Issuu

Lommuni~ation Art~

Communication Arts (ISBN 0010-3519) is published eight t imes a year: January/February March/April May/June July (Illustration Annual) August (Photography Annual) September/October November (Design Annual) December (Advertising Annual) by Coyne & Blanchard , Inc. 410 Sherman Avenue, Palo Alto, California 94306 Volume 38, Number 3 Copyright 1996 by Coyne & Blanchard , Inc. Second class postage paid at Palo Alto, Cal ifornia and additional offices. POSTMASTER : Send address changes to Commun ication Arts P.O. Box 10300 Palo Alto, California 94303

Subscription rates : U.S.: one year-$53; two years-$99 Canada : one year-$70 (U .S.); two years-$129 . Includes GST #127848620 International : one year-$98 (U .S.); two years-$190 . Send change of address notification at least 45 days prior to effective date, include both old label and new address .

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Books

Editorial

For Sale

Institutional

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Self-Promotion

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Unpublished

July 1996 Volume 38, Number 3

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Editor and Designer Patrick Coyne Executive Editor Jean A. Coyne

157

Design Technology Wendy Richmond discusses the profound influence of language on the way we think.

160

Technology Reviews Richard Koman reviews Fractal Design Pa inter4 4.0.

166

Technology Resources Books, magazines, newsletters, seminars and training.

Consulting Editor and Designer Stephanie Steyer-Coyne Managing Editor Anne Telford Associate Designer Mark Eastman Production Manager Scott Perry Production Ron Niewald Advertising and Circulation Director M ichael Krigel

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Administrative Assistants Nancy Hagemann Kris Johnson Nina Kitching

Free-lance Barbara Gordon explains how to use publicity to sell your work .

190

Legal Affairs An excerpt from Nina Schuyler's book The Business of Multimedia.

196

Editorial Assistant Sue Garibaldi Subscriptions Gloria Rosario Priscilla Brooks Accounting Richard Ch ipman

Advertising Todd Lief comments on the lack of innovation in agency organization .

Traffic Manager Camille Leekins Founder Richa rd Coyne

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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 perm ission of the creators and any other person or company who may have copyright ownersh ip.

142

Contributors

144

Letters to the Editor

200

Book Reviews

206

Materials, Available Literature

210

Clubs, Conferences, Seminars

212

Index and Addresses of Featured Illustrators

217

Index of Art Directors, Design Firms, Agencies and Clients

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

220

Directory

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Advertising C.F. Payne, illustrator Joe Pompeo, art director/designer Saatchi & Saatchi, ad agency The Florida Citrus Growers, client Magazine ad. 12 X 14, mixed media. 2

Craig Nelson, illustrator/designer Tony Andriulli, art director Bernstein & Andriulli, design firm Robert Simmons Paint Brushes, client Poster " Best Friends " for point of purchase display. 30 X 24, oil.

Cynthia von Buhler, illustrator Josephine Di Donato, art director Sony Music, client CD cover "Resonet in Laudibus" for Konrad Ruhland. 40 X 40, gouache and mixed media on canvas with live dove.

ILLUSTRATION

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COMMUNICATION

ARTS

ILLUSTRATION

ANNUAL

1996

Advertising Steven Adler, illustrator David Schiedt, art director Thomas & Perkins, ad agency Central City Opera Company, client Poster. 9 X 23, oil. 2

Hayes Henderson, illustrator David Ekizian, art director/designer Ekizian Design, design firm Bon Marche, client Exhibition poster for "The Art of Glass." 7 1/2 X 16, oil on paper.

James McMullan, illustrator Jim Russek, art director Russek Advertising, ad agency Lincoln Center Theater, client Poster. 7 X 14, gouache.

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Advertising Melinda Beck, illustrator Satoru lgarashi, art director/designer Island Records, Quicksand, design/client Quicksand CD cover "Manic Compression." 32 X 22, mixed media. 2

Michael Whelan, illustrator/designer Audrey Price, art director Glassonion Graphics, design firm Fluxgraf-X, client Flux CD cover "Crux Humanus." 5 X 5, digital.

Anita Kunz, illustrator Cindy Jeftovic, art director/designer The Mariposa Group, design firm The Toronto International Film Festival, client Poster. 11 X 14, watercolor and gouache.

Brad Holland, illustrator/designer Bernard Schmidtobreik, art director Deutscher Caritasverband, client German public service poster. Headline: Normal addicts come from normal families. 18 X 24, acrylic on Masonite.

Keith Graves, illustrator Michael Bays, art director Polygram Records, client Robert Cray CD cover "Some Rainy Morning." 12 X 12, acrylic and Prismacolor.

Kirk Richard Smith, illustrator Sherri Whitmarsh, art director Arista Records, client Bogmen CD cover "The Cake Was Poison." 13 X 13, acrylic, paper and wood.

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Advertising Dan Craig, illustrator Sal Garguilo, art director Nappi Elivan Murphy, design firm New York City Opera, client

HMS Pinafore poster. 18 X 28, acrylic. 2

(series) Rick Allen, illustrator Wayne Talley, art director/designer Fame, ad agency Target Stores, client Promotion posters of the store's program of donation to and support of the National Park System. 6 X 9, woodcut.

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Advertising Jody Hewgill, illustrator Andrew Mclauchlan, art director Kingston Summer Festival, client Summer festival poster. 15 X 20, acrylic. 2

(series) Douglas Fraser, illustrator John Lionti, art director Rip Ruhlman, creative director Liggett Stashower, Inc., ad agency BF Goodrich Aerospace, client Trade ads. 14 1/2 X 12, alkyds on paper.

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Advertising Gary Baseman, illustrator James Walker, designer TKO Advertising, ad agency Americorp, client Poster "Getting Things Done." 16 X 18, acrylic. 2

Gerard Dubois, illustrator Lyne Lefebvre, art director/designer Discreet Logic, design firm/client Ad. 8 3/4 X 11 3/4, acrylic and collage.

Michael Schmalz, illustrator/art director/designer McCullough Creative Group, Inc., design firm Dubuque Main Street, Ltd., client Summer jazz concert poster. 11 X 12 1/2, digital.

Michael Bartalos, illustrator/designer Tracy Bacilek, art director Lipson Alport Glass & Associates, design firm Perrier, client 8 X 11 , gouache.

Brad Holland, illustrator/designer Roxanne Moffit, art director Mad Dog, design firm Seattle Repertory Theater, client

Poster and tickets for Waiting for Godot. 24 X 18, acrylic on Masonite.

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Advertising Rafal Olbinski, illustrator/designer Susan Overstreet, art director Olbinski Studio, design firm South Coast Repertory, client Poster for She Stoops to Folly. 24 X 36, acrylic on canvas. 2

Rene Milot, illustrator Michael Rylander, art director Witt/Rylander, ad agency The New Pickle Circus, client Poster. 24 X 31, oil on canvas.

Milton Glaser, illustrator/designer Milton Glaser, Inc., design firm Tomato Records, client CD cover for Louis Armstrong "Butter and Egg Man." 12V2 X 14, watercolor.

Melinda Beck, illustrator/ art director/designer Melinda Beck Studio, design firm Southern Records, UI, client CD cover for UI "Sidelong." 18 X 19, mixed media.

David Miller, illustrator Cynthia von Buhler, art director/designer Castle von Buhler, design/client CD art for Symbn Project "Lips Acquire Stains." 30 X 30, pen, ink, watercolor.

Robert Crawford, illustrator Janice Johnson, art director Ladybug Records, client Ethereal Voices CD cover "Dreaming." 20 X 20, acrylic on Masonite.

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Advertising (series) Johan van Wyk, illustrator Deon Hug, art director Net#work, ad agency Foodgro SA, Bulldogs Pub, client Newspaper ads. Headlines: "Down Boy." Local beer, imported beer, even our own beer. Like bow wow man; "Sit. Stay." Open from noon, 'til you howl at the moon. So you won't want to go walkies; "Fetch." With our tailwaggin' service, the beers foam at the mouth. Not the customers. 2

Bob Conge, illustrator/designer Sue Kemp, art director Conge Design, design firm Syracuse University Lacrosse Team, client Promotional poster for the 1996 season. 21 X 30, steel pen, ink and watercolor.

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Advertising Joel Nakamura, illustrator Satoru lgarashi, art director/designer Island Records/Mango Records, clients Boukman Eksperans Voodoo CD "Libete Freedom ." 14 X 14, acrylic oil on tin. 2

Tim Jessell, illustrator Harold Tackett, art director/designer Wiltel Communications, design/client Calling card. 9 1/4 X 14, pastel and mixed media .

Bill Mayer, illustrator Mike Schell, art director Schell/Mullaney, ad agency Computer Associates, client Software ad for "Home Place, " a fun and easy way to organize programs on your PC. 141/ s X 103/4, gouache.

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Advertising Eric White, illustrator/art director Bob Conrad, designer Dr. Strange Records, client Brown Lobster Tank album cover "Tooth Smoke." 11 X 11, acrylic and collage on bristol board.

2 Joel Nakamura, illustrator Joel Nakamura/Shadow Fax, art directors Sunja Park, designer Sonic Images Records/Shadow Fax, clients CD cover for Shadow Fax "Shadow Fax Live" in memory of Chuck Greenberg. 14 X 14, acrylic oil on tin. 3

Melinda Beck, illustrator/art director Melinda Beck Studio, design firm The Cooler/UI, clients Poster. 8 X 13112, scratchboard.

Paul Davis, illustrator/art director/designer Bay Street Theatre, client Theater poster. 14 X 18, collage and acrylic on paper.

Jeffrey Decoster, illustrator Mark Burdett, art director/designer Sony Music, client

Sony Classical "Debussy, Images for Orchestra" CD cover. 11 X 11, acrylic. 6

Joe Sorren, illustrator/designer Joe Sorren/Stephen Motley, art directors Sparklepoop International, client CD cover for The Lyle and Sparkleface Band. 36 X 36, acrylic on canvas.

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Advertising Gerard Dubois, illustrator Cindy Troupin, art director/designer Jazziz, client CD cover for "Jazziz on Disc." 101/2 X 9, acrylic and collage.

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Mark English, illustrator Jim Plumeri, art director Bantam Books, client Cover art for Stoker's Dracula. 16 X 20, acrylic.

Fletcher Sibthorp, illustrator Tracey Winwood, art director/designer Random Century, client Jacket for biography of Bertrand Russell, The Spirit of Solitude. Oil and pastel on canvas.

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Books Dugald Stermer, illustrator/designer Jennifer Barry, editor Tom Morgan, Blue Design, design firm Collins Publishers, publisher Courting male from Birds & Be.es, A Sexual Study. 18 X 24, pencil and watercolor. 2

Phil Huling, illustrator Julia Kushnirsky, art director Warner Books, client Cover of Up Jumps the Devil, a rural murder mystery involving an ornery old goat, his family, his farm and subdivision builders. 6 1/2 X 7 1/2, pencil, ink and oil wash .

Brad Holland, illustrator David Carson, art director/designer Chronicle Books, client Interior page from The End of Print: The Graphic Design of David Carson. 12 X 16, acrylic.

Jody Hewgill, illustrator Chani Yammer, art director Simon & Schuster/ Aladdin , clients Cover of Sons From Afar. Two brothers struggle with their differences and identities while searching for their lost father. 9 X 14, acrylic.

Wendell Minor, illustrator/designer Anne Diebel, art director Wendell Minor Design, design firm Clarion Books, client Book jacket for John Steinbeck. 20 1/4 X 125/s, acrylic on Masonite panel.

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Books (series) Stephen T. Johnson, illustrator Becky Laughlin, art director Viking Children's Books, client

Alphabet City. Various sizes, pastel, watercolor, gouache and charcoal. 2

Tom Curry, illustrator Martha Phillips, art director The Franklin Library, client Frontispiece for A River Town. In 19th century Australia, a woman's head is preserved in a jar and taken from town to town for identification. 15 X 19, acrylic on hardboard.

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Books (series) Brad Holland, illustrator/art director Roxanne Slimack, designer The Pushpin Group, design firm Rockport, client Paintings to accompany an essay by Brad Holland titled "Express Yourself, It's Later Than You Think" included in Illustration America. Various sizes, pastel. 2

Douglas Fraser, illustrator Melody Cassen, art director Bantam Doubleday Dell, client Cover art for Dead Meat about a Russian police inspector. 7 3/4 X 12, alkyds on paper.

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Books (series) Douglas Smith, illustrator Joseph Montebello, art director Joel Avirom, designer Joel Avirom Design, design firm Harper Collins/Regan Books, clients Interior illustrations for Wicked: The Life and Times of the Wicked Witch of the West. This adult fantasy novel retells the Oz story from the point of view of the witch, Elphaba . We follow her from birth, through childhood, university days and rebellion against the tyrannical wizard's regime, until we reach her familiar, final encounter with Dorothy and her companions. 6 1/s X 91/z, scratchboard. 2

Chris A. Gall, illustrator Julia Kushnirsky, art director Warner Books, client Detectives search for a homeless man who is key to a murder. 8 X 12, scratchboard, dyes.

Pol Turgeon, illustrator Paul Gamarello, art director Workman Publishing, design/client Cover of The Sharpshooter Blues, a novel about America's love affair with guns. 111/z X 161/z, mixed media.

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Books (series) Sergei Goloshapov, illustrator/designer North-South Books, Inc., client Illustrations for Grimm fairytale The Six Servants. 16 X 13112, mixed media on paper.

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Books (series) Greg Newbold, illustrator Richard Erickson/Pat Bagley, art directors Richard Erickson, designer Buckaroo Books/Gold Leaf Press, clients The Touch of the Master's Hand, a picture book illustrating the poem by Myra Brooks Welch, in which the perceived value of an old violin, as with the human soul, increases dramatically when exposed to the master's touch . Various sizes, acrylic.

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Books (series) Dugald Stermer, illustrator/designer Jennifer Barry, editor Tom Morgan, Blue Design, design firm Collins Publishers, publisher 2

(series) Dugald Stermer, illustrator/designer Jennifer Barry, editor Tom Morgan, Blue Design, design firm Collins Publishers, publisher Illustrations from Birds & Bees, A Sexual Study. 18 X 24, pencil and watercolor.

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Books Adam Niklewicz, illustrator Neil Stuart, art director Viking/Penguin, clients Mystery novel cover depicting a female movie director doing a documentary on a past murder 77th Street Requiem. 10 X 15, acrylic. 2

Rick Sealock, illustrator Cathie Ross, art director/designer Glenbow Museum, design/client Cover of Museums and the Paradox of Change. 83/4 X 12, acrylic, watercolor, cut paper, pastel, collage.

Michael J . Deas, illustrator Georgia Morrissey, art director Random House, client Jacket art for Literary Angels, an anthology of poems and stories by celebrated writers, including John Cheever, Herman Melville, Sylvia Plath and Leo Tolstoy. 18 X 24, oil on panel.

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ILLUSTRATION

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Books John Martin, illustrator Anne Ghory-Goodman/Marcia Lord, art directors Linda Post/Kathy Reynolds, designers Silver Burdett Ginn Inc., design/client Elementary school textbook chapter heading titled "Looking Beneath the Surface." 20 X 14, acrylic.

Editorial 2

Gary Baseman, illustrator Fred Woodward, art director Gail Anderson, designer Rolling Stone, client Article about Mark Foo's surfing death "The Last Wave." 14 X 17, acrylic.

Scott Laumann, illustrator John Papageorge, art director David Edelhart, designer imi.new.ventures, client Online magazine interview of musician/singer Laurie Anderson . 8 X 10, mixed media.

Brian Cronin, illustrator Jane Frey, art director Time, design/client Cover article titled "Dirty Hands" concerning coming to grips with the dark side of South Korea's past. 9 X 12, pen and ink and watercolor.

Owen Smith, illustrator Robert Newman, art director Joe Kimberling, designer Entertainment Weekly, client Grim subject matter is the inspiration for many new movies "Bleak Chic." 18 X 24, oil on board.

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Editorial Jack Unruh, illustrator Joe Connolly, art director Boy's Life, Boy Scouts of America, client Article about the "Bravest of the Brave." 241/2 X 141/2, ink and watercolor. 2

James Yang, illustrator Duane Flinchum, art director Flinchum Design, design firm Penn Gazette, client Article about the "N" word and what it means. Title "What's in a Word?" 8 1/2 X 11, mixed media .

Mark Ryden, illustrator/art director L.A.X. Magazine, client Jajo, Patron Saint of Clowns for a mural, a magazine and an event. 12 X 16, oil.

Warren Linn, illustrator Pat Flynn, art director Progressive, client Magazine article about private property rights "Taking it all Away." Mixed media .

Anita Kunz, illustrator Fred Woodward, art director/designer Rolling Stone, client Movie review of Panther. 8 X 11, watercolor and gouache.

