A Few Minutes with Andy RudeKnee," reflecting the wanderings of a design practitioner.

The introduction is written by that most prolific and able writer of design's progress, Steven Heller, editor of the AIGA Journal and a senior editor of the New York Times.

His scholarship is apparent as he describes the proliferation of design in the '80s and '90s: "A relaxation of strictures in the business world is not the only genesis of the expressive and raucous contemporary graphic design practiced today. The personal computer has contributed to a lot of the controlled chaos that characterizes eighties design. The computer has made it easier to achieve radical and ridiculous concoctions. However, the reasons for pushing the envelope are basically the same as always throughout history: exploration, stretch and rebellion against tradition. The results include both forgettable attempts as well as welcome new paradigms."

There's wide confusion in this collection of American work simply because there is such a remarkable diversity and no attempt is made to find a judgmental viewpoint about design. It's just that everything exists together and everything from bread wrap to symphony posters is now touched by designers. Seen altogether in one book, an American richness is revealed. Most of the fads of recent times are included: excess layering, deconstructivist typography and nostalgia revivalism. But in the main, invention and technical growth fill the pages.

I'm used to the study and enjoyment of all the design annual exhibitions, from the published ones to the One Show, yearly collections selected by juries of peer group professionals. I have a very good visual memory, but of the almost 1,000 design pieces pictured in this assembly, I recognized only eighteen that I'd seen before. It gave me the sinking feeling that America must be drowning in a flood of good design work. When's Learn to Swim month?

- Byron Ferris C 0 M M U N I C AT I 0 N

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BOOK REVIEWS

THE EDGE RESUME & JOB SEARCH STRATEGY

By Bill Corbin and Shelbi Wright Published by UN Communications, Inc. 350 Gradle Drive, Carmel, Indiana 46032

$23.95

Did you know that the average job opening receives more than 200 responses? And of those 200 responses, about six people will be interviewed? Obviously, you want to be one of the six lucky applicants. The Edge is all about moving out of the slush pile and onto the short list. If you are out of work in today 's job market, or are looking for your first steady job, your full-time job is finding a full-time job. The book lays out a complete job-finding campaign strategy from skills assessment, cover letters and resumes, to what to say and questions to ask during the job interview.

In the last year, I've sat on both sides of the interview desk, so I feel uniquely qualified to review The Edge Resume & Job Search Strategy. The linchpin of The Edge strategy is to stand out in a crowd, and the book offers useful advice and dozens of examples of resumes that use graphics , candor, humor and a creative strategy to get that all important interview. In a nutshell, the author's advice is to use expensive, offbeat paper (foil stamped, if you can afford it), and clip-art graphics to make your resume stand out.

The Edge provides a cursory gloss on assessing your current state of mind, defining the job you want and networking your connections. This advice, for the most part is uninspiring and pedestrian. Job seekers are told to broaden their scope, use the Yellow Pages to find employment agencies and proofread their resumes to avoid typos.

Meanwhile, several paragraphs are devoted to selecting the correct envelopes in which to mail your resume. This may be of use to the first-time job seeker.

There's a "high cheese" factor here. I'm a little worried that the same tired "power phrases" on foil-stamped, clip art-enhanced resumes will quickly become a case of old wine in a new bottle. Nonetheless, the graphic treatments will be a revelation to those job seekers still sending out traditional resumes on ivory or gray paper.

-Sam McMillan

BRIEFLY NOTED:

THE GRAPHIC EDGE, by Rick Poyner (Published by

North Light Books, 1507 Dana Avenue, Cincinnati, Ohio 45207, $49.95). In this follow-up book to Typography Now , a recent showcase of experimental work, Rick Poyner attempts a categorization of new work by designers who 204

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"operate at the edge of the profession," those who "distance themselves from the commercial mainstream. " He has assembled over 250 examples of recent work drawn, by and large, from the U.S. , Great Britain and the Netherlands, "a highly personal selection ... one that has been made with the journalistic and critical aim of showing new developments and trying to pin down that elusive phenomenon, the contemporary mood. " In doing so, Poyner divides the work into four categories. The chapter called "Cool" presents pieces that are "open and uncluttered," where "pictorial elements are relatively simple and bold," for example, in the work of Lucille Tenazas, Nick Bell and Bruce Mau. In "Layered," "type and imagery are woven into compositions of much greater intricacy and congestion .. .the design is saturated with visual and verbal information," as in the work of Why Not Associates, Faydherbe/De Vringer and Vaughn Oliver. The "Conceptual" section has "the kind of design most likely to be accused of masquerading as art," with designs by Dan Friedman, Mevis & van Deursen and Hard Werken Design. The last category, "Raw," presents "the least 'designerly ' work: spontaneity is preferred to detachment, rough edges to professional finish , emotional expression to suffocating good taste," with highlights from David Carson, Koeweiden Postma and Bureau. The Graphic Edge includes some self-promotional pieces as well as recent student work from Yale, Cranbrook and the Royal College of Art, both situations in which designers are freer to experiment. In the preface, Poyner opines that experimental graphic design has now bifu.rcated into the complex and the clean, the latter a natural response to the visual density of much recent work. He also notes that the contemporary art scene is still an important arena where new ideas can be played out, as in the work of the English studio Cartlidge Levene, and he argues fo r the removal of the distinctions between art and design. Of the many design annuals and showcase-style books around, The Graphic Edge is one well worth checking out.

OVER MY DEAD BODY: THE SENSATIONAL AGE OF THE AMERICAN PAPERBACK: 1945-1955 , by Lee

Server (Published by Chronicle Books, 275 Fifth Street, San Francisco, California 94103 , $16.95 ). He Swung and He Missed ("A Lusty Story of Sailors and Their Women"), No Luck for a Lady ("Hot Dope ... Loose Women ... and Murder-in Reno") and Boulevard Girl ("He turned a half starved girl into a beauty, and bared the secrets of Paris fashion .... ") were a few of the enticing titles strewn across the floor of my grandmother 's attic over a dozen years ago. Now I have found the real story behind these lurid book covers with the bosomy women and the stern-

Natural Selection

Medallion ... proof of Cross Pointe 's conb'nuing evolution of /ine papers with greater recycled content.

New Medallion 100% recycled-20% post-consumer.

Call it survival of the best-designed. The distinctive markings of the Styracosaurus dinosaur stopped his enemies in their tracks.

Today we borrow nature's markings to "knock 'em dead" in gentler fashion. The same principles of Natural Selection apply at Cross Pointe. Each of our papers must measure up to our own continually-rising recycled paper standards. That's why new Medallion is made with 100% de-inked recycled fiber, including at least 20% post-consumer waste. Now in two finishes: naturally printable felt and new vellum. With two new double thick cover weights. And an entirely new, rich color palette. All acid free. So for your next brochure, direct mail campaign or annual report, make the naturally better selection. For quality printing for your budget and for our environment, spec1/y new Medallion from Cross Pointe.

© 1994 Cross Pointe Paper Corporation 4044 Printed in the U.S.A.

Cross Pointe® PAPER

CORPORATION

Printed on Medallion, Tan 80 lb. Text

Saint Paul, Minnesota 55108 •A Pentair Company

100% RECYCLED 20% POST-CONSUMER

BOOK REVIEWS

faced men in Lee Server 's thoroughly and enjoyably told new book, Over My Dead Body, his follow-up to Danger is My Business: An Illustrated History of the Fabulous Pulp Magazines. Here I learned about my most prized finds: the Ace "double novel books," two-in-one tales with a flip of the book (like my Somebody's Walking Over my Grave backed by Dally with a Deadly Doll). Also, the Dell "Mapback" Mystery books, with their more abstract, "European" design on the front and cartoon maps on the back. Server discusses the rise of this American genre, which peaked in the post-World War II era due to the exGls. hardened by war who had developed a taste for reading while away from home. The genre featured tough men and women in stories which were the literary equivalents of the B movie and film noir. Covered in Over My Dead Body are various categories, from Spillane crime novels to Southern regional works occasionally written by "a poor man 's Faulkner" (Cracker Girl and Swamp Hoyden).

Server also discusses the writing style, at times laughable and turgid, as well as the cover art and artists, including over 100 full-color reproductions of "endless variations on recurring motifs, namely crimson-lipped females in lingerie, granite-jawed tough guys blazing .45s, rumpled bedsheets, neon-lit hotel rooms, a blue-gray haze of cigarette smoke, alleyway and street corners at permanent midnight." And he also summarizes the state of collecting these now valuable, formerly disposable, pieces of truly "low art." Over My Dead Body is for anyone lucky enough to have attic treasures, for those hoping to discover them in dusty bookstores and for all who are smitten by Dashiell Hammett, Jim Thompson or Jack Kerouac.