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Editorial Craig Frazier, illustrator Alma Mary Phipps, art director Chief Executive, client Magazine article "Learning by Design." 8 1/2 X 11, cut paper. 2

Scott Menchin, illustrator Andrew P. Kner, art director Andrew P. Kner/Scott Menchin, designers Scenario, client Magazine illustration for a screen play "Prostitutes." 6 X 6, bread, ink and watercolor.

Christian Clayton, illustrator Josephine Rigg, art director/designer San Francisco Examiner, client Article by Herbert Gold "Haiti's Turbulent Angels." 121/4 X 15, acrylic on paper with pencil, pen and ink.

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Editorial Riccardo Vecchio, illustrator Owen Phillips, art director The New Yorker, client Announcement of Annette Messager's work at the MOMA in the "Goings On About Town" section. 20 X 15, ink, pencil and gouache. 2

Sandra Dionisi, illustrator Leane Brenes Nuce, art director/designer Rip Georges, creative director Los Angeles Magazine, client Illustration for "The River Deadly" the story of a treacherous river rafting trip in which the main character is injured and nearly drowns. 61/2 X 81/4, acrylic on paper.

Christian Northeast, illustrator Elizabeth Kairys, art director/designer California Lawyer, client Magazine article by John Pugh, currently serving a five year term in prison, challenging the three strikes law "Letter from Prison." 101/2 X 15, mixed media.

Joe Sorren, illustrator Dawn Kish, art director/designer W.l.G ., client Magazine cover of "Jessica." 34 X 40, acrylic on canvas.

Jordin Isip, illustrator Jane Frey, art director/designer Time, client Essay about gundamentalists titled "Cause and Defect." 143/s X 161/2, mixed media.

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Editorial N. Ascencios, illustrator Amy Rosenfeld, art director Nancy Steiny, designer Smart Money, client Article about mutual fund managers "Count Down ." 14 X 17, oil. 2

Marcos Sorensen, illustrator Robert Schencker, art director California Bicyclist, client Cover for "Over the Edge." 10 X 13, mixed media .

Tim O'Brien, illustrator/designer Robert Best/Syndi Becker, art directors New York Magazine, client Interior centerfold "Our Martha, Ourselves." 11 X 16, oil on board.

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Editorial (series) Phil Boatwright, illustrator J. Porter, art director/designer Yankee, client Magazine story about a woman who waited 30 years for her husband to come back from Cuba where he had taken up cigar smoking. 8 X 11, 16 X 20, oil, acrylic, found objects. 2

Joe Sorren, illustrator Jonny Donhowe, art director/designer Transworld Publications, Warp, design/client Magazine contents page illustration "Portrait of John Belushi." 24 X 32, acrylic on canvas.

Jordin Isip, illustrator Jef Capaldi, art director/designer American Medical News, client Managed care can add an unforseen layer of risk "Lurking Liabilities." 20 X 263/e, mixed media.

Benoit, illustrator Fran~oise Mouly, art director The New Yorker, client Illustration for the sketchbook "Irrepressible Interest in the European Novel Continues." Oil.

Glynis Sweeny, illustrator Rob George, art director/designer Spy, client Magazine article "New Russian Entrepreneurs." 12 X 15, Prismacolor pencil.

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Editorial Pete Spino, illustrator/designer Kelly Frankeny, art director San Francisco Examiner, client Newspaper article about the stress of getting the homestead ready for guests "Frantic Fix-ups." 6 X 9 1/2, mixed media construction . 2

Peter Kuper, illustrator Robert Newman, art director Joe Kimberling, designer Entertainment Weekly, client Reviews of popular lawyer/crime books "Hauls of Justice." 10 X 12, mixed media .

(series) Gary Baseman, illustrator Sandra L. O'Connor, art director/designer Bloomberg Personal, client Magazine article on deceptive credit card companies " Don't Take The Bait." A man looks through a keyhole and sees a woman, upon opening the door he is dismayed to see the woman is a tattoo on another man's arm . Various sizes, acrylic.

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Editorial Jon E. Conrad, illustrator Alisann Marshall, art director American Way, American Airlines, client Fiction "Murder of Crows" about a man whose wife thinks he tried to kill her, but there was a bit of a monster in both of them. 8 X 11, mixed media .

Melinda Beck, illustrator Melissa Tardiff, art director/designer The New York Times, client Educational supplement article "Stalker on Campus." 8 1/2 X 17, mixed media .

Joe Ciardiello, illustrator Mary Workman, art director The Atlantic Monthly, client Article about Dick Hyman and his influences "Doin' the Chameleon." 11 X 15, pen, ink and watercolor.

Michelle Chang, illustrator Jay Kaneshige, art director First String, client Magazine article about B.B. King's enduring influence on contemporary music "Old New Borrowed Blue." 10 112 X 17, mixed media .

John Gurche, illustrator Christopher Sloan, art director National Geographic, client An afarensis group moves through the forest . Their hips, knees and ankles enabled human-like walk "The Dawn of Humans-Face-to-Face with Lucy's Family." 21 X 10 112, oil.

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Editorial (series) C.F. Payne, illustrator Judy Garlan, art director/designer The Atlantic Monthly, client Magazine article about the real George Washington. Various sizes, mixed media . 2

Bob Tillery/Val Tillery, Hungry Dog Studio, illustrators Fred Woodward, art director Rolling Stone, client Movie review of Kids. 7 5/s X 11 5/is, mixed media .

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Editorial Rich Borge, illustrator Samuel Miranda, art director/designer Miller Freeman, publisher How To Play Guitar, client Magazine article revealing some techniques of guitar legends "Solo Secrets." 13 X 13, mixed media.

Greg Spalenka, illustrator Steve Sedham, art director Los Angeles Times, client Article about violent children "The Coming Mayhem." 8 X 12, mixed media.

Ted Pitts, illustrator Greg Carannante, art director/designer Sunshine Magazine, Ft. Lauderdale Sun Sentinel, client Article about a man on death row for 21 years "A Slow Death." 101/2 X 111/2, watercolor, pencil, acrylic.

Courtney Granner, illustrator Christine Dunleavy, art director Philadelphia Inquirer Magazine, client Experts speak on finding contentment "The Secrets of Happiness." 14 X 16, ink, watercolor, gouache.

Gary Head, illustrator Jef Capaldi, art director American Medical News, client

Magazine article "Health: 6 myths about sex and the elderly." 11 X 18, oil. 6

Ferruccio Sardella, illustrator Peter Enneson Design, art director Rotunda, client Magazine article discusses environmental breakdown and the ever increasing mass extinction crisis. This illustration is about burning of the rainforests "Biodiversity's Greatest Challenge." 101/2 X 14, mixed media and collage.

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Editorial (series) Robert Andrew Parker, illustrator Chris Curry, art director The New Yorker, client Illustrations from the "Goings On About Town" section: The Modern Jazz Quartet; Erich von Stroheim's The Wedding March; and Robert Wilson in Hamlet. Various sizes, etching and monoprint. 2

Peter de Seve, illustrator Fran~oise Mouly, art director The New Yorker, client Magazine cover. 11 X 15, watercolor and ink.

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Editorial (series) Steve Brodner, illustrator Kelly Doe, art director/designer The Washington Post Magazine, client "Just Say Bob," a campaign sketchbook captured by Steve Brodner with brush and tape recorder in Washington and New Hampshire. "In politics, sometimes, it's not Ping-Pong, it's hardball. You talk about competition . Competition gets pretty rough. It's not for the faint-hearted. If you don't like criticism, you know, you might decide you'll go to the mortuary, do something where people are quiet," Sen. Robert Dole at a Vietnam veterans meeting. "Just speaking for myself. I see plenty of 'Help Wanted.' They just don't go down. Perhaps wages aren't what they want. It's easier to collect [welfare]. If you want to eat, I think you should work," Dorothy Cardillo, homemaker. "All or nothing never works in this business. And it kills [Dole]. Because [they say] 'Oh my gosh, he's terrible. He's a compromiser.' Freshman Republicans are passionate people. They don't give a rat's ass about being reelected. They don't give a damn whether they're going to stay here or not. They're going to do what's right. Well, fine. Go do what's right to the extent that you can . But you got to let the grown-ups, when it's [crunch] time, be in charge, or you don't get anything, " Tom Korologos, lobbyist, longtime friend of Dole. "They get a snow job inside, they get a snow job outside," Dole joking as he leaves a private event. "We have not blinked. We have not moved one inch ... l'm proud to report to you, stand before you today: It has not been an autumn of compromise," Dole, arriving by whistle-stop train in Concord. Various sizes, watercolor.

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Editorial John Springs, illustrator Richard Baker, art director US, client Magazine letters page. 2

David Plunkert, illustrator Wayne Fitzpatrick, art director Tamika Green, designer Emerge, client Illustration for magazine article about the 1,000,000 Man March missing the opportunity to say anything to the decision makers "Black Men's Message to Congress." 121/2 X 13, mixed media .

Janet Woolley, illustrator Kelly Doe, art director/designer The Washington Post Magazine, client An article on opinion polls, showing the power they have, the absurdity of the questions and how they are phrased to sway the outcome.

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Editorial Andrea Ventura, illustrator Tim Baldwin, art director Penthouse, client A story about men meeting a prostitute in a bar "Hot Talk." 24 X 43, acrylic and charcoal on paper. 2

Calef Brown, illustrator Elizabeth Betts, art director Florian Bachleda, designer Entertainment Weekly, client Portrait of Bob Dylan in his early folk singing days. 10 X 15, oil and acrylic.

Vicky Rabinowicz, illustrator Wayne Kronenfeld, art director Gallery Magazine, client Article " In the Minors" about a man whose life in baseball is put into perspective through the experiences of his dying son. 121/2 X 121/2, linoleum cut collage.

Christian Northeast, illustrator Reuben Munoz, art director/designer Los Angeles Times, design/client Book review of Infinite Jest, a 1,079 page novel by David Foster Wallace.

Carlos Nine, illustrator Miguel Llargues, art director Co. & Co., client Magazine published in Barcelona. Cover illustrating "Gypsy Story." 911z X 14 1/2, watercolor.

6 6

Rob Day, illustrator Robert Priest, art director Ariel Childs, designer Gentleman's Quarterly, client Portrait of rock 'n' roller Henry Rollins as he sees himself: a Renaissance Man. 10 X 10, oil on paper.

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9 9 6

Editorial Polly Becker, illustrator Sharon Okomoto, art director/designer Time, client Article about menopause "The Estrogen Dilemma." 21/2 X 6, assemblage. 2

Charise Mericle, illustrator David Carson, art director Raygun, client Illustration for the "Sound in Print" section : Falling Wallendas, " Mitchell Cooper." 10 X 14, oil, acrylic, assemblage.

Gary Kelley, illustrator Fred Woodward, art director/designer Rolling Stone, client Movie review of Devil in a Blue Dress. 16 X 10, pastel on paper.

Christoph Niemann, illustrator Fred Woodward, art director Rolling Stone, client Recording review Alice in Chains. 7 X 12, ink and digital art.

Kent Williams, illustrator Tom Staebler, art director Kerig Pope, designer Playboy, client Keller, a hit man, is the central character in a series of Lawrence Block stories. This story "Keller's Karma" deals with a hit and Keller's relationship with his dog-sitter, Dot. 22 X 22, oil .

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

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Editorial (series) Daniel Adel, illustrator Michael Mrak, art director Esquire, client "Wild Kingdom" columns by Mark Leyner, "Take My Third Cousin, Please"; "The Thrall of Victory"; "Eat Lead, Punk. " 14 X 11, oil on board. 2

Moira Hahn, illustrator Arthur Hochstein/Kenneth B. Smith, art directors lime, client Chronicles page illustration of Shoko Asa Hara, head of a Japanese terrorist cult "Guru-BehindBars of the Week." 61/2 X 71/2, watercolor.

Laurie Luczak, illustrator Paula Wood, art director Alisha Drucks, designer Parade Publications, React, client Question and answer section. 18 X 211/2, acrylic and collage.

Gerard Dubois, illustrator Cindy Troupin, art director/designer Jazziz, client Magazine portrait of Duke Ellington "We Thought About Duke." 9 X 12, acrylic.

Richard Thompson, illustrator Kerry Tremain, art director Marsha Sessa, designer Mother Jones, client Article concerning what you need to know about Phil Gramm "Slick Philly." 12 X 14, oil and egg tempera .

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9 9 6

Editorial Jack Unruh, illustrator Dianne Gibson, art director Southwest Airlines, Spirit, client Magazine story about two inexperienced hikers that get lost and do stupid things "Lost in the Wilderness." 101/4 X 14, ink and watercolor. 2

John Collier, illustrator David Armario, art director/designer Men's Journal, client Article "Mike Tyson, The Brutal Truth." 11X14, etcher's ink.

Leigh Wells, illustrator Stephanie Birdsong, art director Weider Publications, Shape, publisher/client Magazine article which describes how a small weight gain can affect your shoe size "Cruel Shoes." 4 X 4, mixed media.

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Editorial

Philip Burke, illustrator Kerry Tremain, art director Kerry Tremain/Marsha Sessa, designers Mother Jones, client Cover " Bustin' Rush ." 48 X 33, oil on canvas. 2

Gary Panter, illustrator Richard Baker, art director US, client Loose Talk column quote from Sean Penn, "I think anybody who throws their fists is a fool , and I've been a fool many times."

Lorenzo Mattotti, illustrator Chris Curry, art director The New Yorker, client Magazine article by John Updike "Legendary Lana ." 91/2 X 13, mixed media .

Mirko Ilic, illustrator Steven Heller, art director The New York Times Book Review, client Book reviews focusing on "Hiroshima's Legacy" : Hiroshima in America; The Decision to Use The Atomic Bomb; Code Name-Downfall; Hiroshima; Dark Sun. 93/4 x 9 1/4, digital.

Rick Sealock, illustrator D.J. Stout, art director Nancy E. McMillan, designer Texas Monthly, client He may not be a radio staple anymore, but a new tribute album recorded by some of rock's coolest stars shows that his music is still moving . "Never Mind the Bollocks, Here's Willie Nelson." 9 X 13, watercolor, acrylic, pastels, collage.

Robert Giusti, illustrator Tom Staebler, art director Kerig Pope, designer Playboy, client Article "The Curse of Desert Storm." 12 X 12, acrylic on linen.

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Editorial (series) Michael Plank, illustrator Rick Jost, art director/designer Emphasis Hong Kong Ltd., design firm Cathay Pacific Airline, Discover, client Magazine article "Returning to Greene's Vietnam." Various sizes, oil .

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9 9 6

C 0 M M U N I C AT I 0 N

A RT S

Editorial Irene Rofheart Pigott, illustrator Isabella Bannerman/ Ann Decker /Sabrina Jones, editors Fantagraphics, client Back cover "Girl Talk" comic. 61/2 X 81/2, digital and mixed media. 2

Hanoch Piven, illustrator Amy Osbourn, art director Los Angeles Magazine, client Monthly Guide portrait of Shirley MacLaine. 24 X 36, collage.

Brad Holland, illustrator Sam Shahid, art director/designer Mirabella, client Lawrence Klepp discusses a new book "Speak of the Devil." The arch fiend is hot again, wrestling with televangelists, whispering in the ears of juries, waging germ warfare and making history in The Origins of Satan. 20 X 20, acrylic on Masonite.

Ward Schumaker, illustrator Chris Curry, art director The New Yorker, client

Portrait of Junior Brown, country western singer in the "Goings on About Town" section. 51/2 X 7, ink on tissue and acetate. 2

Joel Nakamura, illustrator Sandra L. O'Connor, art director/designer Bloomberg Personal, client Magazine article about corporate head cutting. 14 X 8, acrylic and oil on tin.

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Jell-o f or glamour.

COMMUNICATION

ARTS

For Sale Harvey Chan, illustrator Carrot Gallery, client Carrot Fantasy appeared in the gallery exhibition. 12 X 24, acrylic on canvas. 2

Linda DeVito Soltis, illustrator/ art director Glitterwrap, client Shopping bag. 141/2 X 13, acrylic on canvas.

Albert Lorenz/Joy Schleh, illustrators Richard Dezinno, art director Bepuzzled, client Jigsaw puzzle and poster. 40 X 30, mixed media.

ILLUSTRATION

ANNUAL

1996

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

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For Sale (series) Paul Van Ginkel, illustrator/art director/designer Van Ginkel Visuals, client Black Rider, Father & Son, Dream, Gifts From Above and 1900. Various sizes, oil on canvas.

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For Sale Patrick Saunders, illustrator/art director/designer Limited edition print. 30 X 24, oil on canvas. 2

Steven J. Levin, illustrator Painting for gallery sale Winter Interior. 20 X 16, oil on canvas.

Thom Ang, illustrator Larry Daley/Elisabeth Vincentelli/Joan Hilty, art directors D.C. Comics, client Trading card illustration of villain "Copperhead." 11X17, collage, oil, acrylic on paper.

Mark A. Fredrickson, illustrator Marna Henley, art director/designer Mead Products, client Portfolio folder cover. 20 X 30, acrylic.

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

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For Sale Sandra Hendler, illustrator/art director/designer Usiskin Contemporary Art, client Greeting card. 26 X 391/2, oil on canvas . 2

Mark Ulriksen, illustrator Thomas R. Reynolds Gallery, client Alta Plaza Park for gallery exhibition . 36 X 24, acrylic on canvas.

Braldt Braids, illustrator/designer David Usher, art director The Greenwich Workshop, Inc., design Poster. 36 X 36, oil on canvas.

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

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9 9 6

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

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For Sale Christine Schneider, illustrator/art director The Admark Group, ad agency The NAMES Project AIDS Memorial Quilt Topeka II, client Limited edition poster. 137/s X 181/s, gouache.

Institutional 2

(series) Jeffrey Fisher, illustrator Bill Cahan/Bob Dinetz, art directors Cahan & Associates, design firm Rational Software Corporation, client Annual report illustrations. Various sizes, acrylic.

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

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9 9 6

COMM UNICATION

ARTS

ILLUSTRATION

ANNUAL

1996

Institutional (series) Alain Pilon, illustrator Lyne Lefebvre/Orazio Fantini, art directors/designers Discreet Logic, design/client Images for the annual report. 71/2 X 111/4, collage and acrylic. 2

Gary Kelley, illustrator Rise Nathan, art director/designer M M Graphics, design firm Memphis Convention & Visitors Bureau, client Cover of Official Visitors Guide "Home of the Blues," "Birthplace of Rock 'n' Roll." 16 X 22, pastel on paper.

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

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.....

. ·~=--=-

- -~~- _:~·- _.... - -... ' -.

·-

ILLUST RATION

ANNUAL

9 9 6

Institutional (series) David Maloney, illustrator Pamela Jones, art director Baylor College of Medicine, client Brochure detailing general health care for women . Digital.

Chris A. Gall, illustrator Mike Stees, art director CKS Partners, ad agency American President Lines, client Image for APL calendar. 15 X 20, scratchboard, dyes.

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

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9 9 6

Institutional John Rush, illustrator Don Branch/Lou Sideris, art directors The United States National Parks Service, client Mural painting of fighting along Nelson Road from the battle of Lexington and Concord. 80 X 30 (photographically enlarged to 40' X 15'), oil on canvas. 2

Brad Weinman, illustrator Rikki Poulos, art director/designer Rikki Poulos Design, design firm National Academy of Recording Arts and Sciences, client Portrait of the band Greenday for the Grammy's program .

(series) Guy Billout, illustrator Guido Brouwers, art director Nike, Inc., client Notebook divider pages: Geography, Science, History. 8 X 101/2, watercolor and airbrush .

............... . . .

. ·. :-''·:.·~·,. . . ....

-------

i.,·,-

COMMUNICATIO

ARTS

Ins ti tu tio nal (series) Gary Kelley, illustrator Mike Purswell/John Davis/Rick Douglas, art directors Rick Douglas, designer Frontline Marketing, ad agency American Cancer Society, client Illustrations for the wine auction fund-raiser book Un Ete du Vin. Various sizes, pastel on paper.

100

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9 9 6

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102

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Institutional (series) Pol Turgeon, illustrator Peter Deutsch, art director Beth Russo, designer Deutsch Design Inc., design firm Center for Global Partnership, client Annual report illustrations. 111/2 X 171/2, mixed media.

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

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103

104

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9 9 6

Institutional (series) Philippe Weisbecker, illustrator Michael Mabry, art director Michael Mabry Design, design firm Deepa Textiles, client Brochure for custom made textiles.

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

A R T S

105

Institutional (series) Christian Northeast, illustrator Jason Gaboriau, art director/designer Goldsmith/Jeffrey, ad agency Robin Hood Foundation, client Fund-raising brochure for charitable group . 73/4 X 9, mixed media .

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9 9 6

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108

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Institutional (series) Brad Holland, illustrator Joachim Beutler, art director H. F. & P. Munchen GmbH, ad agency Haniel, client Calendar for Haniel trading corporation in Germany. 26 X 19, acrylic.

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109

Institutional Craig Frazier, illustrator/art director/designer Frazier Design, design firm Oracle Corporation, client Oracle Worldwide customer support brochure " Insight." 81/2 X 11 , cut paper. 2

Etienne Delessert, illustrator Mike Scricco/Glenn DeCicco, art directors Keiler & Company, ad agency Deloitte & Touche, client Anniversary book. 11 X 11 , watercolor and pencil.

Self-Promotion 3

(series) Sharon Scotland, illustrator/art director Postcard mailers. Various sizes, pen and ink.

110

ILLUSTRATION

ANNUAL

I996

co M MUNICATIO

ARTS

111

Self-Promotion Trisha Krauss, illustrator " Postcard mailer portrait of my dog Hector Berlioz as Diego Rivera and me as Frida." 9 X 13, acrylic on wood.

Joe Sorren, illustrator Stefan Hartung/Kevin Kuester, art directors Stefan Hartung, designer The Kuester Group, design firm Potlatch Corporation, client One from a series promoting a paper stock Vinyl. 34 X 40, acrylic on canvas.

Vivienne Flesher, illustrator Source book ad. 14 X 20, pastel on paper.

Greg Tucker, illustrator/art director/designer Communication Artists of New Mexico, client Poster image for membership round-up. 101/2 X 14, pastel on paper.

Craig Nelson, illustrator/art director/designer " Forever Friends" for promotion sheet. 40 X 30, oil.

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Self-Promotion (series) Patrick D. Milbourn, illustrator Postcard mailers. The Pool Shark, The Clowns, The Magician. Various sizes, oil. 2

Johanna Goodman, illustrator/art director/designer One from a series of trading cards. 18 X 26, oil and collage on wood.

Jonathan Carlson, illustrator/art director Postcard mailer. 7 X 9, scratchboard and gouache.

Michael Wertz, illustrator Mailer. 141/2 X 18, pastel and pencil.

COMMUNICATION

ARTS

115

Self-Promotion (series) Seymour Chwast, illustrator/art director/designer The Pushpin Group, design firm Mohawk Paper/Berman Printing/The Pushpin Group, clients Images from the 1996 cars calendar. 24 X 18, acrylic on canvas; digital; 24 X 18, acrylic on cardboard; 36 X 24, acrylic on metal; 24 X 18, pen and Celotak. 2

Gerald Bustamante, illustrator Don Sibley, art director Sibley/Peteet Design, Inc., design firm Weyerhaeuser Paper Company, client Brochure. 11 X 14, acrylic, cardboard, found objects, collage.

Dan Golden, illustrator/art director/client Mailer Punk Dog. 14 X 18, mixed media .

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9 9 6

COMMUNICATION

ARTS

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118

ILLUSTRATION

ANNUAL

1996

Self-Promotion Rick Sealock, illustrator Mike Burke, art director/designer Grenville Printing, Inc., client Promotional poster to go with a hot salsa label as a client gift. 133/4 X 191/4, mixed media. 2

Wiktor Sadowski, illustrator/art director/client Poster for a theater gallery showing Sadowski's work. 20 X 30, acrylic.

Joseph Lorusso, illustrator Portrait of Duke Ellington for a mailer. 14 X 11, oil.

C 0 M M U N I CAT I 0 N

ARTS

119

120

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9 9 6

Self-Promotion Philippe Lardy, illustrator Mike Lizama, art director Little & Co., design firm Cross Pointe Paper, client Brochure. 8 X 10, gouache. 2

Don Asmussen, illustrator Postcard mailer. 9 X 12, collage, pen and ink, watercolor.

Paul Davis, illustrator/art director/designer Pan Americana, client Poster. 12 X 16, acrylic on paper.

Gary Baseman, illustrator Fernanda Viegas, designer University of Kansas, client Promotional poster for speaking engagement. 24 X 36, silkscreen.

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121

Unpublished Carlos Nine, illustrator

J. Binzstock, art director/designer Illustration made for the Bologna Book Fair, part of a proposed book about Celtic fairy tales. 81/4 X 11112, watercolor. C Carlos Nine 1996

Dan Cosgrove, illustrator/art director/designer Dan Cosgrove Design, client

73/4 X 121/4, digital. C Dan Cosgrove 1996

Vicky Rabinowicz, illustrator Life, Growth, Freedom. 121/4 X 81/2, linoleum cut collage. C Vicky Rabinowicz 1996

Brad Lethaby, illustrator/art director Unused image for Lake Erie Ballet designed by Grinning Graphics. 24 X 15, oil on Masonite. C Brad Lethaby 1996

122

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9 9 6

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124

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Unpublished Thorina Rose, illustrator Alphabet poster given as a gift. 22 X 30, gouache. © Thorina Rose 1996

Brant Day, illustrator 14 X 20, mixed media. © Brant Day 1996

Traci Finley, illustrator/art director Lying to Yourself. 15 X 10, mixed media, watercolor dyes. ©Traci Finley 1996

Mark Ryden, illustrator Gail Anderson, art director Unused illustration for Rolling Stone article on CFS in children . 11 X 13, acrylic. © Mark Ryden 1996

5 5

Amy Crehore, illustrator Portfolio piece. 20 X 24, oil. © Amy Crehore 1996

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126

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Unpublished (series) . strator F b icatore, 111 u 30· Carol a r . · tings: 22 X , . Vertical pam · Coney Island _pa~ntm.gs~ X 22, charcoal and acrylic. horizontal pamtmgs. 3 © Carol Fabricatore 1996

C O MMU NICATION

ARTS

127

Unpublished Juliette Borda, illustrator Under the Big Top. 71/z X 91/2, gouache. © Juliette Borda 1996

Brian Cronin, illustrator Jane Frey, art director Unused illustration for Time "Wasted People." 11 X 14, pen and ink and watercolor. © Brian Cronin 1996

Brad Holland, illustrator Eddie Nunn, art director Janet Longstreth, designer Rejected cover for Neiman Marcus Christmas catalog . 12 X 16, acrylic on panel. © Brad Holland 1996

Laurel Long, illustrator Little Red Riding Hood. 13 X 17, oil on Masonite. © Laurel Long 1996

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129

Unpublished Jean-Philippe Vidon, illustrator

A Horse With a Habit. 8 X 8, ink and collage. © Jean-Philippe Vidon 1996

Scott Petty, illustrator Karen Lairamore, art director/designer

The Heart of a Madman. 9 X 71/2, mixed media. © Scott Petty 1996

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9 9 6

ELCO ME

T 0 PI A. FOR CENTURIES, PEOPLE HAVE TRIED TO DESCRIBE UTOPIA. WELL, WE'VE FINALLY MANAGED TO GET IT DOWN ON PAPER. FROM THE LUXURIOUS AND ELEGANT UTOPIA PREMIUM TO THE UTILITARIAN UTOPIA THREE. IN GLOSS, DULL AND MATTE FINISHES. IN BRIGHT BLUE WHITE OR WARM IVORY SHADES. IN SHEETS AND WEB. IN NEARLY EVERY BASIS WEIGHT AND SIZE. IN STOCK. FOR SAMPLES AND THE NAME OF THE MERCHANT NEAREST YOU, JUST CALL 1-888-4-UTOPIA.

APPLETON PAPERS

6 PR I NTEO ON UTOPIA PREM I UM BLUE WHITE GLOSS UTOPIA... IS A TRADEMARK OF APPLETON PAPERS INC. 0 1996

Editor's Column BY PATRICK COYNE

his was a record year for the Illustration Annual competition. For our 37th annual exhibition, we received 6,008 entries, a 121,4% jump from last year. Our distinguished panel chose 202 illustrations for inclusion in the Annual, representing the work of 160 different artists.

Kunz

Bak er

A quick look at the winning entries shows increases in books, editorial, for sale and unpublished categories. Decreases were registered in advertising, self-promotion and institutional. The decline in institutional is misleading because nine of the fifteen winning entries are series (containing up to five illustrations). When viewing this year's selections, you'll see that the definition of commercial illustration continues to expand. And, while the influence of digital technology on illustration continues to grow, "mixed media" has become the most frequently cited approach in this year's book. This year's jurying began Sunday morning, April 14th, 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 and proofs.

Froelich

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 divided so each team screened half of the entries submitted. The judges alternated between viewing a carousel of slides and then a set-up of print entries. Any juror could place an illustration in the finals by handing a printed piece to a member of the CA crew. Slide entries were screened by checking the "in" or "out" column on prepared scoring sheets.

Feaster

Pallas

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. Three or more votes put an entry into the Annual. These accepted entries were treated as equals in the design of the Annual. I would like to thank our jurors for their conscientious efforts in making the selections for the 37th Annual Illustration Exhibition. C 0 M M U N I C AT I 0 N

A RT S

137

Editor's Column

Gary Robert Baker is owner and creative director

of the Santa Monica, California-based Baker Design Associates. The award-winning firm, established in 1984, specializes in creating effective design solutions to meet clients' marketing, corporate and financial communication objectives. Prior to founding his firm, Gary received a BFA from UCLA and worked at some of the top design firms in Los Angeles.

Kristine Pallas is a founding partner and creative director of Pallas Advertising, San Francisco. Her work as an art director has received numerous awards from many major publications and organizations such as Archive, Communication Arts, Art Director's Annual and Society of Illustrators. Before founding Pallas Advertising in 1985, with her husband, Kristine was an art director at McCannErickson, D 'Arcy MacManus and J. Walter Thompson.

Scott Feaster is the design director of American Way,

the inflight magazine of American Airlines. The magazine is based at American's headquarters in Fort Worth, Texas, where a staff of five designers creates 24 issues annually. At the time of the judging, Scott was engaged in a redesign of the magazine to debut in September of 1996. He earned a B.A. in graphic design from East Texas State University.

It wasn't more than a few days after mentioning the loss of Walter Landor and Bradbury Thompson in my March/ April 1996 editor's column that I received more bad news. First, the passing of Walter Herdeg, co-founder of Graphis. As editor and publisher for 42 years, Herdeg inspired

Janet Froelich has been the art director of The New

several generations of designers, especially in this country,

York Times Magazine since March, 1987. Prior to that she served as deputy art director of the magazine and as one of the principal designers of the Daily News Tonight Paper. Janet has won numerous gold and silver awards from the Art Director's Club, the Society of Publication Designers and the Society of Newspaper Designers. She received a Bachelor's Degree from Cooper Union and a Master's from Yale, both in the Fine Arts, and was a painter and teacher for ten years before beginning her career as an art director.

by providing a much-needed global forum on creativity.

Anita Kunz is a Toronto-based free-lance illustrator.

Born in Toronto, Anita graduated from the Ontario College of Art in 1978. Since then she has lived in London, New York and Toronto, working for international magazines, book publishers and advertising agencies. She has been honored with prestigious awards and her paintings, a combination of watercolor and gouache, have appeared in galleries worldwide. Her works are in the permanent collections at the Library of Congress and Musee Militaire de France in Paris.

138

In Memoriam

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Helmut Krone, the legendary art director during the golden years at Doyle Dane Bernbach and probably best known for the "Think Small" ad created for Volkswagen, passed away this spring. His reductive approach revolutionized advertising art direction in the l96o's and continues to be an influence decades later. Saul Bass is one of a few designers to ever achieve fame in multiple disciplines. His accomplishments in graphic design alone (creating some of the largest corporate identity programs in the world) would be sufficient to describe a successful career. And yet Bass also excelled as a filmmaker (winning an Academy Award for Why Man Creates) and as the acknowledged master of movie title design (over 40 titles including The Man with the Golden Arm, Anatomy ofa Murder, Psycho and West Side Story). We have been privi-

leged to publish several articles on Saul's work and to have him participate as a judge. He will be missed. •

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Contributors

Richard Koman is a

world who are working on

Northern California free-lance

social issues. Sterling is Presi-

tions planner and organization

Kathleen Maher is a free-

writer and editor specializing

dent ofWorldStudio Founda-

development consultant, spe-

lance writer specializing in

in graphic design, publishing

tion's Board of Directors. Prior

cializing in improved effective-

computer graphics of all

and multimedia technology.

to forming WorldStudio, he

ness for firms and departments

description. She is also a con-

He is co-author of The Mosaic Handbook, published by

was a principal in the New York

marketing products of the

design firm, Doublespace. He

imagination. He is co-founder

magazine and 3D Design maga-

O'Reilly & Associates and

zine. Based in San Francisco,

wrote the Design Issues column edited by DK Holland.

of Mindsprouts™Idea Labs

editor of the Global Network Navigator's I. Media Center, an

Nina Schuyler is a Bay Area

ing Impressionsc" shared values

sulting editor for Interactivity

California, Maher spends enormous amounts of time in movie theaters staring at big screens as a relief from staring at little computer screens. She went to Austin, Texas, to interview

journalist and lawyer who

tracking study. He wrote the

about online publishing. A

writes about technology related

Advertising column, edited by

frequent contributor to CA,

issues. This issue's Legal Affairs

Tom Monahan.

he reviewed Painter 4.0 in

column is an excerpt from Ms.

this issue.