DUTCH MODERNE, by Steven Heller and Louise Fili

(Published by Chronicle Books, 275 Fifth Street, San Francisco, California 94103, $16.95). As part of its design series, Chronicle Books has released this second publication by the team of Steven Heller and Louise Fili. As in Italian Art Deco, their previous book, Dutch Moderne assembles over 500 reproductions resplendent in the colorful, geometric sensibilities prevalent in Western applied art between the world wars. Political posters, magazine covers, calendars, record jackets and advertisements of products from light bulbs to milk show influence from the fine art movements just pre-dating this period: Cubism, Futurism, De Stijl. Especially striking are the designs for Van Neele coffee, tea and tobacco; other standouts are the graphics for (and against) liquor and the travel posters. Dutch Moderne is the third book in the past year to profile the history of 20th century Dutch

graphic design. Compared to Broos and Hefting's Dutch Graphic Design: A Century and Alston Purvis 's Dutch Graphic Design 1918-1945, Dutch Moderne is more a scrapbook of commercial art. This does not lessen its value to a designer's library. The books in this series are great visual resources, beautifully printed and bound while remaining economically priced. There is only one frustrating aspect to Dutch Moderne not present in their previous book (and, one hopes, it will be avoided in the next Heller/ Fili collaboration, American Streamline): the text type is extremely unreadable. Although, when taken a few sentences at a time, it is clear that there is a lot of substance in the brief history and analysis provided here, one has the strongest urge to call Chronicle Books and beg for the typewritten manuscript! But do not avoid Dutch Moderne because of this; there are too many rarely seen visual delights between these covers.

- Angelynn Grant

''Ourshop grows because our creative side and our business side work togethet: That's why we use Client~& Profits.''

Successful ad agencies and d• s1udios get that way when everyone works together. Over 800 of today's smartest shops do it with Clients & Profits~ the best-selling job trac:kq, cosq, biq and accoooti1 software for the Macirtosh. It's designed only for creative businesses, so it works just like you do.

Call 800 272-4488 today for a free glided tour and complete information.

OrJax (619) 945-2365.

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

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WRIST REST

The cover of the brochure reads, "Because using a mouse shouldn't be a pain," and it's introducing the Mouse Shadow, "the ergonomic computer accessory that ends wrist fatigue." They sent me, along with the press release, a testimonial and a number of product reviews touting the wonders of their product. I believe very little of what I read, so I asked for one to take it for a test roll to see if it really works. The Mouse Shadow is a padded wrist rest (smaller than I had imagined) with three rubberized casters, that not only raise your wrist above the work surface but allow your arm to roll along with your mouse while keeping your wrist stationary. According to the press release the difference between these and other wrist support products is mobility; other products raise your wrist but don't allow the same freedom of movement. The Mouse Shadow proved to be an effective product but I don't work excessively with a mouse, so I passed the Shadow along to one of our designers antl one of the guys in production for their opinions. They liked it, but thought that the amount of space it took to use limited its effectiveness. (Excess space, at least the size of your mouse pad, is necessary for rolling freedom.) The bottom line: If you use a mouse constantly and your work space is not cramped, then the Mouse Shadow is probably for you. At $19.99, it's not a bad price for a product that can help eliminate repetitive motion injuries. To order a Shadow of your own, write Shadowtech International, Inc. , 1511 W. Gore Boulevard, Suite G, Lawton , Oklahoma 73501 or call (800) 392-1402.

ENVELOPES

You can take Federal Express , fax machines and laptop computers, but leave me the Peel and Seel® envelopes manufactured by Karolton Envelope, a division of Williamhouse-Regency. Someone there recently sent me a number of envelopes, I've been using them and they're great; they 208

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look good, type looks good on them, the adhesive is strong and I no longer get paper cuts on my tongue. Available in more than 20 sizes and a wide variety of paper grades, all you do is pull the adhesive strip, press and seal. No matter how full the envelope is , the contents are secure.

Although the press release lacks some pertinent information, like the percentage of post-consumer waste in their recycled envelopes and the approximate cost of their line, it does include some more obvious facts such as: They ' re compatible with all printing equipment, they ' re easy to use and sanitary (I feel safer already) , they seal instantly and my favorite , "Confidentiality is assured. " While I agree with the press release that any tampering with these envelopes would be "immediately evident," I don 't believe there is an envelope made that can ' t be opened. For additional information or samples of your own, fax (212) 645-8917. To place orders for fewer than 2,500 envelopes, phone Williamhouse-Regency 's direct mail divi sion at (800) 523-9080.

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

Esse, 2 Finishes .. .is from Gilbert Paper. I liked both the paper and the promotion; although I don 't specify paper, it made me wish that I did. Designed by Robert Valentine, Inc. , it includes a poster and cards by Jose Picayo Photography. Esse is available in smooth, "exceptionally creamy and laser friendly" and texture, which "feature s a handmade appearance, with a grid of delicate squares (i n three different sizes depending on weight) watermarked into the paper." Call and request samples. Esse is available

in writing, text and cover weights and contains 20% post-consumer waste and 40% recovered. Also included in the Gilbert folder is a fabric promotion (printed on Esse texture) for the "Carnival Collection" from Guilford of Maine, which is compact, concise and appealing. The upholstery fabrics are jacquard weaves in four patterns: Carousel, where circles and arcs form the surface; Illusion, on which shapeless forms float; Labyrinth, a classical geometric pattern; and Trapeze, a pattern of soft ripples.

The fabric line is available in 44 colorways. For samples, or further information, call (800) 544-0200 in the U.S., (514) 777-3411 in Canada and (0274) 676 261 in England.

To receive a copy of Esse, Two Finishes, or for further information about Gilbert papers, call (800) 445-7329 for a Gilbert merchant or write Gilbert, 430 Ahnaip Street, P.O. Box 260, Menasha, Wisconsin 54952.

What do you think about denim blues and old money? I can guarantee that whatever you think, your opinion is about to change. Crane & Co., Inc., maker of 100% cotton papers has teamed up with Levi Strauss & Co. of San Francisco and the U.S. Federal Reserve System to produce Crane's Denim Blues™ and Crane's Old Money™.

Levi Strauss had been landfilling millions of pounds of waste denim annually, but in less than a year, in conjunction with Crane, they converted more than 150,000 pounds of waste denim into 100% cotton rag paper.

Their internal paper applications include letterhead and envelopes, self-sticking notes, corporate checks, hang tags and pattern paper. The closed-loop program that worked for Levi Strauss prompted Crane to approach the U.S. government, for whom they have supplied paper for currency since 1879. Each year, The Federal Reserve System was land-filling fifteen million pounds of "unfit and worn currency removed from circulation." Crane's agreement with them is to turn the worn currency into paper; the resulting product is 70% post-consumer currency and 30% recovered cotton fibers. As of September 1993, Crane had used the equivalent of $396 million in their Old Money paper. So, how much do you think each sheet is worth? Denim Blues is currently available to designers in six colors, in writing, text and cover weights; Old Money is also available in three weights and one color (the color of money). For further information regarding Denim Blues, Old Money, or any other Crane paper, contact Crane & Co., Inc., 30 South Street, Dalton, Massachusetts 01226 or call (413) 684-2600.

The Direct Marketing Association ... which has member companies from the U.S. and 47 foreign nations, is offering a number of informational booklets to consumers, with tips for shopping by mail or telephone. Included are: The Great Catalog Guide, Seventh Edition which assists consumers in locating companies with specific products and

services ($3); Tips for Telephone Shopping gives information regarding shopping by telephone, including tips on how to safeguard against problems (available in six languages at no charge); and Make Knowledge Your Partner in Mail Order Shopping provides information about who is responsible for shipping charges and what to do if a package gets lost (no charge). For a copy of any of these booklets write to, Consumer Services Department, Direct Marketing Association, 1101 17th Street NW, Suite 705, Washington, DC 20036-4704.

"Monadnock Paper Mills .. .is pleased to present Neotone 2 printed on Monadnock Astrolite." The original Neo-

tone, released in 1992, demonstrated toning effects achieved primarily through color selection. Monadnock's current paper promotion explores techniques such as cross-processing, over-processing, hand-toning, digital manipulation and electronic toning, that allow photographers and designers to dramatically or subtly alter the mood of an image. The brochure includes color and black-and-white images by Susan Segal, George Petrakes, Jeffery Titcomb, Bruce Rogovin, Sanjay Kothari and Michael Weymouth.

For additional information, samples or a paper promotion of your own, contact your paper merchant or Monadnock Paper Mills, Inc., Bennington, New Hampshire 03442 or call (603) 588-3311 x600, or fax (603) 588-3158.