Schuyler's book on the busi-

Don Arday for the Technology

ness aspects of multimedia

Feature.

Francisco-based free-lance

design. This column is edited

interactive script writer. McMillan's Retirement Plan-

by Tad Crawford.

Wendy Richmond is recog-

nized internationally as an

and the author of the "Work-

Internet-based publication

Sam McMillan is a San

Columns

Book Reviews Byron Ferris worked as a

creative director at McCann-

Barbara Gordon, an artist

ning Kit software for T. Rowe

Erickson, as a partner in his

and photographer represen-

Price Mutual Funds has sold

tative since 1969, is a past president of the Society of

own advertising agency and as head of Design Council studio. He helped found the

Photographers and Artists

American Advertising Museum

over 60,000 copies and was cited as "easiest to use" by the

innovator and commentator

Wall Street journal. When not

on visual communication and

staring at a 9-inch Mac SE

Representatives and member of the Society of Illustrators

in Portland, Oregon, and is

technology. Her book, pub-

screen, McMillan can be found

and the Graphic Artists Guild.

an updated timeline on the History of Advertising.

lished by Van Nostrand

riding his mountain bike in the

She is also the author of two

Reinhold, is titled Design

Marin Headlands. He wrote the

books, How to Sell Your

& Technology: Erasing the

Technology Resources column.

Boundaries. Ms. Richmond

David Sterling is founder

Photographs and Illustrations (Allworth Press) and Careers and Opportunities in the Graphic Arts Field (National

started designing with and for computers in 1977 at MIT.

and principal of WorldStudio, a cross-cultural, multi-discipli-

now designing the exhibit for

Angelynn Grant majored in

mathematics at Harvard, worked on a Ph.D. in topology at Brown and received an

nary design firm and non profit foundation that seeks to

Textbook Co.). Ms. Gordon

M.F.A. in graphic design from

has been a guest speaker and

Yale. She is an associate profes-

seminar participant at many

sor of graphic design at the Art

was a participant in the forma-

deepen the involvement of the creative professions in a

professional organizations and

Institute of Boston and at the

tion of Bitstream and Light-

variety of social agendas. World-

colleges including the art

Rhode Island School of Design,

speed Computers. She is a

Studio has developed a number

directors clubs of New York,

where she teaches an advanced

recipient of many design

of educational products, includ-

another hat in this issue as a book reviewer.

Since then, she has led teams to develop computer-based tools for the graphic arts, and

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Todd Lief is a communica-

Features

awards, including a National

ing a line of arts projects for

New Jersey and Connecticut; AIGA; ASMP; Advertising

Endowment for the Arts grant.

children. WorldStudio Founda-

Photographers of America;

She taught design at the School

tion, in New York City, pro-

of the Museum of Fine Arts,

vides scholarships for ethnic

Fashion Institute of Technology; School of Visual Arts;

Boston and currently teaches

minorities and disadvantaged

Pratt and Portfolio Center. She

at Northeastern University and

students who wish to study the design disciplines and also pub-

heads her own firm, Barbara

is an associate in education at Harvard University. Her col-

lishes Sphere, a look at artists,

New York City. She has written

umn, Design Technology, has

architects, designers and other

on free-lance issues for CA

appeared in CA since 1984.

creative people around the

since 1982.

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Gordon Associates, based in

typography class. She wears

Letters to the Editor Israeli/Palestinian Posters

Koman's review of Adobe PageMaker 6.o in your March/April I996 issue [page I44J begs a response. To use Mr. Koman's boxing metaphor, the article contains several "low blows. "

While admittedly intrigued by the fascinating title of Dana Bartelt's article, "Israeli and Palestinian Political Posters," [March/April 1996, page 52] I nearly choked over the author's disregard for historical truth.

Rather than reiterate some of the unfortunate comments here, please let me point out a few facts. According to International Data Corporation, Adobe PageMaker is the world's leading professional page layout software. PageMaker is by far the leader on the Windows platform and competes quite strongly, despite Mr. Koman's assertions, on the Macintosh.

I. The massacre of thousands of

Palestinians at Sabra and Shatila was undertaken by Lebanese Christians, who for years had been terrorized and murdered by their Palestinian Arab brethren. 2. The author mentioned the expulsion of Palestinians but failed to acknowledge the expulsion of 600,000 Jews from Arab countries.

Adobe PageMaker 6.o offers a number of leading-edge features for professional publishers. Curiously, the feature that would likely be the most appealing to your readership of graphics and publishing professionals was completely overlooked in the review. PageMaker 6.o is the first desktop software product to support Pantone's Hexachrome technology, an ultra-high-fidelity six-color process printing system. Surely your readers would be interested to learn about a technology that is capable of producing rich colors never before printable using traditional CMYK. Add to this the support for Color Sync and you have the most complete set of color capabilities available in any desktop publishing product on the market today.

3. In 1948, Israel was attacked by five Arab armies, not just the Palestinians. 4. Jerusalem is most sacred to Jews and Christians. For Moslems, it is only third in sanctity to Mecca and Medina. Finally, I found it most interesting that the Israeli artists broached the topic of peace and articulated the pain of the Palestinians in the context of their work. For 48 years, Israel has had to fight against murderous Arab aggression and anti-Semitism. In spite of this not one of the Palestinian posters ever addresses the suffering that Israel has experienced at the hands of its Arab neighbors. JosH TEPLow EAST BRUNSWICK, NEW JERSEY

In addition, PageMaker 6.o was the first and remains the only professional page layout software to ship HTML and Adobe's Portable Document Format (PDF) authoring capabilities in the box. While PageMaker's HTML features are not as strong as a dedicated HTML author such as Adobe PageMill, PageMaker 6.o provides a vehicle for traditional publishers to enter the world of on-line publishing. The HTML features were recently updated-free of charge-in the PageMaker Enhance-

Adobe PageMaker 6 .0 It is quite rare for Adobe to respond in writing to a review of one of our products. With the world's leading line of publishing and graphic arts software we are fortunate to receive tremendous support from our millions of users and-usually-from the editorial community. However, Richard 144

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ment Pack and Adobe will continue to develop PageMaker into a more powerful tool for online publishing. An alternative online solution is Adobe's PDF, which, unlike HTML, will preserve the layout of a graphically rich page. PageMaker 6.o provides complete PDF support and includes a version of the Acrobat Distiller in the box. Overall, there are more than 50 new features in PageMaker 6.o, almost all of them directly targeted to your readership. And as we develop new versions of PageMaker, we'll incorporate even more professional-level features to make PageMaker the best tool for graphic and publishing professionals. Lo RI B IRTLEY SENIOR PRODUCT MARKETING MANAGER ADOBE SYSTEMS, INCORPORATED SEATTLE, WASHINGTON

Richard Koman Replies PageMaker may well be the tool ofchoice for the business user; but when it comes to the graphics market Adobe has inherited the difficult job ofconvincing professional users to give up Quark (yes, most designers do use Quark) in favor ofPageMaker. That was the question the review addressed and our bottom line was, yes it's better than it was; no, it's not worth switching to. While it's true that we did not touch on many ofthe features in PageMaker (I would concede that Communication Arts should do a better job offollowing through in the print production process to test how useful things like the Kodak Precision Color Management System really are), Adobe's job here is not to add more features (how many designers really use hi-ft six-color printing?) but to fundamentally improve the day-to-day operations ofthe program. That may yet

happen in the next release of the program but it did not happen in the current version- at least not to the degree that it would unseat Quark, in my opinion. I haven 't seen the upgraded H TML features, but it might be a better strategy to bundle PageMill to handle H TML, while continuing to provide PDF support directly in PageMaker. In any case, the language ofthe Web is H TML and H TML authoring, not PDF authoring, is the problem that needs to be solved. I look forward to Adobe rewriting PageMaker from the ground up for the next version and to a marketplace in which PageMaker gives Quark a serious run for professional users ' money.

In Reply to Richard Koman's Review of PageMaker 6.0 I find his article to be true, but only to a point. Quark is a nice program but so is PageMaker. Each has its strong points and its weakness. And history has a lot to do with the position that Quark has in the designer community. When Quark came out, with the control box for working type and rotation, all a person needed to do was click. But the service bureaus wanted Quark files because they could go to film or paper from the program, they didn't need to build a postscript file to rip. Over the years more than one service bureau would tell us that they preferred Quark files because they couldn't guarantee that a PageMaker file would work and PageMaker would take a longer time for output. There were a lot of output problems with PageMaker, but Quark wasn't God's gift to the service bureau, either. At first Quark couldn't do bleeds, and its auto trapping sucked. Even today there are low end bureaus that only want Quark files. Since PageMaker 6.01 came out, I'm hearing something different from

the service bureaus; for the first time they are willing to take any file without a preference to Quark. I was cold by a tech that PageMaker 6.o is strong and has a lot of pluses and it flies through their trapping system.

program needs to read these profiles

You can load any number of Color

Every program is using the 8.o through

Management systems into PageMaker

8.3 print driver, but not Quark, it's 7.1 and that is a problem. When I have to trace down a crash, 50% of the time it's the printer driver. In fact, we have more crashed and printer problems

and pick the one you want to use; 6.o came with Kodak's and 6.01 upgrade

you have (type of scanner, monitor and

with Quark than all the other agency

printer) into the information section

programs put together (MS Word, Excel, PageMaker, Illustrator, Free-

of the Color Management system. Then, What You See Is What You Get.

before you can do any on-screen color proofing. Many manufacturers are including profiles with their programs or you can get them from their BBS.

came with ColorSync 2.0. You need to load the color profiles for the system

hand and Photoshop).

In closing, I would like to say that

As to Mr. Koman's reference to Page-

designers and art directors can't just do

Maker plug-ins, all I can say is why do we need to buy a Quark Xtension to get a pasteboard? Why buy any

all their work in one program, because

Xtensions to get any functions that are included in all other graphics programs? I believe Quark is in the Xtensions business. It wouldn't take

the programs don't do it all. I am personally hoping in the next two years there will be a good, dean program out there. It may be Quark, PageMaker, Illustrator, FreeHand or some other yet unnamed or unwritten. Although PageMaker 6.o has a few of Illustrator's commands and that is a start.

much to turn a $700 program into something over $1,000 or more. I just hope Adobe doesn't take the same road

DoN RoBERTs

with PageMaker.

REPRODUCTION GRAPHICS &

And forget about using PageMaker or Quark for HTML; it is done either by

TECHNOLOGY MANAGER LORD, SULLIVAN & YODER, INC.

writing code or by using a program that does only HTML. If you need to

COLUMBUS , OHIO

do a Web page, try PageMill at $99· it conforms to W3 standards, and it forces you to build a root directory. It works well and is damn easy to learn and it even has real drag and drop. I

Errata

expect that Adobe will be putting drag and drop in their other programs, but PageMaker has a form of it now. Whenever I read an article comparing Quark and PageMaker, none of them address on-screen color proofing. Maybe that is because Quark doesn't and PageMaker does. If you wane to do on-screen proofing, you need to calibrate your scanner, monitor and printer to build the profiles, and your

On page 102 of the May/June issue, in the credits for the article "Olympic Design 1996," the image from the book, The Celebration ofthe Century, shown on page 103, should have been credited to RJ Muna, not Jim DiVitale.

Address correspondence to: Letters to the Editor, 4Io 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. C 0 M M U N I C A T I 0 N

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Texas Planes BY KATHLEEN MAHER f luck is simply the ability to order your life the way you want, then Don Arday is a lucky man. Arday, who is an associate professor at the University of Texas at Arlington, made several conscious decisions over the course of his career that allow him to live comfortably in his DeSoto home, outside of Dallas, with his wife and four children and conduct his design business in his upstairs studio. "My family is very important to me, " says Arday without a hint of compromise. 'Tm able to work up here during the day, and my daughters can come up and show me some little thing they've done. "

Hardware • Apple Macintosh PowerPC 8100/80AV with 56MB of RAM and 2MB VRAM, 500MB internal hard drive, internal CD -ROM drive and Sony Multiscan HG 17-inch color mon itor • Apple Macintosh llci w ith 16MB of RAM , E-Machines FX video acceleration ca rd and Sony Multiscan HG 17-inch color monitor • 1GB Quantum external hard drive • 100 MB Quantum external hard drive • 1OOMB Iomega Zip removable-cartridge drive • Sanyo external CD-ROM drive • M icrotek 11 24-bit color scanner • Teleport Platinum modem

Software • Macromedia Freehand

Arday returned to teaching after putting in long hours in the field of graphic design. He has found that teaching gives him the freedom he needs for his work and his family. Yet his background as a professional has also prepared him as a teacher. In any field, it is often a common notion that those who teach are somehow out of touch with the professional world. It's an irritating notion to Arday who finds that his teaching has such a strong influence on his professional work. "I get so much back from teaching, " he says. The act of trying to communicate something as ephemeral as the affect of an element in a piece of art, forces him to consider the act of communication itself. "You know my kids ask questions like, why is the sky blue. Well, my students ask the same kinds of questions. For instance, why should I use a sans serif type?" Arday is the kind of man who answers those kinds of questions. In teaching, "you have to understand the philosophy that's behind all the work that you look at. " In his art, too, Arday, cuts to the bone. 'Tm trying to cut unnecessary things out of my art, trying to make it clean and clear, rather than elaborating. " As an undergraduate at the Cleveland Institute of Art, he followed the fine arts track and imagined that he would become an illustrator. Instead, he took a course in typography and from there became fascinated with graphic design. He continued his education at Syracuse University where he prepared to become a college professor and majored in Advertising Design. 'Tm kind of a minimalist. I approach my art in the same way a designer designs a logo. " And, in fact , he has been featured in Communications Arts for his earlier logo designs. "A logo is very difficult, " explains Arday,

• Adobe Photoshop Right: This image promotes two concepts for Digital Output, a San Diego-based color desktop service bureau . Harnessing the unlimited potential of electronic publishing and existing in an environment defined by the cyan, magenta, yellow and black color standard. The image also serves as a reference of all of the services Digital Output provides. Bill Oxford, creative director; Oxford & Drozda, ad agency; Jon Swaim, Digital Output, client.

• Kai 's Power Tools • KPT Bryce

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"because you have to get personality, and a philosophy, and a message into a design that only has three shapes in it. I think about my illustrations in the same way." His work is indeed spare. Strong elemental shapes, lines and blocks of color come together in striking images that pack a message. "I want to create work that people will really look at." To put the way he thinks of his work into perspective, Arday draws a line from his work to the work of the turn of the century advertising artists. "That work always integrated type into the design. Also, the idea of putting the message as close to the center of the composition as possible is an early twentieth century advertising technique." His work is most frequently compared to A.M. Cassandre, a comparison Arday will acknowledge, but dismiss as glib. As a professor of art he's very aware of many influences in his work, but he is much more interested in how the style he has developed over the years serves the work he is doing now. "The art directors I've worked with are conceptual art directors and they've picked me because of the look of the piece and because I'm solving a problem." Arday enjoys work that presents a conceptual challenge. "I enjoy the brain work; solving a piece of communication is like solving a riddle." He describes a common situation that allows him to exercise his problem solving skills. "Because I work on the computer, clients will often want an illustration and they'll want to pull out four objects to use as design elements. The objects have to be the same size and mass.

"I usually present an outline pencil. I don't get on the computer until we go to final. " Arday says that because of the preparation that goes into his work, and because he's confident in the art directors he works with, the pencils are more often accepted with minimal changes. The pencils then function as templates for Arday's computer work. H e scans in the drawings and brings them in to Freehand for refinement and Photoshop for additional processing. He also relies on KPT Bryce and Kai's Power Tools to add additional effects. Something of a purist, Arday never uses acquired images and he rarely reuses elements he's created before. Instead, the computer offers him the same kind of freedom he strives for in all areas of his life. "My entire studio is in my computer. As long as it takes to boot up the computer, I can start working. I don't have to squish out a bunch of

That kind of job really challenges you to keep the concept pure, keep the overall statement satisfying and deal with the logistical limitations of the project." Even before he takes on a job, Arday is careful that all parties understand each other. 'Tm very selective about the assignments

paints, the preparation is very minimal. I have every kind of art supply you can imagine from pastels to air brushes to paper surfaces. " However, the computer also panders to an artist's vice as well. "What's annoying about the com-

I accept. I like to have a good working relationship with art directors and clients."

puter is that you can edit the thing until Tuesday. I edit illustrations terribly, before I'm done I'll pull half the stuff

Arday is very conscious of the conceptualization process. "For the Toxic "Waist piece, I played around with the idea of misspelling the word waste (as waist) and it gave me the whole basis for the composition. It allowed me to fuse these issues together and get across what it does to us. I knew it had to use the skeletal frame, I knew it had to be his waist." But even in cases where type is not used or is not as strong an element in Arday's work, he is trying to pack as much information as possible into a strong piece with few elements in it. "If you look at my work you're going to see things that exist that aren't there. For instance, if you're

148

the lines down on paper and uses it as a template for the next phase, which takes place on the computer. ''I'll draw something fourteen or fifteen times, cut it up, reposition it, rescale things. I use circle templates and triangles and I compute angles. I'm really closely tied to the geometry. Take for instance, The Virtual ShtetL: if you look at that very carefully, you see that the edges of shapes lead you to other edges of other shapes that are across the composition. Everything is welded into a kind of superstructure that just makes you move and address the composition in a certain manner. After I set the scale, and how I want to use the edges, I try and get everything in the composition to be interrelational.

Right: Illustration created for an article in Caring, an institutional magazine produced by Memorial Healthcare System for its patients and subscribers. The author of the article "Body Battles: Your Lymphatic System at Work" used many colorful verbal metaphors, alluding to descriptions of war, to explain the workings of the lymphatic system . The illustration takes the comparison a step further combining the unlikely reality of military weaponry with the symbolism of the body as the field of battle. Mark Geer, Geer Design, creative director; Tarbox Kiersted, writer. Created for a self-promotion mailer. Heroin Addiction illustrates a social problem that largely remains faceless and nameless.

looking at The Smoker, all you're really looking at is a line, a triangle and rectangles."

This illustration appears on sales and information materials for Agentworks, a software utility developed by Legent Corporation. Agentworks snoops around, examines, reports and fixes problems at all routine levels of UNIX Operating Systems. Ann Marie Ternullo, creative director; Axis Communications, ad agency/studio.

To begin a piece, Arday relies on pencil and paper. He gets

Created for a self-promotion mailer. A play on words Toxic Waist.

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out. The trick is knowing when to stop. " Knowing when to stop is a trick Arday has mastered. Before settling into his home studio, he worked in a high powered design firm that demanded much of his time. He felt that he didn't see enough of his family and he wasn't able to put enough thought into his work. "You're completely on someone else's clock. You may get a call that the company is taking the client out to dinner and you have to do that." Almost worse, however, for an artist like Arday, who is so concerned with what his work communicates, are time constraints that don't allow him to fully think out a project. "I see a lot of art where the creators don't even know what they're saying and that's because they have to crank the stuff out so fast. " After a nice long conversation with Don Arday, the last thing you would say is that he is a man unaware of what his work communicates. Up in his studio above his family, Arday has weeded out the extraneous elements in the same way he edits his art. "I don't mess around with time. When I sit down I have a concept. I don't have any more time to waste. " • Left: Illustration created for an article in Byte magazine. " The ISDN LAN Connection," highlights the technological challenges involvi ng incompatible ISDN (Integrated Services Di gital Network) standards, particularly when leaving the United States to connect to a specific LAN (Local Area Network) abroad. It's the equivalent of having to switch modes of transportation several times to reach a single destination. Jan Muller, art director; Elke Gronert, writer. The ability to publish images on the Internet has created a new dilemma involving copyright and ownership. The article, " Handcuff Digital Thieves," appearing in Byte magazine discusses the sophisticated labeling systems digital artists are investigating to help them protect their work. The image graphically represents fingerprinting, one method of imbedding proof of ownership into the work itself. Donna Sweeney, art director; Philip Chudy, writer. Mural for Stat Cat, a desktop prepress bureau, which began as most service bureaus, before computers, as a stat house. To reinforce the fact that they now specialize in customized image generation and color prepress services, the 12' x 14' outdoor mural was commissioned by owner Bill Jenkins. The illustration brings together the subjects of film, color, quality control and of course, the cat. This page: Created as a self-promotion mailer, The Smoker portrays the inner struggle taking place for individuals who are caught between knowing smoking is harmful or addictive, and feeling that it is enjoyable or fashionable . Because of the evidence that smoking is harmful, smokers have become targets for criticism regarding social health, individual's rights and political correctness . Cover illustration. With the overwhelming popularity of the Internet in mind, the Baltimore Jewish Times devoted a cover story to "The Virtual Shtetl' ." It had come to the attention of the editors that many Jews, through relocation or for other reasons, had lost touch with the Jewish community and traditions. Through sites available on the Internet, Jews all over the U.S. have begun to reestablish ties to their religion . Robyn Katz, art director; James D. Besser, writer.

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The A.H . Belo Corporation owns and operates newspapers and network-affiliated television stations in seven U.S. cities. Appearing as the cover of their 1994 annual report, this illustration integrates the major components of multimedia to create a discernible human persona. Janet Cowling, designer; Alan Lidji, creative director; Krause, Lidji, Eickmeyer, ad agency.

Bullheaded from a self-promotional series on personalities. Many people could have been the inspiration for this image; any similarity between this image and any actual person is purely coincidental.

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The Power of Language BY WENDY RICHMOND

e're pretty agile with language. We play with it, trying new phrases and throwing out old ones, allowing our vocabulary to change according to our needs and interests. But do we realize the profound influence that language has on our ideas, our perceptions, the way we think? The vernacular of different cultures, genders, age groups and professions says more, so to speak, than we sometimes realize.

As professionals in an inconstant and increasingly technology-driven work environment, we often take on and adapt to new language. There are pros and cons. Language can be mind-expanding, giving us ways to articulate concepts that were previously unimaginable. But language can be restrictive, excluding expressions of feeling or culture. When we adopt a new language, we may find that we have lost the essence of what we were trying to say in the first place.

An example of this dilemma is described in the article, "Sex and Death in the Rational World of Defense Intellectuals" by Carol Cohn in Signs: The Journal of Women in Culture and Society [University of Chicago, Vol. 12 No. 4, 1987]. Cohn was a college instructor attending a summer workshop in nuclear weapons, nuclear strategic doctrine and arms control taught by "defense intellectuals. " After the workshop ended, Cohn continued her studies for a year. "I found myself aghast," Cohn says, "but morbidly fascinated-not by the nuclear weaponry, or by the images of nuclear destruction, but by the extraordinary abstraction and removal from reality that characterized the professional discourse. "I had long believed that one of the most important functions of an expert language is exclusion-the denial of a voice to those outside the professional community. What I found was that no matter how well-informed or complex my questions were, if I spoke English rather than expert jargon, the men responded to me as though I were ignorant, simpleminded, or both." In order to be heard, she adapted her everyday speech to the vocabulary of strategic analysis. "I spoke of 'escalation dominance' and 'preemptive strikes.' I found, however, that the better I got at engaging in this discourse, the more impossible it became for me to express my own ideas, my own values. To pick a bald example: the word 'peace' is not part of this discourse. As close as one can come is 'strategic stability. "' To speak the word peace "is to brand oneself as a soft-headed activist instead of an expert."

Her most chilling realization: "As I learned to speak, my perspective changed. I had not only learned to speak the language: I had started to think in it. Its questions became my questions, its concepts shaped my responses to new ideas. " As I read Cohn's observations, I thought about how easily this happens. When you enter another profession's world, and they hold the position of power, you must be the one to accommodate to their language in order to be heard. It's natural to want to solve the problems at hand, to use your intellect, to show your ability. I remembered my own first experience working with computers. Though it's inconsequential when compared to developing nuclear weaponry, the circumstances are parallel. In the late 1970s, I was at MIT working on a project to create typefaces for video display. I learned the language of bits and bandwidth: a language of numbers. I began thinking in numbers, judging the value of my work in terms of numbers. For example, we were proud of techniques that made smaller characters legible, thus allowing more characters in a line. We proudly bragged about getting 70 characters across the screen, with as many lines of text as possible. (And of course no leading.) The individual characters looked good but the text was a nightmare to read. I suddenly realized how foolish we were to substitute a false, numerical goal for the real, original goal of legibility. However, I also learned a language that opened a new way of thinking. I learned that each pixel is represented by a numerical assignment, and the number can be endlessly and effortlessly changed. I now had access to guilt-free experimentation. I understood the concept of "what if." Twenty years later, a colleague of mine is making a video that requires sophisticated programming, and she is working closely with a programmer at MIT. Jolie describes the effects she's looking for by using her own language. She says to Doug, "I want the words to fade in and out, to appear like blue buoy lights at night; not quite a blink, but leaving an impression, almost like a sound that lingers. " She could have said, "I want a two second dissolve at five second intervals." Instead, she conveys a feeling, using senses and memories. Doug translates the feeling into his language, and together they make sure that the original intention is achieved, or they discover something new. They preserve their respective languages, and they communicate. Language is our primary way of expressing our ideas and our emotions. Being conversant in a new language certainly opens doors, and it's often a struggle to maintain your own voice once you've passed through those doors. As you master new technology, it's even more important to be aware of the power of language to color and shape thoughts. If you lose your original goals and vision, what's the point? • © 1996 W. Richmond

C 0 M M U N I C AT I 0 N

A RT S

157

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Painter 4.0 BY RICHARD KOMAN

o one will ever complain that Painter 4.0, the latest version of Fractal Design's "natural media" program, isn't rich enough. It is as decadent as a chocolate sandwich on buttered bread. The program is a celebration of possibilities. All the riches of Macintosh graphics laid out before you in a single gluttonous program (14MB of RAM required on a PowerMac), not too neatly organized (palettes emerging from menus stashed in more palettes), but incredibly delicious .

That pesky interface issue does crop up in Painter, whose manual-which ·prefers the oblique to the repetitive-is not much help. An example of this is all the color options; the excellent color picker is on the Art Materials palette, which also contains a color menu for additional options. Then there's the Color Set palette, a handy little sheet of color chips, which makes it easy to select your favorite colors. You might think you'd edit these colors within that palette, but no. Use the Color Set command from the Color menu on the Art Materials palette to get another palette which lets you specify color sets and control their presentation in the Color Set palette. Yup, it's confusing.

160

There are literally an infinite number of variations once you get into the advanced controls. Brush controls let you make your own special brushes in which you determine brush tip style, size, angle control and spacing. The spacing menu lets you choose what kind of strokes your brush will draw and how many "bristles" are on the brush. You can also control randomness-how "dabby" your stroke is. Another palette lets you create a bristle effect to your brush. How thick are your bristles? How do they clump together? How close are they? This level of detail is what makes Painter a program like no other. The folks at Fractal have really looked at what makes real brushes behave the way they do and built algorithms to handle each possible variable. I won't go through all of the palettes here (there are controls for a rake stroke, paint behavior, water paints) but I do want to mention the Sliders palette, which lets you

But ultimately, this is a nit (a not insubstantial one, however) because the program is just so amazing. Start with Painter's core-natural media painting. The different media types, the wide range of variations, the fascinating and subtle ways that brushes can interact with images is incredible. If you're not familiar with Painter let me give

you paint in reality, the width or the angle or even the color of your stroke changes as you paint. That's what the

you a sampling.

Sliders palette controls.

There are pencils and paintbrushes and erasers and pens and crayons and airbrushes, each with their own dozen or so variations-the camel hair brush, penetration brush, big rough out, loaded oils, coarse hair and many moreand that's just for paintbrushes. Then there's the cloner brushes, which like Photoshop's rubber stamp let you pick up pixels from one part of an image and replicate them elsewhere, but with a fantastic difference. Cloner brushes transform pixels into a brush stroke of your choosingeven those in the style of Van Gogh or the Impressionists. Even better, clone an entire image and repaint it in chalk, oil brush or driving rain, among other options.

There are eight sliders for attributes like size, jitter, opacity,

determine how a brush stroke changes as you use it. When

color, bleed and so on. You move any one or all of these sliders to one of the control factors: bearing, tilt, pressure, direction, velocity, etc. For instance you can set the size of the brush based on how fast you paint, and the color of the paint based on the pressure you apply (pressure assumes you're using a pressure-sensitive stylus). If you paint hard and fast, both the brush size and paint color will change as you stroke. An important part of Painter's natural feeling is its use of textures. Choose a paper texture as a background or use preset textures as the basis of applying effects like glass distortion. One of my favorite things to do is to apply a

The richness is almost frustrating because there are just so many possibilities. A great addition to the documentation is the Painter Power Palette Picker, a swatch book that shows all the effects and variations.

will be applied. (Painter's CD comes with a number of

Of course that only covers the preset behaviors for brushes.

paper libraries or you can make your own textures from

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

A N N U A L

9 9 6

paper texture to an image and play with the sliders to determine how much grain, shininess and reflectiveness

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scanned or computer-generated images.) The Surface Texture dialog includes lighting controls, which let you

Painter 4.0 includes a tool for making mosaics and tesselations (basically mosaics with round pieces instead

position several light sources and control brightness ,

of square ones). You can create some dramatic results

concentration, exposure and light color.

with these tools, but they have room for substantial

In the figure shown, I started with a mosaic I created (I'll describe that function later), filled the image with a gold

improvement. My chief complaint is that the Mosaic tool Mosaic command puts you in a special mode that locks

color, then applied the luminance of the original mosaic image-voila, instant emboss. To make things even more

you out of the rest of the program except for the color

interesting I shined two colored lights on the center of the image.

various colors for tiles, change the width, length, spacing

When it comes to image controls and special effects, Painter has some powerful controls, as good as Photoshop's in most cases. There are curves and levels for tonal control, the ability to change HSV values for global or selected colors, the ability to posterize to a specified color set and so on. Rather than Photoshop's rather techy effects options, all Painter effects can be applied by paper grain, image luminance, original luminance, uniform color or mask. The results are quite satisfactory, even if you can't perform all of Photoshop's image tricks.

162

is essentially a freehand drawing tool. Running the Make

palette. As a freehand tool, it's pretty cool. You can pick and amount of grout, or switch to random mode and allow more variation among tiles. But I couldn't shake the feeling that it should work like a cloner brush. I wanted to paint Mosaic tiles over a photographic image and have the program pick up the color values of the cloned image. I still suspect there's a way to do this , but I just couldn't find it. Tesselation hides its mathematics less well than Mosaic. You create tesselation areas by adding points and the program draws lines between the points. Fortunately

Painter's focus and surface controls are truly amazing. The

there are a few shortcuts to add 500 points at a time.

glass distortion, motion blur and surface texture controls give

Tesselation lets you use a clone source to determine point

results that are incredibly rich. The esoterica filters are

density and colors.

less impressive-things like Blobs are gimmicks at best.

Finally there's always the World Wide Web. Painter makes

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

A N N U A L

9 9 6

it easy to create "image maps" for Web pages. Image maps

a selection, you can attach a URL to it, and save the file as

capabilities. In sum, Painter 4.0 is a stellar painting and graphic effects program, marred somewhat by weak interface design. As far as creative tools go, I think it matches or surpasses Photoshop in most areas. Some users will not need both programs, for others Painter is a

a GIF or JPEG (the two standard Web graphics formats).

worthy second graphics application. •

are pages in which specific regions of the page point to different Web documents. The process involves "floaters," Painter's equivalent of Photoshop's layers. Once you float

You can also mask parts of your image to make a transparent GIF, in which the transparent parts let the under-

Painter 4.0

lying colors show through.

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When Painter saves the file, it also writes a special text file which contains the area coordinates and the attached URLs. There's still the matter of having the appropriate CGI script on your server and knowing how to call it out in an HTML file, but Painter neatly handles the work of selecting image areas and transparency selections. Another Net feature is NetPainter, which lets you share a

Macintosh system requirements: 68040 Macintosh or Power Macintosh; 6.5+MB of application RAM {8+MB for Power Macintosh); System 7.0 or later; color display (24-bit recommended); hard drive with 12MB free; floating point unit or Power Macintosh required for some effects . Suggested retail $549.

canvas with someone else over the Internet. Unfortunately, I wasn't able to test this feature, but I doubt it's all that practical. Finally, we should note that Painter neatly handles Photoshop filters, which adds to its already wide-ranging

Windows system requirements: 80486 or Pentium compatible PC with at least 8MB of RAM {12MB for Windows 95 systems); Windows 3.1 or Windows 95 {both 16-bit and 32-bit native versions supplied); color display (24-bit recommended); hard drive with 12MB free; floating point unit required for some effects. Suggested retail $549.