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James River Premium Printing Papers .. . recently completed its Creative Printing Series promotion with Lots About Dots, designed by Malish Design Ltd. of Philadelphia.

Focusing on the basic element of printing-the dot-the promotion consists of a folder with six inserts illustrating the ways in which images can be influenced by altering dots through changes in gray scale or color. The first insert, creatively called "Spots About Dots," discusses shape, gray scales, screen angles, line screens and other printing basics. The second, third, fourth and fifth inserts are titled, "Halftones," "Duotones," "Tritones," and "Quadratones" and include topics such as: double dot black duotones, process tritones, ghosted images, transposition of negatives and touch plates. The promotion comes to a close with "Dot Round-Up" that contains a glossary of terms for the previous inserts and a poster defining ten different paper finishes and descriptions of the James River papers with each finish. (Maybe it would be best to look at this insert first.) The folder and inserts are printed on seven different James River papers which demonstrate the "printability and versatility" of the sheets. To request a copy of the James River Creative Printing Series contact your James River distributor.

STAY INFORMED

Astor Universal has foil ... and to get the word out they have a new one page Graphics Foil Selection Chart with their most popular colors (there are about 30). It shows some of their metallics , glo s pigments and specialty and holographic foils. This mini-version of their hot-stamping foil guide is available at no charge. A 33-page Foil Selection Guide, with 150 foil samples and ten tear off swatches for each color, is available for $30. For the environmentally conscious-and who isn't-Astor Universal also has a "comprehensive study on the recyclability and biodegradability of hot stamping foils." So get that too. To order either foil selector, write Astor Universal, 14400 W. 96th Terrace, Lenexa, Kansas 66215 or call (800) 437-4554.

ewsletters Professional Education Hotlines, Networking

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AHEAD

Legislative Lobbying Professional Practices Committees Contract egotiations

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MONEY

Free Pricing & Ethical Guidelines Discounts on Books, Supplies, Illustration Directory Pages

For Ingenuity on Paper .. . you will need to contact Custom Papers Group Inc. They're in the business of producing specialty papers and according to their brochure, they are making papers that are "far from run-of-the-mill."

With five mills, and more than 100 years of experience, their custom papers include acid-free paper and mounting board, filter papers (for use in cars), fine printing papers without expensive deinking, Floral Infusion (processed with flowers), photographic and blotting papers. For their brochure, write Custom Papers Group, 110 Tredegar Street, Richmond, Virginia 23219 or call (804) 649-4368.

- Sue Garibaldi

The Guild is the only organization of its kind: an unabashed advocate for the rights and interests of all graphic artists.

INFORMATION : Paul Basista Graphic Artists Guild 11 West 20th Street, 8th Floor ew York, Y10011

212 - 463 - 7730

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CTI Paper Company .. . has announced a fan-style specification tool for its Bindakote C/2S and C/l S cast coated cover. Included in the fan are C/lS Colors in five metallic and fourteen dark colors and the full line of C/26 high gloss cover colors; all are 12pt. on perforated pages so they can be attached easily to art boards . To request the paper specification tool, contact your local paper merchant or write CTI Paper Company, Inc., at 2317 International Lane, Madison, Wisconsin 53704 or call (608) 246-4000.

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CLUBS, CONFERENCES, SEMINARS PPA "Expanding New Horizons" is the theme of the Professional Photographers of America (PPA) convention scheduled for July 8-13 at the Denver Convention Center. More than 100 of the industry's top names will present educational programs on topics ranging from marketing and management to posing and composition to digital imaging.

Approximately 200 leading photographic manufacturers, suppliers, labs and service organizations will exhibit and in addition there will be an electronic imaging area, showcasing companies exhibiting imaging related supplies and services. PPA members pay no registration fee. The fee for non-members is $250 and $65 for photography students. Fees are required to attend menu programs, electronic imaging programs, workshops and special events. To obtain a convention program or more information , call (800) 786-6277 or (404) 522-8600, fax (404) 614-6400. PPA, 57 Forsyth Street, N.W., Suite 1600, Atlanta, Georgia 30303.

AIGA/SAN FRANCISCO

The San Francisco Chapter of The American Institute of Graphic Arts has approved the board of directors for 19941995. Serving as officers on this year's board are: president Mark Coleman; vice president Mark Fox; treasurer Matthew Youngblood; secretary Juliana Van Horn; design lecture series Lucille Tenazas and Melanie Doherty; education Melanie Doherty; education outreach Patricia Bruning; events Rob Hugel; membership Jacqueline Goslin; development Diana Dreyer; public relations Greg Daly.

AIGA/San Francisco, 1700 17th Street, San Francisco, California 94103. Phone (415) 626-6008, fax (415) 626-5434.

SEGD The Society of Environmental Graphic Design's (SEGD) 14th Annual Conference, August 18-20, in Seattle, Washington, will examine new directions for environmental designers as they approach the major intersection of the year 2000. "As designers, builders and educators, we can influence our new direction, but how will we know what to do when things are moving faster than we can comprehend?" said Paula Rees, SEGD president and conference chair. "Exploring future-tense thinking will help us set and reach our goals." Three days of speakers, workshops and break-out sessions will delve into issues surrounding the rapidly expanding role of the environmental graphic designer. The first day of the conference will feature a line-up of speakers who will share their ideas about the process of change and visions of the future. The second day will offer workshops and seminars on future-tense planning; design; computers; technical/fabrication issues, behavior, research and theory; professional practice; SEGD member services; and environmentally friendly materials.

The final day will feature presentations of current projects

designed with the future in mind. The trade show will be open to all attendees all day with exhibits and demonstrations by fabricators, artisans and suppliers. Superb facilities have been selected for all of the conference programs and are within walking distance: speaker presentations will be held at the Seattle Art Museum; the trade show and workshops will take place at the Washington State Convention and Trade Center; and the Westin will serve as the conference hotel, located in the heart of downtown Seattle overlooking Elliott Bay and Puget Sound. Fees for the three-day event will range from $450 to $550. Halfand full-day rates will also be available. For conference information, contact SEGD, One Story Street, Cambridge, Massachusetts 02138. Phone (617) 868-3381, fax (617) 868-3591.

MEDICAL ILLUSTRATORS

The Association of Medical Illustrators will explore new frontiers in medical illustration at their annual meeting August 25-September 1 at the Sheraton Denver Tech Center in Denver, Colorado. Members, non-members and students are invited. This year's meeting will investigate illustration technology and trends using computers and address the needs of a wide variety of markets in search of biomedical visualization and communication materials.

There will be opportunities to meet the artists and view their work in the salon exhibit. For information, call Tom DeSalvo at (404) 350-7900, or write AMI Central Office, 1819 Peachtree Street, N.E., Suite 712, Atlanta, Georgia 30309.

ANNUAL REPORT CONFERENCE

The New York Hilton is the site of the first Mead Annual Report Conference on September 21-22, Wednesday and Thursday. The two-day forum of presentations and discussions will be capped off by the opening of the 1994 Mead Annual Report Show. Registration by August 1, including lunch on the 21st, continental breakfast and the evening reception on the 22nd, is $275 per person.

After that date, registration is $325. Some of the topics and sessions to be offered are: Doublespeak: Communicating in the Corporate Jungle; Elevating the Process; How Effective are Annual Reports as Communication and Sales Tools?; Design : Breaking Ground, Keeping Pace in the Annual Report Design Idiom; Cream of the Crop; Front-End/Back-End: From Our Desktop to Your Desktop; Risk Versus Order; The Herman Miller Tradition.

Phone (312) 266-6455 or fax (312) 266-6358 for further information. Mead Annual Report Conference, Mead Fine Papers, Courthouse Plaza, N.E., Dayton, Ohio 45463.