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drawing tools.Use the automatic spacing and kerning features that Stone found invaluable. Or blend two fonts together to create an entirely new one. Of course, those are the results you've come to expect from Macromedia. After all, we made Fontographer the industry standard in font design. So call us today and we'll tell you where to find adealer near you. We'll also send you afree demo Showcase~ CD, just for calling.Then get ready to change the way you work with type.

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

A R T S

163

a Rose •

IS a

Rose

•

IS a to Tony Galindo. From the sugarcane fie lds of Havana to the galleries of Los Angeles, Tony Galindo 's is definitely not your same old path to artistic success. And his exotic take on the everyday makes him perfect for The Image Bank . By offering not on ly the "must- have" images but also the unusual , experimental and unexpectedwe can help stimulate your creative neurons, and bring to life your creative ideas. So while image #10001469 is definitely not your same old floribunda, The Image Bank is definitely not your same old stock house.

1 - 800 - TIB - IMA GES

We Get It

Books Mac-graphics Interactive Workshop

1-1

(t) V>

1-1

(') (t) V>

far outstrips the text that the

will appear in print. A final

book is, essentially, rendered

module on digital imaging

preferred software. This kind

superfluous.

walks the reader through the

of flexibility is outstanding.

Both the book and CD-ROM

basics of color correction,

Not only does it enable the user to learn using familiar software, it allows users to compare

view the tutorial in the user's

By Octogram Academy 289 pages, paperback, includes CD-ROM $79.95 Published by Peachpit Press 2414 Sixth Street Berkeley, California 94710

share the same subject matter.

image enhancement, retouch-

Ten modules introduce the

ing and delves into a variety

reader/viewer to the basics of

of digital filter effects.

how each software attempts to

typography, type legibility on

Tutorials begin with a talking

achieve the same solution in a

In one of the first books of its

tints and images, rules and

head thumbnail video that

variety of ways.

kind targeted to graphic design

shapes, the use of line screens,

provides a brief introduction to

On screen demonstrations con-

students, Mac-graphics Inter-

line art, halftones and duo-

the topic. The viewer is then

sist of a dummied piece of art-

active Workshop combines a

tones. A major portion of the

free to explore the menu of

work, an automated cursor

CD-ROM that delivers 120 on-

book is devoted to color, with

subtopics at will. Each subtopic

that tracks across the screen,

screen tutorials, complete with

separate modules on process

is a separate tutorial that can

pulls down various submenus,

voice over narration and step-

color and color combinations

be accessed through up to four

clicks into dialog boxes or

by-step instructions, with a

that in print provide more than

separate software applications.

types in specific values. Results

companion volume that illus-

18,800 two- and three-color

Thus, the tutorial on type kern-

are shown on-screen immedi-

trates the results of these digi-

combinations. Linked to the

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ately. Voice over narration

tal effects in printed matter.

co-based tutorial, these color

demonstration in PageMaker,

explains each separate step

The result does not bode well

chips provide a way for the

FreeHand, Illustrator or

taken to achieve the desired

for the future of printed text-

user to begin to develop a sen-

QuarkXPress. A submenu of

effect. A smaller, separate win-

books, since the CD-ROM

sitivity to the way color appears

application icons makes it

dow simultaneously shows

portion of this package so

on a monitor versus the way it

simple to point and click to

keyboard shortcuts of the

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FPThe stoG

p:hatograithY resource t

equivalent pull-down menu

it yourself and have fun," in

operations. Following each

many cases, that is impossible

demonstration, a dialog box prompts the user (if they would

software program co the next with little regard for the reader's

without exiting the CD-ROM

to start. The book attempts to provide a comprehensive overview of the field, from setting

and invoking the native applic-

up a digital imaging studio to

The chapter on special effects

like) to view the demonstration

ation. While Mac-graphic

is a hodgepodge of warps,

again (and again and again).

Interactive Workshop does an

Repeating these demonstra-

outputting digital video onto CD-ROM discs. As always with books of this nature, there is a

tions is an excellent way for

excellent job of enabling users to "learn by watching" it could

beginners to learn complex

teach these skills even more

procedures, since the computer

powerfully if it allowed users to "learn by doing. "

never gets tired of explaining the same topic repeatedly and

-SAM McMILLAN

is under no urgency to move on to the next.

of the CD-ROM is that, for the

Digital Images

some level of interactive par-

By Adele Droblas Greenberg & Seth Greenberg 431 pages, paperback $26.95 Published by Osborne/McGraw-Hill 2600 Tenth Street Berkeley, California 94710

ticipation from the viewer.

For absolute newcomers to the

Even though narrators cheer-

field of digital imaging, Digital Images represents a good place

most part, the user can only

observe these tutorials. Of the 120 tutorials, only 30 invite

fully exhort the listener to "cry

arate piece of software. Readers

Nonetheless, the basics of digi-

learn they can distort an image

tal imaging are all here, briefly discussed in straightforward

drop shadow using Fractal

168

ILLUSTRATIO

ANNUAL

1996

Design Painter and wrap text around a 3-0 shape using

software out there chat can

These conceptual overviews are interspersed with specific

catalog of effects.

is nice co know chat there is perform almost any feat imaginable, the net result is just a

-S.M.

descriptions of individual

FreeHand and CorelDraw. These descriptions barely scratch the surface of what these powerful, complex pro-

MEDIA SERVICES

using HSC Live Picture, add a

and image resolution, scanning, creating 2-D and 3-D images and special effects.

Illustrator, Specular Collage,

8K FILM IMAGING

to create the effect using a sep-

Adobe Dimensions. While it

two-dimensional digital images offers a few paragraphs each on using programs like Photoshop,

& OVERHEADS

panied by a description of how

cepts and activities, such as color management, file formats

software programs that make it easier to get the job done. Thus, the chapter on creating

4" WIDE PAPER/VINYL SIGNAGE

morphs, blends, filters and distorted images, each accom-

trade off. What the authors provide in scope, they lose in depth.

language. The authors provide summaries of fundamental con-

One of the few shortcomings

learning curve or objectives.

Briefly Noted: Make Your co-ROM

Work!. .. by Bob LeVirus and Ed Tittel (Published by Random House Electronic Publishing, 201 E. 5oth, New York, New York 10022, $10.95). Read Make Your CD-ROM Work!

grams are capable of, but they

(subtitled "How to Survive a

provide enough basic information that a reader can get started making images. "Tips of the Trade" sidebars from

Bad ' Out of Box' Experience")

working professionals help enliven the text with practical advice, cricks and work-

and you begin to wonder how a multimedia CD-ROM industry could ever flourish in the face of "hundreds of frustrating obstacles char get in the way of CD-ROM enjoyment. "

arounds.

And chis is the book jacket's

Descriptions of specific software tools and features are

promotional copy. Written in a question-and-answer format, the authors provide straight-

accompanied by black-andwhite illustrations, screen-grabs and seep-by-step instructions on how to achieve similar

Windows 3.1, Windows 95 and

effects. One problem with chis

Macintosh operating systems.

approach is chat the authors careen from one technique and

Before you rush out and buy

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the newest "Wintel" box, it

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Totem and Tattoo: Seeking Archetypes in New Tribal Icons BY DAVID STERLING

feel that I have been blessed with vivid memories of my childhood. I absolutely remember, for example, the excitement I felt along with my family when we

got our first TV I can calculate the approximate date, because we still lived in the old house on Twentieth

Street in Oklahoma City, Oklahoma- so I must have been around two- or three-years-old, and the year would have been about 1953· And I can remember my mother, father, brother, sister and myself howling with laughter as we watched "I Love Lucy, " "The Honeymooners" and "Your Show of Shows" in a time when everything on television was new and entertaining. Sitting for those few moments, in that darkened living room, huddled around the glow of the television-like cowboys mesmerized by a campfire-was perhaps the only way to experience some remnant of the communal village life that had sustained our ancestors for thousands of years.

Thesis: Tribal Unity What I didn't realize then, however, and wouldn't until years later, was that we were part of a new phenomenon of suburban pioneers. The automobile-which my parents had bought along with just about everybody else after World War II-had liberated us to drive vast distances to pitch camp, which, after all, had been an

early tradition in Oklahoma, home of the famous Land Run of 1889 and, in 1953, home of my family. The difference was that the settlements we built weren't marked by teepees or wigwams nestled closely together near a common water source. Instead, we drove in our tight little bubble to a tidy bungalow neatly separated from all others by geometric expanses of perfectly sheared domesticated grasses. Some 30 years later, my parents and my brother had all departed this Earth. My sister and I began the ritual cleansing that is expressed by going through the house and all of its contents. I had long known that objects carry meaning and value that far outstrip their function. It is almost as though they are filled with spirits. Freud might have said that objects are screens upon which we project our fears and wishes. Perhaps. But if you have ever lost a family member and rescued a treasure that was part of their life, you have experienced what I am talking about. You'll know that this treasure can't be any old T-shirt or key or book or ring. The things that have true value in such situations are those that the loved one has used in an almost ritualistic way: The hat that she always wore on Sunday; the watch that he shook violently every time it stopped, making everyone laugh. It's as though these objects absorb the life of the person who used them. These are my treasures: My father's name plate which, to me, still smells of the pipe smoke and fingerprint dust of the Federal Bureau of Investigation, where he worked, Above : Name plate belonging to Sterling 's father. Below left: Early pioneers in North America crossing the prairie in covered wagons. Right: Post-war mobility allowed easy access away from the city.

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

A R T S

175

where he took me some weekends to show me pictures of all the wonderfully scary criminals. My mother's pitcher, which she filled with syrup for our pancake breakfast almost every Saturday. My grandmother's quilt, which I think is called the Pie Plate Pattern, contains scraps of dresses worn by my sister and my mother and my aunts and a host of other assorted female relatives. There is also a music box that contains a baby's tooth; a Kodak box camera in its original package; a gold Timex anniversary watch; a pipe; a pair of spectacles. These items are not just objects: They are talismans, totems and a story goes with each of them. They work magic, and instantaneously reconnect me to my past and to my ancestors. They have left with me, in my work as a designer, a hunger to know what it could be that would fill the objects that I create with meaning. I suppose this explains why I am so fascinated by what we call "pre-industrial" cultures. It seems to me that hand-hewn objects, before the industrial revolution fulfill spiritual functions similar to my family treasures. They trace lines between past and present which reorient us. They make connections and help lead us to a greater understanding. The masks of the Dogon of Western Africa, for example, are carved by the people who use them, not by specialized artisans. The masks represent all aspects of Dogon culture, particular social figures, even animals and trees. They are worked on for years. The masks are finally used in elaborate funeral dances, which have the chief function of helping the Dogon integrate the awareness of death into their everyday lives. Maybe that's what I'm doing by keeping my father's name plate on my own desk at work. Travels I've taken through Mexico and Guatemala have shown me other ways cultural artifacts can tell stories and create connections. The clothing of the present-day Maya, for instance, still links one to a particular tribe or community. And when you see a man wearing a floppy, hand-knit stocking cap in Peru, you know with certainty that he lives on the little island of Taquile, in the middle of Lake Titicaca. The noted anthropologist Ruth Benedict, in her magnum opus Patterns of Culture, posits that it is not the institutions that change from culture to culture, but rather the patterns that each culture weaves around those institutions,

176

Funeral Mask of the Dogon culture of West Africa. Photo originally published in Millennium by David Maybury-Lewis. Copyright © David Maybury-Lewis, 1992. Reprinted by arrangement with Viking Penguin Books. Example of hand-knit stocking cap worn exclusively by native people of Taquile Island in Lake Titicaca, Peru.

giving them a unique form. It is therefor easy to find

One noted comparison is the art of Navajo sand painting

artifacts from different cultures that appear wildly

and the kolam paintings of India. The Navajo sand painting

dissimilar, but that in fact perform similar functions.

is an essay in perceiving the world as a whole, striving

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

A N N U A L

9 9 6

toward the idea that the good life is a harmony with the

life that if there isn't a kolam in front of your house, it is

scheme of things. It is a reflection of hozho-loosely

assumed that someone has died. They are painstakingly

translated as "beauty"-but which to the Navajo actually

created with pigments mixed with rice powder, and are

refers more to a total environment that includes beauty,

drawn from an ever-evolving notebook of motifs created

harmony, happiness and everything that is positive. The

by each artist.

creation of sand paintings is often linked to a process of

Another artifact that appears in many cultures is the

physical and psychic healing.

portal. As an archetype, the portal is the passageway into

Strikingly similar to the Navajo sand painting, and also an expression of the relationship of human life to the larger cosmos, are the beautiful kolam paintings made by virtually all women in the Tamil Nadu region of India. It is an art form that transcends all considerations

Navajos on the second day of "Moon" painting. Photo courtesy Department of Library Services, American Museum of Natural History. Right: Kolam painting created by woman in the Tamil Nadu region of India. Photo originally published in Painted Prayers: Women's Art in Village India by Stephen P. Huyler.

created anew every single day of the year. In fact, so

Below left: Ndebele residential doorway painted each year as part of the ceremonies surrounding the departure of the young men of the tribe for their initiations. Photo originally published in Ndebele by Margaret Courtney-Clarke.

connected are these paintings to the in/out breath of

Right: Elevation drawing of the Rouen Cathedral, France.

of caste, occupation or religion, and finds expression among Hindus, Muslims and Christians. Kolams are

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178

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

A N N U A L

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a new realm of experience. When we pass through a

image for a UNICEF Christmas card. In the ensuing

portal, we are transformed. Our conventional expectations are stripped away, and we are prepared for a new kind of understanding.

years, the Internet has pummeled us with promises of creating a true Family of Man with its flickering electronic connections. A perhaps unexpected result,

Virtually every culture spends a vast amount of imagi-

though, of this increasing globalization is that we are

native energy in decorating its portals . In Gujarat, India, embroidered fabrics called torans are hung above door-

witnessing, at least in the industrialized nations of the

ways, welcoming visitors and gods alike. Its hanging

worst, threatens to incorporate all of us into one

pennants represent auspicious mango leaves. In addition, displays of such embroideries signify wealth, and are important elements of the culture's protracted

amorphic heterogeneous whole.

world, the development of an environment that, at its

You see signs of it everywhere: Are we in midtown, Chinatown or Little Italy? Is this New York, New

wedding celebrations.

Brunswick or New Zealand? Main Street is now Cyber

Similarly, the doorways called izimpunjwana on the

Street. No wonder young people want to scream out

housefronts of the Ndebele in South Africa are painted

their messages with neon Krylon colors.

each year as part

of the ceremonies surrounding the departure of the young men of the tribe for their initiations. The

adolescents struggling to etch out an identity distinct from their parents, others

paintings incor-

are rebelling

porate images of traditional as

too. In countries

well as modern life, and the

from Kenya to

techniques are

see symptoms

passed down from mother

of this reaction

to daughter. In

in the poignant

Colombia we

to globalization

a way, they are status symbols, since great care is taken to create designs innovative enough to distinguish the women's homes from those of other tribes.

efforts of individuals who seek in various ways to topple the monolith: The global village seems suffocating. On the scale of international politics, the daily headlines

A point I would like to stress here, and which we'll come

herald more of the same: "breakaway republics, " which

back to later, is that all of these art forms are made by the

sometimes manifest themselves violently, as in the former

people of the tribe-not by specialized artisans. Virtually

Yugoslavia, or more benignly (so far, anyway), as in the

every grown Navajo man has at some time or other made a

separatist themes of the Nation of Islam, or in the cries

sand painting. And every woman in Tamil Nadu daily

for secession of the Quebequois from Canada, and the

engages in making the kolam-which, when you consider

Scots from Britain. In Russia, presidential front-runner

the Tamil population of some 60 million, adds up to a

and Communist party member, Gennadi A. Zyuganov,

staggering number of artisans. The regular, ritualistic

is campaigning on a platform of anti-Semitism, anti-

creation of culture is the tie that has bound pre-industrial

democracy and pro-imperial expansion. And, in our own

peoples to one another through the ages.

country, conservatives are pushing to wall-up borders and strictly regulate international trade.

Antithesis: Tribal Disparity

180

Like angry

Now fast-forward to today where, from all appearances,

I don't wish to oversimplify these problems. Certainly,

it would seem that we are on the brink of attaining the

they are brought about by complex sets of socioeconomic

much-heralded "global village." When I first heard that

variables. But, if I listen quietly for the underlying tone

term in the mid-'7os, it conjured up for me images of a

Poster from the film Braveheart, with Mel Gibson.

cozy intimacy with our neighbors that might form the

Cover of the September 1995 issue of W, a fashion/society magazine.

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

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9 9 6

of these events, I can't help but hear the voice of a

jaundiced eye, I was surprised to find myself curiously

wounded teenager defiantly pronouncing his or her

refreshed, as though a breeze had cleared away the usual sensationalistic gore emanating from the television. No matter what you think of the Pope's positions, it was powerful for one moment to pause and hear words that

own uniqueness, yet desperately wanting to belong to something. If we agree with anthropologist Ruth Benedict that "culture is personality writ large," then the new nationalism, the new tribalism that we see all

took one to a higher level of comprehension. When he

around us could be interpreted as an adolescent's

spoke at the United Nation, the Pope addressed the

search for identity in the midst of turbulent change.

issues I've been discussing directly and forcefully. He spoke of the rising trend toward nationalism, of the fear of the "other" and of the often violent consequences of

Those Scots who advocate secession, bristle every time a news commentator inadvertently refers to events in

even British-I'm a Scot." Meanwhile, secessionist fever

that fear. But he also spoke of the possibility of finding a fundamental commonality among all people and he called for an attention to a universal moral law which, he said, would form a kind of "grammar" necessary for the

has been fueled, oddly enough, by Hollywood, as Scot-

world to engage in any discussion of its future. And, no

tish theaters are full to overflowing with loyalists Bocking

matter what you think of Louis Farrakhan, it was moving

to see Mel Gibson striking blows against the perfidious

to hear the overwhelming focus of the hordes of men

English in the movie Braveheart. (And, I might add, this

participating in the march was on solidarity rather than on division.

England rather than Britain. It is as though the secessionists are saying, "Not only am I not English, I'm not

season's sales of kilts has topped any previous year's efforts to introduce skirt dressing to men.) The message implicit in all of these occurrences is con-

Different events; different people, yes. But, to mirror the messages of both events, let's concentrate on the common-

tradictory: "I want to stand out from the group, yet I

ality between them. That message was: Summon those

want to belong to the group." But the group I belong

things that unify us rather than those that divide us.

to is increasingly getting more narrowly defined. I suppose it's what psychologists would call a "reaction formation"-a somewhat rigid definition of self in response to anxiety-in this case, the anxiety brought about by shifting roles, redrawn borders ... change.

Synthesis: Tribal Wisdom This is the tradition I'm talking about. It's as old as Socrates.

If you remember his dialogues, you'll know that he invented discursive reasoning by developing the notions of thesis, antithesis and synthesis. In the symposium,

What is the prescription for this malaise? I believe

for example, one person would present an argument for

that tradition is the antidote to this global anxiety I've

a particular view-the thesis-another would present a

been describing.

contrasting view-the antithesis-and with characteristic

Webster's once again reconnects me to meaning by underscoring the core of things: "tradition" has as its root

bravado, Socrates would deliver an eloquent soliloquy that both leveled and unified each view into a radical

the Latin word 'traditio' which literally means a 'delivery.'

new solution-the synthesis.

Among Jews, Christians and Moslems, tradition is that

Of course, Socrates was keen to be top man-there was

outside the Torah, the New Testament or Koran-an

no way that, through the voice of Plato, he wouldn't win

unwritten code handed down, or delivered, from one

in any debate-but he was also very careful to give each

generation to the next. Tradition provides a vocabulary

of the contrasting arguments, the thesis and the anti-

that facilitates communication between generations,

thesis, full credibility as he incorporated elements of

between members of a group.

each into his synthesis which, of course, is how we've

Now, if tradition is that which can provide stability and

now come to think of the word.

connection in the midst of turbulence, we might well ask

A particular beauty that I find in synthesis is that they

whose tradition is it that we're going to deliver? Jewish?

simply cannot come into being without there first existing

Christian? Moslem? Isn't that, after all, what all the

at least two contrasting elements. Each of those elements

fighting has been about?

in effect defines the other and then, finally, engenders a

I was particularly struck by two recent, and seemingly

new definition.

disparate, events: the visit to the United States by Pope

In my view, the synthesis of two poles, that middle way,

John Paul II, and the Million Man March in Washing-

is what we might also call the archetype. The archetype is

ton, D.C. Even as I watched both with a somewhat

not an either/or proposition, but rather a both/and one. C 0 M M U N I C AT I 0 N

A RT S

181

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This page: Symbols taken from the Book of Signs by Rudolf Koch. Comments by the author. Koch extends the dot into a horizontal stroke. "We see the Earth. It is also the receptive, feminine element. It is soul. "The vertical stroke represents the one-ness of God, and is the yearning of mankind toward higher things. It is striving, assertive, masculine. It is spirit. "The com ing together of horizontal and vertical forms a cross. In it, heaven and earth are combined, as are male and female. The cross is by far the earliest of all signs, and is found everywhere, quite apart from the conception of Christianity," although the Christians' choice of it as a triba l icon was apt in its signification of God-made flesh . "Circles which, without beginning or end, are signs of Eternity. "The triangle resting on its base is again a femin ine sign-firmly based upon terrestrial matters yet yearning after higher things, while the triangle standing upon its apex is the male element, which is by nature st riving and celestial. Both figures now start moving toward one another, and as they touch each other, they form another figure entirely new in appearance. When they pass through one another, the nature of both is fundamentally altered and, as it appears, is practically obliterated. A beautiful star has appeared, though, when we examine it, we see that both the original triangles still retain their individuality. Thus it is when a perfect marriage binds man and woman together."

The archetype, in other words, defines the common

Arts in Manhattan. When I stand before my class, I look

ground. The trees in your world may be tall and majestic

out over a sea of Asian, African-American, Latino and

and those in mine short and scrubby. But if together we

Caucasian kids who have been thrown together in an

discourse on the nature of tree-ness-those dream trees

unfamiliar, highly-competitive situation. It's my own

that signify life on earth, roots firmly planted in the soil,

micro-version of the global village. The commonality

head extending toward the heavens, as are we humans,

that calms the waters in mine is the fact that all these

part earth creature, part angel-then we understand with

kids are united in art. We make things together. That is

no doubt what the other person means. Tree-ness is neither

the visual grammar we share when the written word fails.

your tree nor mine. It is both your tree and mine. We

Nonetheless, like your kids, mine are still struggling with

have thus forged a connection through our commonality.

issues of identity, wanting to maintain their individuality

That is the great healing power of the archetype.

while searching for the comfort of belonging to a tribe.

To address today's issues quite directly, then, the role and

It's like the Quebeqois being willing to risk the respon-

purpose of tradition in a changing world is that it unifies

sibilities of political independence from Canada, while

us. Psychologically and politically speaking, it resolves

carefully maintaining the life-preserving cultural ties to

conflicts. Tradition is that point on the horizon upon

their French antecedents.

which we can focus our gaze in order not to become

So, the lifeline I throw my students is the Esperanto of

seasick amidst all the turbulence. It may indeed be that

archetypal visual symbols. I immerse them in the basics,

the "universal grammar" that the Pope referred to is a

by which we jointly develop a common visual grammar.

kind of Esperanto that can cross borders. To reiterate,

The main text I refer to is The Book ofSigns, written by

the tradition to which I refer, is the archetype. It trans-

the German graphic artist, Rudolf Koch, in 1930.

cends East and West, black and white. It is rooted in the primal. The wisdom of pre-industrial peoples may in fact be that

sign, organized to emphasize the connection of each

they live within the archetype. They use archetypes to

symbol to the next one in the sequence.

resolve conflict. When a tribesman of Papua, New Guinea,

It is written almost biblically, using German uncials and

for example, experiences impotence, the shaman correctly diagnoses an overdependence on a domineering mother. The "patient" is then made to don the Mother mask, the

182

Koch's landmark book has become my bible. It is in effect a compendium of virtually every known primal

a portentous "Genesis"-styled opener: "The dot is the origin from which all signs start, and is their innermost essence." Indeed, the dot represents the whole, that

Mother garments and to mimic Mother gestures until,

infinitely small point referred to by modern physicists

reaching a state of frenzy, he is cured of his problem.

as that which contained all the matter and all the energy

He has absorbed the archetype.

that was later released by The Big Bang and formed

I instruct two classes in graphic design at School of Visual

our universe.

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

A N N U A L

9 9 6

As I noted earlier, the artifacts that tribes make provide

This is what I'm talking about. It is when things are put

the definition for the tribe. That is why I believe that

together, when we work side-by-side, when contrasting

making things together is so important. In my design

viewpoints merge and new meanings emerge and we

work for our clients at WorldStudio, and as a teacher,

share in the shaping of those meanings-in short, and

I have been engaged in trying to answer the question of

simply put, it is when we make connections that we

how those of us engaged in creating contemporary

feel connected.

material culture can create new artifacts that unite

To quote David Maybury-Lewis, founder of Cultural

through synthesis, and yet that can accommodate tribal

Survival in Cambridge, Massachusetts, a group intent

identities. What I'm striving for is the power of the

on preserving pre-industrial traditions, "We can neither

archetypal "spirit-objects" I described at the beginning.

abolish nor ignore the confusion, anxiety and loneliness

One project we've been working on in my class at SVA exemplifies the manner in which archetypes

of our times-and we cannot recapture the unitary vision of tribal societies. We simply do not live like

can synthesize, can underscore

that anymore. But, living grace-

commonalities and resolve conflict,

fully does not require that we

and even give rise to artifacts and

attempt the impossible. What it

icons for new tribes. In this project, I

does require is a determination that

set the stage by asking my students to

the cesthetic not be reduced to a com-

imagine that they are charged with

modity and ourselves to passive con-

aiding in the development of a new

sumers of it, as well as a conviction

community center. This center, they

that creativity and imagination are essential to our lives. It requires

are told, is to be located in the

.,._ _ _ _. .

heart of a neighborhood inhabited primarily by

us to break the vicious cycle of compartmentali-

two different cultural groups-groups that aren't

zation that obliges us to live and work in a functional

getting along particularly well.

world that leaves little room for an cesthetic response.

The ultimate goal is to create a graphic identity for the

It requires us above all to understand that modern

community center. In the first part of the assignment,

society separates: not only art from life, but life

the students must examine the cultural icons unique to

from death and all three from meaning. It is up to

each of the groups. We place those icons side by side and

us to connect."

then work at finding the common points. We arrive at

When you go back to your classes, look at your students. Who do you really see? A young initiate? A future matriarch? Look at the space between left and right. And when you speak, summon the archetype.

the archetype by using Socrates' method of thesis, antithesis and synthesis. The resulting images are new icons, then, that express in visual language the unity of the two groups. One student selected the Jewish and African-American

Most important, look actively at the world and make things together. •

communities. He picked the most obvious visual identifiers-the Star of David, and the red, yellow, green, black colors, which by now have found their way into apparel,

Editor's Note: This article was adapted from a lecture pre-

jewelry and a host of products targeting the African-

sented by David Sterling to the American Forum for Global

American market.

Education, Brooklyn, New York, in November ofI995.

His finished symbol is perhaps a rather obvious melding

-DK HOLLAND

of the two-and yet I was stunned by its visual power. This page: Symbol combining Jewish and African-American elements was created as a student project by Robert Foggo at the School of Visual Arts in New York. C 0 M M UN I CAT I 0 N

ARTS

183

•

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Publicity-Overlooked Selling Tool BY B ARBARA GORDON

n today's highly competitive climate, anything a

freelancer can do to stand out is a big plus. I am a strong advocate of freelancers advertising their talents, including entering competitions and shows. But there is one area of exposure that most freelancers overlook, publicity-publishing or making known something about a talent, project, feat or opinion that a freelancer has accomplished. Every freelancer has done, or is doing something that is worthy of publicity. Let me explain. All aspects of our media today are looking for newsworthy items to fill space in print, on radio and screen time, both for television and the Internet. Most large companies realize the importance of publicity for themselves and their products and services; they employ public relations firms and publicity agents, at great expense, to disseminate information to the media. Freelancers can do this for themselves and, indeed, every freelancer should constantly be thinking in terms of, "What am I doing that may merit attention?"

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To try and determine just what activities you do that are newsworthy, start by asking yourself questions. Begin with current jobs or assignments. Am I doing a project now that involves an unusual technique? As an example, I was recently contacted by a publisher about an artist who uses his own artwork, but digitizes it on the computer in such a way that the result is a unique piece that combines fine art and computer graphics. Had I not been contacted by the publisher, this is an example of something that could be put in a press release (with examples and a description of the technique) and sent to the trade press in the graphic arts, fine arts and computer arts fields and also put on the Internet. Or perhaps you are doing a project that is unusual in scope. I know of several instances where photographers were dealing with exotic animals or dangerous location shoots, and they had their assistants photograph them accomplishing the assignment. They then sent the photos, along with an explanation, to the press, giving their talents and abilities exposure to a wide audience of potential clients.

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An illustrator recently told me about a mural he was painting in a local restaurant, when a major celebrity stopped by for lunch and admired the mural. The illustrator had the presence of mind to have a photograph taken of him with the celebrity; it garnered him great publicity in several newspapers not only by announcing the fact that he was indeed an adept mural painter, but that he was also acquainted with a celebrity.

do with it? Well, one of the easiest things to do is to put it on the Internet, but in addition, send the release to the graphics trade press and along to other publications that might have an interest in the topic. In the case of the above topic, geological magazines would be a good possibility. Also , send your packet to local newspapers and, depending on subject matter, to national television and radio stations. Send it to your alumni and professional

Another possibility for publicity is when you have fulfilled a lifetime dream-i.e., traveled around the country on a bicycle, climbed a mountain, adopted an orphan, acquired the largest collection of Lincoln-head pennies, created a bird sanctuary in your backyard, etc.-and because you have photographed, illustrated or chronicled the event it can turn into an opportunity for publicity.

organization magazines.

I know of many free-lance art directors who have worked on new and exciting projects and products and they are a natural area for exposure. One has to get the finished product together, give full credit to everyone who worked on the project and blanket the media with the accomplishment. Not only will the art directors be publicizing their own talents, but clients are usually delighted with additional positive exposure. Designers, with their wide variety of projects, are also in an ideal position to take advantage of the publicity machine.

If your work is in a show in one of the non profit organizations, or a local gallery, do a press release about it. If you've won an award, do the same. If you have an opinion about something in the business or a solution to a problem, that too can be written about and sent to the media to be the basis of a story about you and your career. Let me continue in a practical vein. I keep mentioning press releases; let me give you an example of what I mean. A press release (ideally only one page, double-spaced) on your letterhead, is simply the Who, What, Why, When and Where of the facts. Let me illustrate the possible opening lines of a press release: "Artist John Z, of XYZ City, winner of a gold medal from the XYZ Artists Society, has sold his collection of cave paintings to ABC Publishing, who will publish them in a book in November 1996. There will also be a traveling exhibition of John Z's work, etc. , etc. Mr. Z fulfilled a life-long dream of visiting caves, etc. , etc. " Get the idea? This release, along with a few examples, is ready to go. The writing doesn't have to be award-winning. If a magazine, newspaper or television station is interested, they have experts who can work with you to expand on or improve your original idea. All right, you have your press release, now what do you 188

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Obviously not everything you send will get attention, but with every press release you do , published or not, put the finished release in your publicity file. You never know when the information may come in handy in the future. In some cases you may even want to include a copy of your press release (whether published or not) in a packet of materials you give to prospective clients, since some of the information in these press releases may give you a competitive advantage over the competition. The written word is very powerful. Why am I such a strong advocate of publicity? Well, just stop and think about it. In a fast moving world, that is getting more impersonal through the use of fax machines and computers, where a freelancer has less opportunity to network or make a lasting impression on his/her buying audience, it is impossible to ignore the opportunity to reach a larger national audience and possibly an international audience, with a very small input of time and money. One last fact: As good as advertising is, there is something more powerful about publicity, primarily because it is something that is theoretically not paid for and therefor not available to everyone. Publicity has to be earned and we, as the audience, impart a certain authority and authenticity to what we see and hear in the unpaid-for media that we do not always impart to exposure that is paid for. As I previously stated, in an overcrowded, highly-competitive marketplace that has hundreds maybe even thousands of freelancers, available for every assignment, today's freelancer needs every edge he or she can get. Publicity can hone that edge. And on a personal level, everyone wants acknowledgment and recognition- other than monetary ones-for their accomplishments, so there is an inherent double reward. In my mind, publicity is the ultimate form of networking with your potential buying audience. Let me close by saying that every freelancer has done, or will do something that is worthy of publicity. Start thinking in terms of publicizing your talents, accomplishments, opinions, projects and solutions. Don't overlook this very powerful selling tool. •

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From Concept to Gold Master Disk BY NINA SCHUYLER

The following article is taken from the book The Business of Multimedia by Nina Schuyler. It is a comprehensive review of the business aspects ofmultimedia-production and the costs of production, marketing, finding venture capital finding a distributor, job opportunities in multimedia and how to license photos drawings and songs. or thirteen months, Drew Huffman, founder of San Francisco based multimedia company Drew Pictures, and three programmers worked nonstop in Huffman's living room to create their first title, Iron Helix, using $60,000 worth of equipment that Huffman had accumulated while working for CNN. The team selffinanced the title by doing production service work for other companies ($70,000 worth) and tapping into private investment money. As they approached the final stretch, they started calling potential distributors and within 48 hours, struck a deal with Spectrum HoloByte.