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

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INDEX TO ILLUSTRATORS

A Arday, Don 133 Phone (214) 223-6235 616 Arbor Creek Drive De Soto. TX 75115 Arisman, Marshall 60 Phone (212) 662-2289 314 W. 1OOth Street New York. NY 10025

Bustamante, Gerald 6 Phone (619) 234-8803 2400 Kettner Boulevard. #226 San Diego, CA 92101

Biers, Nanette 126 Phone (415) 927-1531 123 Willow Avenue Corte Madera, CA 94925

c

Blitt, Barry 79 Phone (203) 622-2988 34 Lincoln Avenue Greenwich, CT 06830

Asmussen, Don 69 Phone(619) 298-0414 3975 Hortensia Street, #E6 San Diego, CA 92110

212

Benny, Mike 83 Phone (916) 677-9142 2773 Knollwood Drive Cameron Park. CA 95682

B

Booth, Martha Anne 121 Phone(415)728-8332 P.O . Box 208 990 Acacia Street Montara. CA 94037

Baldwin, Christopher 138 Phone (206) 284-8553 601 Valley Street. #309 Seattle, WA 98109

Borge, Rich 9 Phone (704) 251-1795 124 Maney Avenue Asheville, NC 28804

Banthien, Barbara 87 Phone (415) 381-0842 127 Leland Way Tiburon, CA 94920

Braids, Braldt 10, 26, 90 Phone (203) 868-7577 P.O . Box 1145 Washington. CT 06793

Barnes, Kim 125 Phone (410) 544-4644 735 Cypress Road Severna Park. MD 21146

Braught, Mark 13 Phone (404)373-7430 767 N. Parkwood Road Decatur. GA 30030

Bartalos, Michael 16 Phone (415) 863-4569 30 Ramona Avenue, #2 San Francisco. CA 94103

Brown, Calef 74 Phone (818) 986-6361 15339 Camarillo Street Sherman Oaks. CA 91403

Baseman, Gary 10 Phone(718)499-9358 443 12th Street. #2D Brooklyn, NY 11215

Buchanan, Nigel 70 Phone (305) 576-0142 c/o Tonal Values Inc. 111N .E. 42nd Street Miami, FL 33137

Baviera, Rocco 35 Phone (905) 570-0004 41 King William Street. Suite 210 Hamilton. Ontario L8R 1A2 Canada

Burgard, William 72 Phone (313) 971-3014 2785 Heather Way Ann Arbor, Ml 48104

Beck, David M. 119 Phone (513) 741-1228 4042 Appletree Court Cincinnati, OH 45247

Burke, Philip 72. 79 Phone (716) 297-0345 1948 Juran Drive Niagara Falls. NY 14304

ILLUSTRATIO

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Carroll, Jim 114 Phone (518)794-8803 Box 233, Albany Turnpike Old Chatham. NY 12136 Chan, Harvey 111 Phone (416) 533-6658 2 Clinton Place Toronto. Ontario M6G 1J9 Canada Chan, Ron 25 Phone (415)389-6549 24 Nels.on Avenue Mill Valley, CA 94941 Choi, Jaeeun 119 Phone(718)237-0216 70 Clark Street. #6C Brooklyn, NY 11201 Chwast, Seymour 54. 96 Phone (212) 674-8080 215 Park Avenue S.. Suite 1300 New York. NY 10003 Cigliano, Bill 133 Phone (312) 973-0062 1525 W. Glenlake Avenue Chicago, IL 60660 Caber, Alan E. 60, 119 Phone (914) 941-8696 95 Croton Dam Road Ossining, NY 10562 Collier, John 122 Phone (214) 324-2879 8329 San Leandro Dallas. TX 75218 c/o Richard Solomon Artists Representative Phone(212) 683-1362 Cousineau, Normand 70 Phone (514) 672-6940 870 Oak Avenue Saint-Lambert. Quebec J4P 1Z7 Canada

Cox.Paul 33,67 Phone (44) 55-382-9313 Old Rectory Tilney All Saints Kingslynn, Norfolk PE3 44SJ England c/o Richard Solomon Artists Representative Phone (212)683-1362 Craft, Kinuko Y. 100 Phone (203) 542-5018 83 Litchfield Road Norfolk. CT 06058 Craig, John 53 Phone (608) 872-2371 Tower Road Rt. 2, Box 2224 Soldiers Grove. WI 54655 Crawford, Robert 74 Phone (203)266-0059 123 Minortown Road Woodbury, CT 06798 Cromwell, Janelle 122 Phone (213)882-6011 1151 N. Fuller Avenue. #3 Los Angeles. CA 90046 Curry, Tom 69 Phone (915) 837-2311 901 W. Sul Ross Alpine. TX 79830

D Davidson, Colin 25 Phone (44)232-815313 76 Greystown Avenue Belfast BT9 6UL Northern Ireland Davis, Paul 22 Phone (212)420-8789 14 E. 4th Street New York, NY 10012 Day, Rob 57 Phone (317)253-9000 6095 Ralston Avenue Indianapolis. IN 46220 Delessert, Etienne 121 Phone (203) 435-0061 Box 1689 Lakeville, CT 06039

Denise, Christopher 36 Phone(203) 657-4419 1060 Mott Hill Road South Glastonbury, CT 06073 de Seve, Peter 69, BO Phone(718)398-8099 25 Park Place Brooklyn, NY 11217 Dinyer, Eric 49, BO Phone (816)363-4795 5510 Holmes Street Kansas City, MO 6411 O Downs, Richard 65 Phone (909) 677-3452 24294 Saradella Court Murrieta. CA 92562 Drescher, Henrik 80 Phone (510) 883-9616 2434 Cal ifornia Street Berkeley, CA 94703 Dunnick, Regan Todd 116, 119 Phone (813) 351-1957 1345 University Parkway, #1 Sarasota, FL 34234

E Eidrigevicius, Stasys 21, 125 Phone (212) 289-5514 c/o Marlena Torzecka Artist Representative 211 E. 89th Street. Suite A-1 New York, NY 10128 Elwell, Tristan A. 136 Phone (212)734-3353 188 E. BOth Street. #3B New York, NY 10021 Endewelt, Jack 128 Phone(212) 877-0575 50 Riverside Drive New York, NY 10024 English, Mark 116 Phone (817)781-0056 512 Lakeside Court Liberty, MO 64068 Evans, Shane W. 6 Phone (816)756-1534 4152 McGee Street, #3N Kansas City, MO 64111

F Fiedler, Joseph Daniel 16 Phone (212) 929-5590 41 Union Square W. New York, NY 10003 Field, Ann 22 Phone (310)450-6413 291 0 16th Street Santa Monica, CA 90405 Fisher, Jeffrey 67, 77 Phone (212)989-8770 c/o Riley Illustration 155 W. 15th Street. #4C New York, NY 10011 Fraser, Douglas 19 Phone (403) 244-6636 1742 10th Avenue SW Calgary, Alberta T3C OJB Canada Fredrickson, Mark A. 89 Phone(602)722-5777 853 S. Pantano Parkway Tucson. AZ 8571 O

G Gall, Chris A. 28, 41, 49 Phone (602) 299-4454 4421 N. Camino del Santo Tucson. AZ 85718 Gallagher, James 25 Phone (718)857-5958 462 Bergen Street, #3 Brooklyn, NY 11217 Garns, Allen 28 Phone (602) 835-5769 209 W. First Avenue Mesa. AZ 8521 O Gazsi, Edward S. 46 Phone (813)844-3482 7930 Sycamore Drive New Port Richey, FL 34654 Goodrich, Carter 54 Phone (BOO) 992-4552 1798 Main Road Westport Point, MA 02791

GrandPre, Mary 33 Phone (612) 645-3463 475 Cleveland Avenue N. Suite 222 St. Paul. MN 55104

I Ilic, Mirko 63 Phone (212)645-8180 652 Hudson Street, #3W New York, NY 10014

Granner, Courtney 54 Phone (209) 892-2973 328 N. Fifth Street Patterson. CA 95363

Isip, Jardin 79 Phone (718) 624-6538 44 4th Place, #2 Brooklyn, NY 11231

Gurney, James 87 P.O. Box 693 Rhinebeck, NY 12572

J

Gustafson, Scott 84 Phone(312)725-8338 4045 N. Kastner Avenue Chicago, IL 60641

Jew, Robert 138 Phone (818) 797-6141 1770 E. Sonoma Drive Altadena, CA 91001 Johnson, David 107 Phone (203)966-3269 299 South Avenue New Canaan , CT 06840 c/o Richard Solomon Artists Representative Phone(212)683-1362

H H;;1rrington, Glenn 30 Phone(610)294-8104 329 Twin Lear Road Pipersville, PA 18947 Head, Gary 111 Phone (816)363-3119 6023 Wyandotte Kansas City, MO 64113

K Kato, R.M. 96 Phone (818) 356-9990 638 S. Marengo Avenue, #1 Pasadena, CA 91106

Heavner, Becky 94 Phone (703) 683-1544 202 E. Raymond Avenue Alexandria, VA 22301

Keleny, Earl 30 Phone (203) 222-7740 20 Nordholm Drive Weston, CT 06883

Henderson, Hayes 26 Phone (910) 748-1364 815 Burke Street Winston-Salem, NC 27101

Kelley, Gary 19, 44, 65, 72. 77 Phone (319) 277-2330 301 1/2 Main Street Cedar Falls, IA 50613

Hess, Mark 93 Phone (914) 232-5870 88 Quicks Lane Katonah, NY 10536 Hewgill, Jody 41 Phone (416) 601 -0301 17 Bellwoods Place, Studio 2 Toronto, Ontario M6J 3V5 Canada Holland, Brad 10, 79, 99 Phone (212)226-3675 96 Greene Street New York, NY 10012

Kiuchi, Tatsuro 42 Phone (212) 781-7845 c/o Pesha Rubinstein Artists Representative 37 Overlook Terrace, #1 D New York, NY 10033 Klanderman, Leland 13 Phone(314)781-7377 c/o Ceci Bartels Associates 3286 Ivanhoe St. Louis, MO 63139

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L Lardy, Philippe 57, 72 Phone (212)473-3057 478 W. Broadway, #5A New York. NY 10012 Leer, Rebecca J. 30 Phone (212) 595-5865 440 West End Avenue, #12E New York, NY 10024 Leister, Bryan 28 Phone(703) 683-1544 202 E. Raymond Avenue Alexandria, VA 22301

Lorusso.Joseph 125 Phone (816)756-5723 4600 J.C. Nichols Parkway, #403 Kansas City, MO 64112 Lyhus, Randy 69 Phone(301) 986-0036 4853 Cordell Avenue, #3 Bethesda, MD 20814

Manchess, Gregory 26, 30, 93, 114, 122 Phone (513)439-5990 7910 C Moul ins Drive Dayton , OH 45459

ILL U S TR AT I 0 N

McShane, David 133 Phone (609) 858-1567 12 Lees Avenue Collingswood, NJ 08108

Ortega, Jose 134 Phone (212)772-3329 524 E. 82nd Street New York, NY 10028

Porfirio, Guy 30 Phone(602) 881 -7708 4101 E. Ho lmes Tucson , AZ 85711

Melani, Daniele 16 Phone(39) 2-8372626 c/o Arcoquattro via Pietro Custodi 16 Milan 20136 Italy

Oxborough, Paul G. 133 Phone (612) 544-5345 8133 Julianne Terrace Minneapolis. MN 55427

R

N Nakamura, Joel 13 Phone (818) 301 -0177 221 W. Maple Avenue Monrovia, CA 91016 Nelson, Bill 131 Phone (804) 783-2602 107 E. Cary Street Richmond, VA 23219

M

214

Plank, Michael 136 Phone(913) 631 -7021 5833 Monrovia Shawnee. KS 66216

Milot, Rene 94 Phone (416) 425-7726 49 Thorncliffe Park Drive Suite 1604 Toronto, Ontario M4H 1J6 Canada

Lofaro, Jerry 6, 28 Phone (212)941-7936 57 Laight Street, 4th Floor New York, NY 10013

Mattos, John 26 Phone(415)397-2138 1546 Grant Avenue San Francisco, CA 94133

Olbinski, Rafal 21 Phone(212) 532-4328 142 E. 35th Street New York, NY 10016

Menchin, Scott 49 Phone (212) 673-5363 640 Broadway New York, NY 10012

Liepke, Skip 58, 122 Phone (212)724-5593 30 W. 72nd Street. Suite 2B New York, NY 10023 c/o Richard Solomon Artists Representative Phone(212) 683-1362

Marsh, James 21 Phone (44) 71-622-9530 21 Elms Road London SW4 9ER England

Mayer, Bill 14 Phone (404) 378-0686 240 Forkner Drive Decatur, GA 30030

Neubecker, Robert 113 Phone (212)219-8435 c/o Brigham Young University Design Department, 210 B.R.M.B. Provo, UT 84602 Niklewicz, Adam 30 Phone (203) 270-8424 26 Great Quarter Road Sandy Hook, CT 06482

0 O'Brien, Tim 114 Phone(718) 832-1287 480 13th Street Brooklyn, NY 11215 A N N U A L

I 9 9 4

p Pagowski, Filip 114 Phone (212) 662-3601 113 W. 106th Street. #4B New York, NY 10025 Palencar, John Jude 128 Phone (216)774-7312 249 Elm Street Oberlin, OH 44074 Paraskevas, Michael 104 Phone(516)287-1665 157 Tuckahoe Lane Southampton, NY 11968 Parker, Robert Andrew 63 Phone (212) 989-8770 c/o Riley Illustration 155 W. 15th Street New York, NY 10011 Pastrana, Robert M. 67 Phone (818) 548-6083 473 A Riverdale Drive Glendale. CA 91204 Payne, C.F. 26, 126 Phone(513)821 -8009 758 Springfield Pike Cincinnati , OH 45215 c/o Richard Solomon Artists Representative Phone (212) 683-1362 Peled, Einat 136 Phone (718) 275-6549 c/o Schneidman 62-28 Cromwell Crescent Rego Park, NY 1137 4

Renshaw, Jennifer 125 Phone (215) 546-0833 1521 Spruce Street. #203 Philadelphia. PA 19102 Rocarols, Albert 96 Fax (34) 3-451-2251 Rossel 16 148 5° 2° 08036 Barcelona Spain Rosas, Wilfredo 126 Phone (201) 854-8142 60 63rd Street. #3A West New York, NJ 07093 Rose, David 103 Phone (213)876-0038 1623 N. Cu rson Aven ue Los Ange les. CA 90046 Rush, John 104 Phone(708) 869-2078 123 Kedz ie Street Evanston , IL 60202 Ryden, Mark 9 Phone (818)303-3 133 541 Ramona Avenue Sierra Madre, CA 91024

s Sadowski, Wiktor 39 Phone(212) 289-55 14 Marlena Torzecka Artist Representative 211 E. 89th Street. Suite A-1 New York, NY 10128 Salina, Joseph 83 Phone(416) 699-4859 2255 B Queen Street E. P.O . Box 321 Toronto, Ontario M4E 1G3 Canada

INDEX TO ILLUSTRATORS

Schechter, Martin 131 Phone (914)232-7267 34 Bedford Road Katonah , NY 10536

Spino, Pete 77 Phone(619) 225-9476 3050 Kellogg Street San Diego, CA 92106

Thompson, Richard 60 Phone (703) 516-0354 3504 N. 21st Avenue Arlington, VA 22207

White, Eric 63 Phone (415) B21 -3B39 1142 Castro Street San Francisco, CA 94114

Schumaker, Ward 42, 51 Phone (415) 39B-1060 466 Green Street San Francisco, CA 94133

Stahl, Nancy 114, 131 Phone(212)362-B779 470 West End Avenue, #BG New York, NY 10024

Toelke, Cathleen 10, 51 Phone (914) B76-B776 P.O . Box 4B7 Rhinebeck, NY 12572

Wilcox, David B3 Phone (215) 297-0B49 5955 Sawmill Road Doylestown, PA 1B901

Schwab, Michael 14 Phone (415)331-7621 BO Liberty Ship Way, #7 Sausal ito. CA 94965

Steele, Robert G. 136 Phone(415)923-0741 14 Wilmot Street San Francisco. CA 94115

Turgeon, Pol 46 Phone (514) 273-B329 51 B7 Jeanne-Mance, #3 Montreal, Quebec H2V 4K2 Canada

Wolff, Ashley 41 Phone(415)B26-7345 9B Cortland Avenue San Francisco. CA 94110

Schwartz, Daniel 125 Phone (212) 533-0237 4B E. 13th Street New York, NY 10003 c/ o Richard Solomon Artists Representative Phone(212) 6B3-1362

Stermer, Dugald 93, 12B Phone (415)777-0110 600 The Embarcadero, #204 San Francisco, CA 94107

Sea lock, Rick 9 Phone (403)276-542B 112 C 17th Avenue N.W. Calgary, Alberta T2M OM6 Canada Sermoneta, Mario 111 Phone (972) 3-5445010 Shderot Motzkin 23 Tel Aviv 622BB Israel Shehan, Chris 104 Phone (312) 271-2720 1B07 W. Sunnyside, #1 G Chicago, IL 60640 Sibthorp, Fletcher B7 , 10B Phone(212)741-2539 c/o Jaqueline Dedell , Inc. 5B W. 15th Street New York, NY 10011 Silva, Simon 94, 134 Phone (909) BB3-7901 3197 North G Street San Bernardino, CA 92405 Sorren, Joe 65 Phone (503) 295-3670 2125 N.W. Glisan, #101 Portland, OR 97210 Spalenka, Greg 53 Phone (B1B) 992-5B2B 21303 San Miguel Street Woodland Hills. CA 91364

Summers, Mark 114 Phone(416)6B9-6219 12 Milverton Close Waterdown , Ontario LOR 2HO Canada c/o Richard Solomon Artists Representative Phone(212) 6B3-1362 Sweeny, Glynis 53 Phone (B10) 54B-43B1 346 W. Webster Ferndale, Ml 4B220 Swierzy, Waldemar 19 Phone(212) 2B9-5514 c/o Marlena Torzecka Artist Representative 211 E. B9th Street. Suite A-1 New York, NY 1012B Sylvada, Peter 12B Phone (619)436-6B07 2026 #D Montgomery Avenue Cardiff, CA 92007

T Taxali, Gary 79 Phone(905) 625-1079 15B9 Lovelady Crescent Mississauga, Ontario L4W 2Y9 Canada Thompson, John 39 Phone (201) B65-7B53 11 B Parkview Avenue Weehawken. NJ 070B7

y

u Unruh, Jack 57, 69 Phone (214)B71-01B7 2706 Fairmount Dallas. TX 75201

Yang , James 63 Phone (212) B07-6627 c/o The David Goldman Agency 41 Union Square W., Suite 91B New York, NY 10003

v

Yardley, Joanna 33 Phone (413) 5B6-9253 4B Ward Avenue Northampton, MA 01060

Van Innis, Benoit 79 Phone (212) 9B9-B770 c/o Riley Illustration 155 W. 15th Street, #4C New York, NY 10011

z Zumbo, Matt 104 Phone (414)277-9541 301 N. Water, 5th Floor Milwaukee, WI 53202

Ventura, Andrea 63, 74 Phone(212) 932-0412 27B5 Broadway, #51 New York, NY 10025 Ventura, Marco J. 21 Phone (39) 2-B94097B4 Via Bergognone. 31 Milan 20144 Italy

Editor's Note

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

w Waddell, Jan 90 Phone (416) 762-3961 6 Yule Avenue Toronto. Ontario M6S 1EB Canada Weisbecker, Philippe 107 Phone (212) 9B9-B770 c/o Riley Illustration 155 W. 15th Street, #4C New York, NY 10011

C 0 M M U NI C AT I 0 N

A RT S

217

INDEX TO ART DIRECTORS, DESIGN FIRMS, AGENCIES AND CLIENTS

A Accordino, Michael 30, 46 Actors Theater of Louisville 21 Adobe Systems, Inc. 25 Alaska Magazine 77 Alexander, Alex 63

The Bradford Exchange 84

Dayton Hudson, Department Store

Frankfurter Allgemeine Magazin

Brambilla, Claudia 99 Brewer, Linda 77 Brower, Steve 49

Division 19 De Barros, Jim 16

54 Freeman, Clay 100

Delessert, Etienne 121

Frere-Jones, Sasha 25

Brown & Caldwell 28

Delessert & Marshall 121

Fritzson, Howard 16

Brown. Linda 94

Dell Publish ing 33

Full Moon Creations, Inc. 21

Burger King Corp. 21

Destination Discovery 53

Fuzanbo 42

Deutsch, Peter 113

Alexander, Gunta 35 Allison, Herb 28 American Jury Trial Foundation 107

Peter Deutsch Design 113 Dizney, Joe 67

c

Anderson , Kristi 79

CKS Partners 26

Anema, Andy 9

Callari. Rocco 90 Canada Post Corporation 90

Dorritie Lyons & Nickel, Inc. 94 Duckworth, Nancy 53

Garlan, Judy 72

Carabetta. Michael 51 Carillon Importers, Ltd. 26

Dunjko, Carmen 83

Geer Design 104

Dunnick. Regan Todd 116. 119 Dutton Children's Books 41

Georgiann, Margaret 94

Anheuser-Busch 30 Ansaldo 99 Arlow, Arnold 26

Carol Publishing 49

Armario, David 65 David Armario Design 65 Arnott. Phillip 87 Artefact 30

Carson, David 10

E

Atlantic Monthly 72

David Carson Design 10

Australian Penthouse 70

Central City Opera 28

Eberhard Faber 21

Avchen, Leslee 93

Chambers, Tony 70

Ed Tel 111 Edmonton Telephone Yellow Pages

University of Chicago Press 39

B Bachleda, Florian 79 Ballantine Books

51

Banker's Trust 10

Endewelt, Jack 128 English, Mark 116

Cory, Michael 13 Counihan, Claire B. 39 Creative Editions 44 Cuccurito, David 58 Curry, Chris 63, 74

Black Vinyl Records Bode, Larry 128

Cutler, Nancy 67 Czeczko, Terry 33

Body, Joan 104 Booth, Martha Anne 121

H

122 Eugenio Fabozzi Onoranze

Hadley, David 21

Funebri 16 Evans, Shane W. 6

F Fehrs. Rick 30 Fili, Louise 44 Louise Fili Ltd. 44 Finn. Kristen 72 First Stage Milwaukee 104 The Florida Aquarium 96

D

Foote Cone & Belding 22. 26 Foote Cone & Belding/Technology

The Boston Globe Magazine 80 Dai Nippon 107

Boy's Life, Boy Scouts of

Davis. Paul 22 Paul Davis Studio 22

America 57 Bozell. Inc. 6

Davy, Greg 103

Bradbury, Patricia 57

A

UAL

1994

Haffner. Bill 14 Hahn, Sunghee 119 Hansen, Christina 77 Harakawa, Ann 107

Fitzpatrick, Wayne N. 63

Borge, Rich 9 Borowsky, Doris 30

Gwinn, Aubyn 22

Eskind Waddell 90 The Eleanor Ettinger Gallery, Inc .

Red Beer 26

Bikini 65 Bishop, Debra 53

ILLUSTRATION

Emerge 63

Coors Brewing Company, Killian's

Sanderson Advertising 104 Bide-A-Wee 104

Greenberg, Gary 26 The Greenwich Workshop, Inc. 87

Chronicle Books 51

Cook, Tim 94

The Beard Art Ga Ileries, Inc. 133 Bender Browning Dolby &

Gravity Workshop 9

Eller, Matt 19

Collier, John 122 Connolly, Joseph 57, 133

Baseman, Gary 10

Gonzalez, Juan Silverio 94 Governing 54

Grinley, Mike 67

Cobb, Linda 13

Bartels, David 10, 30 Bartholomay, Lucy 80

111

Gibbs, Scott 83

Gulf Printing 116, 119 Guttenberg, Lauren 84

Clum, Scott 65

Bartels & Company 10, 30

Geer. Mark 104

Choi, Jaeeun 119 Chomowicz, Lucille 30

Cincinnati Art Directors Club 126

Barrick, Marty 60

Gault. Alison 25

86 Gallery Poland 125

Chwast. Seymour 96

Barker, Paul 136

Gallagher. James 25

Geringer, Laura 46 The German Post Office 96

Carroll, Jim 114 Carson, Bill 13

Charter Medical 104 Chiang, Albert 69

218

94

G

Don Juan Productions Donnellan, Tim 70

Anderson, John Jr. 69

25 Fortuna, Anthony 103 Foster. Andy 111 Frank, Laura 63

HarperCollins Publishers 41 , 46 Harrington, Glenn 30 Harrowsmith/Country Life 74 Hart. Keith 111 Heiden, Jeri 9 Hemiola Records

25

Henderson, Hayes 26 Henderson Tyner Art Co. 26 Henley, Marna 89 Hess Design Works 93 Hess, Mark 93 Hill.Chris 116.119 The Hill Group 116, 119 Hoglund, Rudolph C. 79 Houser, Kurt 126

Huhtamaki 108 Hunter. David 25

I IMS Am eri ca 10 ldentica 108 Iowa City Magazine 65 Islands 69

J Jae & Hahn Design 119 Jewett. Doris 57 Joyce Foundat ion of Chicago 113

M

0

MTV 114

O.E.P.L.I. 96

Manchess, Gregory 114. 122

O'Brien. Tim 114

Rhodes. Silas H. 126 ride design 65 Hal Riney & Partners 13 Robie . Kevin 63 Rocarols. Albert 96

Manchess Illustration 93

Odds & Ends 6

Manchess. Tricia 93 Marino. Guy 10

Ogilvy & Mather

Marshall. Rita 44 Martin. Allison 63 May & Co .. Inc. 100 May, Douglas 100 Mccaffrey & Company

Oliver, Marylynn 128

Rod itski . Greg 19

Old ing, Denise 119

107 Oxford University Press 49

19

McClellan. Susan 74 McClellen. Ron 65 Mead Products 89 Men's Journal 79

Merkley, Newman. Harty 10

Paraskevas Gallery 104

Ka izer Communications 28

Metropol itan Transportation Authority Marketing Department

Pacell i. Mike 28

Saatch i & Saatch i 21 Saint Louis Zoo 1O St. Martin's Press 30, 46

Pallas. Kristine 28

103

Sakuma. Yumiko 42 Joseph Sal ina Illustrated Inc. 83

Paraskevas. Michael 104

Sanford. John Lyle 53 Saturday Night 83

Paredes. Alfredo 30 Payne. C.F. 126

Saturn Corp. 13 Saunders. Reuben 128

Kl ein. Howard 33

Mexican American Legal Defense & Education Fund 94

Pen insula YMCA Penthouse 58

Kleppe rt. Ken 136 Kner. Andrew 77

Michelman. Fran 22 University of Michigan Med ical

Peters. Michael 108 Pfizer Animal Health Group 94

Korjenek. Kri stin 83 Kre nitsky, Nick 41

Center 72 Rodney Miller Associates 25

Philomel Books 33. 35. 36 Piedmont Guitar Society 26

Minolta 6 Mires Design 6

Playboy 60, 83

Keyton. Jeffrey 114

Kushn irsky, Ju lia 49

L Ra lph La ure n. Polo 30 Lebenson. Richa rd 128 Leeds . Richard 54 Leleu-Gingras. Li sa 21 Lennon. Tom 94 Liepke, Skip 122 Li twhi ler. Woody 6 Lord Fletcher's Restaurant 14 Los Ange les County Transportation Authority 103 Los Ange les Times Magazine 53 Lou isvill e Graph ic Des ign Assoc iati on 119 Lucas Management Systems 21 Luss ier. Paul 79 The Lyri c Players Theatre. Belfast

2

Scoble. Gretchen 51 Scripto-Tokai . Inc. 14

The New Yorker 63 , 69, 74. 79. 80 NewMedia 67

Sears. Roebuck & Company 6

Sheaff. Dick 93 Sibthorp. Fletcher 87 Simon & Schuster 30 Sisco. Brian 107 SmartMoney 67

R 94

Seacat. Jimmy 21 Serrano. Jose

Putz. Robert 96

Neuhaus. David 30 The New York Times 77

Nuttal . Ted 28

Michael Schwab Design 14 Schwartz, Dan iel 125

Print 77 Promotrak Software 10

The Nature Company 87

Not Drowning, Waving 13

School of Visua l Arts 119. 126

33

N

Nol i. Suzanne 41 S.S. Norway 26

Schiedt. David 28 Scholastic Inc. 39

Clarkson N. Potter. Inc. Publishers

Mouly, Fran~oise 69 , 79 Movieline 63 Murphy, John 9

Newsweek 57

Savini, Jill 26

Porter. J. 69 Pospisch il, Hans-Georg 54

Motichka . Dolores 69

National Institutes of Health

6

Plunkett. John 57

Mobil 22 Vicki Morgan Assoc iates 126 Morrissey, Georgia 51

Rossin Greenberg Seronick 26

s

KSK Com munications. Ltd . 21

Keyboard 54

Ross. Ben 126 Ross Design 126 Ruggieri . Mary 96 Russo. Giovanni 79

p Palencar. John Jude 128 Pallas Advertising 28

Kane . Ne lson 10

Rose. David 103

Owens. Don 107 Don Owens Visual Commun ication

Menchin. Scott 49 Menegaz. Laura 116, 119 Merck Group, Astra 19 Mercury House 42

K

Roll ing Stone 53, 60, 72

Smith, Kenneth 79

R.S.V.P. 128

Smith, Sharon 42 Sharon Smith Des ign 42

Ralston Purina 13

Software Marketing Association

Random House 51 Ray Gun 10

28 Richard Solomon. Artists Representative 114, 122, 125

Reggio, Agostino 16 Reggio del Bravo Pubblicita Reinhard , Matt 26 Ren Design 125 Renshaw. Jennife r 125 Reynolds . Sara 41

16

Sommers. Joan 39 Joan Sommers Design 39 Sony Music 16 Soteropulos. Conn ie 19 Spelling Films International 28

COMMUNICATION

ARTS

219

GLASER: The Scho9l of Visual Arts offers you a very rare opportunity to study with the foremost artist and designer in his field, Milton Glaser. Mr. Glaser's exciting and innovative work has earned him an international reputation for producing creative work.

For one week (five full days and nights), Mr. Glaser will conduct an intensive, personal Graphic Design workshop for professionals in applied arts. Members of the class will be given an in-depth portfolio evaluation.

Work will be assigned for periods outside class. The problems will stress self-observation. The admission for each day's class is the completion of the assigned problem.

TUITION: $995.00 includes continental breakfast and lunch. We recommend that all out of town students acquire accommodations which are near the School; a hotel within walking distance has given our students special rates. This information is available upon request.

SESSION DATES: Monday, August 1 through Friday, August 5, 1994. Call or write Girvan Douglas, School of Visual Arts, 209 East 23rd Street, New York, N.Y. 100103994, (212)592-2225 Fax:(212)725-9789 for an application.

DEADLINE: Class size is limited, so the workshop closes rapidly. Applications are accepted on a first come, first serve basis.

Art Spikol, Inc. 10 Squires, Sherri 119 Stable Gallery 87

Vardimon. Yarom 111

Sta hl, Nancy 114

The Village Vo ice 79 Visual Arts Press 126

Stanford Medicine 65 Steadham, Richard 54 Stermer, Dugald 93, 128 Stevenson, Nanette 33, 36 Stout, D.J. 80

w

Stratford Festival 111 Stratus Compute r, Inc. 26

Waddell , Malcolm 90

Levi Strauss & Company 22 Stucki, Ron 63 Studio Grafika 104 Summ ers, Mark 114 The Sunday Times Magazine 70 Swierzy, Waldemar 19 Sztuki, Galeria 19

A

C O LLE G E

O F

THE

A R TS

209 East 23rd Street New York, NY 10010-3994 (2 12) 592-2000 FAX:(2 12) 725-9789

220

I L L U S T R AT I 0 N

A N N U A L

I 9 9 4

Walking Magazine 67 Warner Books 49 Warner Bros. Records

9, 13

The Washington Opera Co. 100 The Washington Post 60, 69 The Washington Times 69 Joseph A. Wetzel Assoc iates.

Inc. 96 Wired 57 Wold, Steven 104

T

Wolff. Ashley 41

TBWA Advertising 26 Terry, Keith 21 Texas Children's Hospital Center

Woodward. Fred 53, 60. 72 Woof Productions 93 Wordperfect Publ ish ing 63 World Monitor 63

for Facial Surgery 104 Texas Monthly 80 Third Matinee

9

Thomas & Perkins 28

J. Walter Thom pson Italia S.p.A. 99 Time 79 The Tisch Family Zoological Garden in Jerusalem 111

y Yang, Jimmy 108 Yankee Magazine 69 Yardley, Joanna 33 Young & Associates 28

Trabon, Tim 116 Tran. David 49 Tsujimura, Masuro 42

z The Zipatoni Company 13

u UI

25

Uldry 121 Uldry, Albin 121 Administration 90 United States Postal Service 93

SCHOOL OF VISUAL ARTS

Vardimon Design 111

Staebler, Tom 60, 83

United Nations Postal

(S)~@

v

Usher. David 87 Utne Reader 79

Editor's Note

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

BACK ISSUES Some back issues are still available. All orders must be accompanied with payment, but we will refund your money on any that have sold out. We pay the second-class postage, so allow up to three weeks to receive your shipment.

Foreign orders will take longer. Issues not listed are no longer available.

May/June 1986

$7

March/April 1988

$14

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

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

July 1986 Illustration Annual

August 1986

$14

September/October 1986

$7

Statue of Liberty Exhibit; Douglas Smith; Colossal Pictures; Louise Fili ; James Seba tian ; Frankenberry , Laughlin & Constable; The American Advertising Museum ; Next $21

$7

$7

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

May/June 1987

$7

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

July 1987

$14

Illustration Annual

August 1987

$14

Photography Annual

September/October 1987

$7

September/October 1988

$7

Tony Schwartz; Julie Lieberman ; Franyois Robert; NFL Properties; Neville Brody; Exhibit; Creative Greeting Cards ; Herbert Bayer

November 1988

$21

$21

$7

Edelstein Associates; Myron; Joy Radio; Muller+ Company ; Polaroid Poster Collection; Matthew Carter; John Hersey ; The Partners; Exhibit; Index to Volume 30

July 1990

$14

Illustration Annual

August 1990

$14

March/April 1989

$7

Tom Hughes ; Jim Arndt; Melissa Grimes ; Goodby, Berlin & Silverstein; Exhibit; Design in Chicago; Jeff Barne ; Kym Abrams ; Rick Valicenti; Robert Petrick; Steven Liska; Japanese Design Adventure $7

Ammirati & Puris; Computers in the Studio; Scott Morgan ; Richardson or Richardson; Exhibit; Yesterday in CA $14

Illustration Annual $14

$7

Lewi s Moberly ; William Coupon; Drenttel Doyle Partners; Anthony Russo ; McKinney & Silver; Michael Cronan ; Hans Rudi Erdt; Exhibit

September/October 1989

$7

July 1992

$14

Illustration Annual

August 1992

$14

Photography Annual

September/October 1992

$7

Graphic Design in Ch ina; Philip Burke; Fallon McElligott; Clients and Designers : Grand Union and Milton Glaser, Inc .; Lonnie Duka ; Oriole Park at Camden Yards; The Next Generation of London Designers; Exhibit

November 1992

$21

CA-92 De ign Annual

December 1992

$2 1

CA-92 Adverti sing Annual

January/February 1993

$7

Software Packaging Design ; Mark Fredrickson ; Morla Design ; Color Prediction s; OMON ; Craig Cutler; Children ' s Book Illustration ; Stock Photography ; Exhibit

Photography Annual

March/A ril 1993

November 1990

Nesnadny +Schwartz; Rafal Olbinski ; Kirshenbaum & Bond ; Clients a nd Designers: Lomas Financial Corporation and The Richards Group ; Malcolm Tarlofsky ; Women in Design Roundtable; Merchandising Designers: Charles S. Anderson, Tom Bonauro, Higashi/ Glaser, Cheryl Lewin, Michael Cronan; Exhibit

December 1990

$21

$21

$7

Craig Frazier; Bill Vuksanovich; Victor Papanek; Raymond Meier; Bartle Bogel Hegarty ; Salary Survey Results; Color Predictions; Ellis Island Immigration Museum ; Exhibit; Index to Volume 32 $7

Soviet Graphic Design ; Bill Westbrook; C.F. Payne; Graphic Demographics; Michele Clement; Vaughn/Wedeen Creative; Creating an Eco-Safe Office; American Package De ign ; Exhibit

May/June 1991

Photography Annual

Smart Yellow Pages ; William Neill; Art Chantry; "Design Job : Fact and Fiction"; Kunio Hagio ; Heller Breene; Gene Hoffman ; AIGA Conference II (San Francisco); Index to Volume 29

$7

Tim Girvin ; Pagano, Schenck & Kay ; Aaron Jones; Wine Labels Get Bolder; Terrelonge Design; "Design-Speak Vs .

Communicating for Success" ; Richard Mantel; TED 2; deGraf/Wahrman; Exhibit

March/April 1991

January/February 1989

August 1989

Michael Brock; Rob Day ; Great Moments in Design Tools ; The Ball WCRS Partnership; Geof Kem; Mad en & Kuester; Chiat/Day: The Book; Exhibit; Farewell to the Opulent Eighties

January/February 1991

CA-88 Advertising Annual

July 1989

$7

CA-90 Advertising Annual

CA-88 Design Annual

December 1988

$7

CA-90 Design Annual

$21

CA-87 Design Annual

January/February 1988

$14

May/June 1989

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

November 1987

August 1988 Photography Annual

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

March/April 1987

$14

Illustration Annual

CA-86 Adverti sing Annual

January/February 1987

$7

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

July 1988

March/April 1990

May/June 1990

May/June 1988

Photography Annual

December 1986

$7

January/February 1990

International Posters ; Deutsch; Joyce Kitchell ; Tim Bieber; Skolos, Wedell + Raynor; AIGA Conference Ill (San Antonio); Earthquake ; Exhibit; Index to Volume 31

$7

Museum Design Competition; Mandelbaum Mooney Ashley; Jame Marsh; Clients and Designers: Joseph Abboud Apparel and designer Tyler Smith; Johns + Gorman Films; Rick Rusing; Emery Vincent Associates ; Pricing & Ethical Guidelines ; Exhibit

August 1991

$14

Photography Annual

September/October 1991

$7

Frankfurt Gips Balkind ; Annual Reports ; James Stagg ; Clients and Designers : The Nature Company and designer Kit Hinrichs ; Office Ergonomics; Brian Lanker; Crispin & Porter Advertising ; Alan Chan De ign Company ; Exhibit

March/April 1992

$7

Concrete Design Communications; Mullen Advertising ; Cathleen Toelke; Emigre; Bruce Hands; Slaughter Hanson; The Changing Demographics of Design; Color Predictions ; The City of Phoenix Logo Competition; Exhibit

$7

May/June 1993

$7

Margo Cha e Design ; Steve Hix ; Howard, Merrell & Partner ; David Lancashire ; Michael Paraskevas; Doyle Dane Bernbach ; Good Design is Goodwill ; Exhibit

July 1993

$ 14

Illustration Annual

August 1993

$ 14

Photography Annual

December 1993

$21

CA-93 Advertising Annual

January/February 1994

$7

VSA Partners; Vivienne Flesher; Vitro-Robertson; Atelier de Creation Graphique ; Pete McArthur; Color Predictions; Colorado International Invitational Po ter Exhibition ; Eco ; Exhibit

March/A ril 1994

$7

Hill/A Marketing Design Group ; Don Asmussen ; Keizo Matsui ; Cole & Weber; Sue Bennett; Client and Designers: The Knoll Group and Chermayeff & Gei smar; Eco; Exhibit

DIRECTORY Design Issues

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Technology Reviews

Communication Arts 410 Sherman Avenue Palo Alto, CA 94306 (415 ) 326-6040 (415) 326-1648 fax America Online: CA MAG Via Internet: ca mag @ aol: compuserve.com

Adobe Systems Incorporated 15 85 Charleston Road P.O. Box 7900 Mt. View, California 94039 (415) 961-4400 (800) 833-6687 fax

No responsibility will be assumed for unsolicited editorial contributions .

Manuscripts or other material should be accompanied by a self-addressed stamped envelope adequate to return material.

Plea e send press reJeases on Books, New Materials, Literature and Technology Resources to Anne Telford, managing editor.

Aldus Corporation 411 First Avenue South Seattle, WA 98104 (206) 622-5500 Cu tomer Services (206) 628-2320 Customer Services (206) 343-3360 fax StoryBoard Quick Power Production Software 2512 Curtis Avenue, Suite 1 Redondo Beach, California 90278 (310) 370-4793 (310) 370-2413 fax $199 for Mac version ; $229 for Windows version

Page

Advertiser's Index

Adobe Illustrator.. ............ ............ ................ 183 Aldus Magazine ........... .............. .................. 200 Aldus PageMaker.. ........ .............................. 141 American Showcase ................................... 199 Apple Power Macintosh ......... ................... 145 Apple QuickTake 100 .......................... ..... .179 Beckett Paper.. .............................................. 1 9 5 Cross Pointe Paper.. .. .. ................................ 205 Digital Wisdom ....................... ..................... 182 Eastman Kodak Inc .. ..... ....................... ..... 153 Fox River Paper.. ........................ .................. 215 Froomer, Brett. .............................................. 223 Graphic Artists Guild ................................. 210 Hopper Paper ............... ............. .. ................... 139 Image Bank ................................................... . 168 Island Paper ....... .............. ... ........................... 187 Letraset Fontek .. ........................... .. ............. 166 Mohawk Paper... ..... ... .. ................................. 173 Neenah Paper ........ ....... ..... ............................ 16 1 Portfolio Center ........................................... 194 Ray Dream, Inc ... .. ............ ........................... 167 School of Visual Arts ................. .... .... ...... 219 S.D. Warren .. .... ..... .. ................ ................. .... 149 Workbook ....................................................... 193 Working Computers .................................... 207

222

I L L U S T R AT I 0 N

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The Exhibit section runs in our four regular issues; its next appearance will be in the Sept/Oct issue. Projects will be selected in mid-July. Send samples of your latest and best work to Exhibit, Communication Arts, 410 Sherman Avenue, Palo Alto, CA 94306. Describe the purpose, background and include creative credits.

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Hardware Apple Macintosh Quadra and Ilci computers running on Ethernet network, Radius monitors, Howtek Scanmaster, and Apple LaserWriter Pro 630.

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Typography Text: Adobe Times and Univers family.

Heads: Modified Adobe Times by Mouli Marur through [T-26] , Chicago, IL.

Pre-press Color Tech 780 Broadway Redwood City, CA 94063 (415) 365-8788 (415) 369-7206 fax Kedie Image System 744 San Aleso Avenue Sunnyvale, CA 94086 (408) 734-9005 (408) 734-9107 fax Pixxon 520 Townsend Street, #D San Francisco, CA 94103 (415) 861-2661 (415) 861-4366 fax

Printer Anderson Lithograph 3217 S. Garfield Avenue Los Angeles, CA 90040 (213) 727-7767 (213) 722-2328 fax

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REPRESENTED BY BERNSTEIN AND ANDRIULLI 212 682 1490 BRETT FROOMER, photographer

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