As Huffman and hundreds of new multimedia developers venture into multimedia, they have had to learn not only the rapidly changing technology, but also the lingo and, most importantly, the power structure. The fundamental parties involved in making multimedia are the developer, the publisher and the distributor. The developer is responsible for creating the product and turning over to the publisher a finished product, or "gold master." The publisher assumes most of the risk for the undertaking-financing the in-house or third party production of the multimedia product, manufacturing the product, including the stamping of the CD-ROM, the packaging, and the reproduction of the CD-ROM; and providing the marketing and sales support. The distributor stores and ships products and sends invoices to retailers. The lines separating the main parties are slippery with a developer sometimes funding his own titles and thus becoming a publisher and a publisher providing distribution. The largest cost component of the three stages of moving from a concept to a gold disk-preproduction, production, and postproduction-is labor, and the jobs and responsibilities used throughout the industry are a combination of the software, film and video production businesses. "The industry has become very specialized," says Steven Rappaport, founder of Digital Trivia, a San Francisco based multimedia company. "There's multimedia programmers, artistic designers, 3D artists, and everyone gets about $75 190

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to $100 an hour, except the developer who founded the company who probably isn't paying himself anything." Because the software technology used to create multimedia products seems to change every eighteen months and new platforms are introduced every three or four years, developers also have to hire employees familiar with the latest technology or provide training to existing employees. If the developer or publisher is creating entertainment products, there is also pressure to incorporate Hollywood-type production, techniques, and corporate structure. The bottom line is: there must be enough upfront planning, financing, and most importantly talented employees or independent contractors to create compelling titles.

Overall Development Budget For a consumer-oriented CD-ROM game title, the average development costs in 1993 ranged from $100,000 to $400,ooo. In 1994, that range jumped to $250,000 to $750,000. Gistics, a Larkspur, California based market research firm specializing in interactive telemedia, pegged average development costs in 1994 at $383,000. In 1996, a $1 million budget is expected to be a minimum for a hit consumer game title. A 1994 survey of Bay Area based multimedia companies completed by the San Francisco based Multimedia Developer's Group, a trade organization for the multimedia industry, found slightly lower ranges: $150,000 to $300,ooo for consumer CD-ROM titles and $150,000 as the median cost for educational projects (kindergarten through twelve and higher education). The survey also found, however, that more than IO percent of the developers were involved in consumer titles that cost more than $500,000. Because the market for edutainment titles, or "nonfiction" type products lags behind the entertainment market in terms of sales, consultants say the developer should plan his development budget carefully so as not to exceed $300,ooo, otherwise the company risks not reaching its break-even point. Developers recommend creating a concept for an edutainment title that lends itself to a series of products: if the first title does well, you can make a more accurate prediction of the company's budget and cash flow for the next titles in the series. It is also easier to attract funding from publishers or private investors because the revenue stream is more certain. Maxis in Orinda, California, which went public in 1995, successfully followed this philosophy with its Sim product line. So did Stormfront Studios in San Rafael, California, with its line of Tony La Russa baseball products. Though the development budgets for both edutainment and entertainment titles seem three years ahead of a market that can support such costs, developers have come up with creative ways to save money.

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For Eden lnteractive's Greg LeMond tide, the San Francisco based multimedia company hired photographers at a reduced rate because the founders agreed to include the photographers' names on the screens when their photos appeared. Eden Interactive used the same creative bargaining skills to acquire the video footage of LeMond's bicycle riding. They agreed to exchange copies of the finished product for the rights to video footage, which were owned by a company that produces the mail order catalog, Famous

During the rest of the year, relying on three computers, two of which they already owned, the three founders hired independent contractors to develop the tide. "We hired a couple of programmers to write the code," says Bruce Goedde, one of the co-founders. "Our first employee was an illustrator/animator, who was familiar with working on a computer." Goedde attributes his low development budget to several things.

Cycling Video. For their third tide, American Visions: 20th

Century Art from the Roy R. Neuberger Collection, an interactive CD-ROM tour of 20th century American art, Eden Interactive received funding and photos from a museum in exchange for creating a kiosk for the museum. That arrangement paid for roughly one-half of the $350,000 tide. Eden also agreed to pay the museum a royalty based

"We haven't hired expensive people, just good inexpensive people. We don't have big offices so we don't have a lot of overhead, and we got in at a time when a lot of people were wanting to learn about the industry and therefore were willing to be paid less than what they could earn in other industries."

on wholesale price.

Preproduction

Modern Media Ventures, a small San Francisco developer

Experienced developers say that the more time spent in the preproduction stage-thinking through the issues, storyboarding ideas, inquiring into the cost of preexisting content and weighing alternatives to that content-the more money and time a developer will save in the production phase.

of interactive educational game tides- the Gus Goes to

Cybertown, Gus Goes to Cyberopolis series-keeps its development budgets around $100,000. They started storyboarding their first tide concept in the first quarter of 1993.

In general, developers break the preproduction phase into four broad steps:

~ommunication Art~

r. The idea or concept for the product; 2. The plan to produce the product, including budget, staff, schedule, and design document. This document often includes the script, storyboards (visual drawings), flowcharts, interface designs, screen layouts; 3. The licenses or clearances required for all third parry materials that will be used in the tide; and sometimes 4. The creation of a prototype.

After forming an idea for a product, developers recommend creating a detailed plan similar to a film script. The more detailed the script, the less chance for costly mistakes. "Because we are actually shooting stuff on film and video, we don't have the luxury of fixing it very much after it's shot and filming your own original work is expensive, " explained Garry Hare, president of Fathom Pictures, which has created a number of CD-ROM tides , including Return

to CyberCity, The Riddle ofthe Maze and Escape from CyberCity. "As a result, we storyboard almost everything and sometimes to extremes. The boards become a production

http://www.commarts.com

path. They are not artwork, but a guide to what we are trying to create. We make notations for coding and audio. The boards become a visual reference point for all the

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various production technologies that go into a product." For instance, for Fathom's product CD Coach, a personal trainer on CD-ROM, the creative team produced storyboards for five months. Robyn and Rand Miller spent two months working out the concept for Myst, which was based on the Jules Verne classic, Mysterious Island. Before setting anything down on a computer, they created the story line for the product, including the "Ages of Myst, " the "Mechanical Age, " the "Stoneship Age, " "Channelwood," and "Dunny." "It's quite a challenge because it's not the kind of thing where we're all sitting around throwing out ideas that just start to develop into more ideas," says Robyn Miller. "It's more like we're all sitting around racking our brains for ideas. It's like sit around for twenty minutes throwing out one dumb idea after another. At the end of that you might have one good idea. " The cost saved by upfront planning can be quickly spent when a company licenses preexisting material or content such as music, photos, video or film images or computer software. As a result, for most small developers, the option of purchasing preexisting content is almost nonexistentthe prices are too high , relationships with key decision makers have not been formed, and negotiating the bureaucracy of the content holders is too time consuming. Maura Sparks at Pop Rocket lists the creation of original content as one of the primary ways the company has saved money.

Production The production budget varies widely depending on the type of product and also the platform, with the highest costs associated with the entertainment tides for next generation platforms and for products with high quality artwork. It is at this stage that animation, sound, artwork, video and photos are created or purchased and folded together to create a story. The preproduction phase of development was partly responsible for driving up the cost of Humongous Entertainment's ti de Freddi Fish and the Case ofthe Missing Kelp Seeds. At the Woodinville, Washington based company, fifteen artists hired by the company sketched twenty thousand animation cells for the CD-ROM. The designs created by hand took more than twice the time it would have with digital production techniques. For co-founder and creative director Ron Gilbert, the extra cost was worth it. "There is just nothing more powerful than an animator, a pencil, and a piece of paper," says Gilbert. "And I don't really know why that is. " Electronic Arts producer Randy Breen spent $!. 5 million

HAVE YOU SEEN OUR YEARBOOK?

"We have a small, lean team working with off-the-shelf products to create every pixel, sound effect, graphic, and animation," says Sparks. "We have saved money by using these products to create our own content." Developers point to another significant reason why it is often more lucrative to create their own intellectual property: whatever the company creates will be its own. As a result, artists and writers are in high demand. Sanctuary Woods, for instance, used to be heavily involved in licensing preexisting material but has decided to cut back dramatically and hire artists to create material for the company. For those developers who intend to license content, the most common mistake is timing, says Jill Alofs, founder of the Mill Valley, California based company, Total Clearance. "Some developers get so focused on the creative side that they let the clearance issues go until later," says Alofs. "The ramifications are that the developer has less flexibility and

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therefore less negotiating room to strike a favorable deal. " C 0 M M U N I C A T I 0 N

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and eighteen months to create Road Rash for the 3DO system. His core team of eight programmers and designers created the game's interactive play sequences and menu screens. The gameplay sequences were derived from independent photographs that were edited and composited

the project manager earned $52,000 a year. The senior engineer is another key hire for a developer. The software engineer develops software programs, designs, codes, tests, and debugs the product, and earns, on

together to give the illusion of a three dimensional image.

average $41,ooo, according to fifty-three software companies with less than ten employees that responded

Breen hired an outside industrial video director who shot

to a survey conducted by Coopers & Lybrand.

twenty-two minutes of live action video using Electronic

Throughout the production period, developers continually test the product to ensure it meets specifications. The devel-

Arts employees as extras and stunt men on motorcycles. The linear video served as introductory sequences to game fourteen songs from six alternative rock bands, including

opment agreement between the developer and publisher often specifies that the developer is obligated to turn over a "bug-free," or error-free, product to the publisher. At

Soundgarden, for an undisclosed amount of money, and

different stages of development, the publisher might also

synched the music to the video sequences. Whether it's a million dollar production or one on a shoe-

reserve the right to present the prototype or a partly completed product to a focus group to gather initial reaction

string, the project manager or producer is considered by

to the concept and provide feedback to the developer.

most developers to be the key employee, monitoring the production, ensuring the staff meets deadlines and stays

During this stage, multimedia tides are usually created on one system, such as Macintosh, and then later converted,

within the budget. The project manager does not come

or ported, to another system, such as IBM.

play and also appeared after each race. Breen also licensed

cheap. In a 1995 Coopers & Lybrand survey of twentyfour software companies that had less than ten employees,

Using Union Talent

If a developer wants to use union talent, prepare to negotiate with the performing arts guilds, American Federa-

Sit. Fetch . Rollover. Concept. Design . Shoot. Scan. Write. Graduate. Work. W in. Bank. Buy. Play. fSit. Rollover. Smile.

MIAMI AD SCHOOL Go to school · where the beach is down the street • and a great job around the corner.

tion of Television and Radio Artists, or AFTRA, and the Screen Actors Guild, or SAG. While there is some blurring of representation between the two unions, SAG is the bargaining unit for performers in the movie and television industries and AFTRA is the union for television and recording artists. Both unions , interested in being part of multimedia, have created an "interactive media agreement" and two types of contracts: one for one-time use of talent, or a "one production only," OPO agreement; the other contract states that for present and future projects, the developer agrees to abide by the contract. Under the interactive media contract, a producer has the right to distribute the original content on all existing platforms or platforms that come into existence, excluding remote delivery or video servers or video on demand. To distribute the content via online or through video servers, the contracts require the producer to make an additional payment. The developer must also contribute to AFTRA and SAG's retirement and health plans, an amount equal to 12.65 percent of the gross compensation due each performer. Developers typically misunderstand two implications of

0.858.3190

hiring union talent. If an interactive media agreement is signed with SAG or AFTRA, the developer is not required

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List of Developers' Costs from Concept to Gold Master Disk DEVELOPER

TITLE

COST

TYPE

Luminaria

Wrath of the Gods

$700,000

Enterta inment

Cyan, Inc.

Myst

$700,000

Entertainment

Eden Interactive

Greg LeMond

$150,000

Eduta inment

Eden Interactive

Am erican Vision

$350,000

Edutainment

Drew Pictures

Iron Helix

$400,000

Enterta inment

Mechadeus

Daedalus Encounter

$1 .5 million

Entertainment

Modern Media

Ventures Cybergus

$1 00,000

Edutainment

Electronic Arts

Roa d Rash-3DO

$1 .5 million

Enterta inment

Eden Interactive

Golf

$150,000

Edutainm ent

Cyber Flix

Lunicus

$400,000

Entertainment

Substance Interactive

substance .digizine

$50,000 (one issue)

Electronic Magazine

Pop Rocket

Total Distortion

$500,000

Entertainment

Imagination Pilots

Blown Away

$900,000

Entertainment

Humongous

Freddi Fish

$300,000

Ed utainment

Activision

Return to Zork

$1. 5 million

Entertainment

Flow Chart of Developers' Costs from Concept to Shrink-Wrapped Box $40

Retail price that t he consumer pays

$12

Retailers cut

$7-8

Distribution fee

$4-7

Development costs (most ly la bor, also licenses)

$3-4

Manufacturing

$1 .25

Disk and jewel case

Cardboard box

Manual

$.25

Other

$.50

Package design

Platform license fee

$4-7

Marketing

$7-8

Distribution

$3-5

Tech support. product enhancement. localization

Overhead $1-4

Profit before taxes

to hire union talent in the future. Under the federal labor union laws, if a producer signs an interactive media contract with one of the unions , the producer can still hire nonunion talent. However, if the contract specifies a certain wage that would have been earned if a union talent was hired , the producer must abide by the contract terms and pay that amount to the nonunion worker. The other major area of misunderstanding is the employm ent status of union talent. When a developer signs a union agreement, which gives permission to use union

talent, that talent is considered an employee, not an independent contractor of the developer. That means the producer is required to pay all the state and federal taxes associated with hiring employees, including Social Security and other employment taxes, state disability, and workers' compensation.

Post Production At the post production stage, more testing is done- alpha testing, which ensures the product functions properly, and beta testing, which makes certain the product works under normal playing conditions.

If live action video was used, edits are finalized during this period. Breen at Electronic Arts also finished synching the music to the video , added special effects , and colorized parts of the video to make it look similar to other parts of Road Rash.

Overhead Most small developers reduce their overhead as much as possible by working out of their homes, garages, or warehouses. They often forgo salaries and ask others to take a reduced wage. They rely as little as possible on legal services and avoid hiring a high profile management team. Rick Giolito of Los Angeles based Vortex Media Arts, like other business development managers at small multimedia companies, has found many ways to reduce overhead. For a long time, the company did not insure its equipment. The company operates twenty-four hours each day, with artists working double shifts, sharing computers, desks and phone lines. And, except for some used desks and chairs, there is little office furniture. While most publishers refuse to include in the advance paid to the developer the financing to purchase equipment, Vortex has found some ways around that rule. "We've negotiated what's called 'publisher's assistance,' in which the equipment is essentially borrowed from the publisher, " says Giolito. The assistance is included in the advance amount given to the developer, but the publisher has the right to repurchase the equipment at a depreciated value after the project is completed. Giolito also asks publishers for as much software assistance as possible. •

Ifyou wish to order The Business of Multimedia, call (800) 247-6553 or send $I9.95 plus $5/or shipping and handling to Allworth Press, IO E. 23rd Street, Suite 400, New York, N ew York IOOIO. New York State residents must add sales tax. © Nina Schuyler 1995

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Creative product? Sure. Creative organization? Not! BY TODD LIEF

gency people are quick to gripe when their clients won't go along with new ideas for ads and commercials. But they can act pretty stodgy themselves in the face of new ideas about work flow and organizational design.

It's hard to think of a business that has responded with less imagination to the challenges of today's changing economy than advertising agencies. It's pretty ironic. Maybe a handful of reckless visionaries dared to tweak the 15°/o media commission system a couple of decades ago. But the essential organizational and financial concept is primarily the same as it was when J. Walter Thompson and N. W. Ayer-the individuals, not the institutions-were out peddling their bicycle ads this time last century. In those days, departmentalization was quite the novel idea. So was the theory that a single firm could handle a client company's total marketing and promotion needs. But unchallenged structures and procedures grow crusty and dysfunctional over time, barnacles on a ship at sea. Today's unprecedented speed of change exaggerates this effect, like stop-motion photography.

Multimillion-dollar accounts kiss their big agencies goodbye altogether and move in-house with media and creative. Hot creative teams skip away from flustered, lumbering old organizations with juicy assignments, along with the client-mandated freedom to do them right. Megamergers collapse one by one, dumping scores of professionals onto the streets, all the astute fiscal plotting undone by failure to attend to everyday human values. With a few stunning exceptions, and Jay Chiat comes to mind for his electronically experimental office, all available innovative brainpower goes into ads and commercials. What's wrong with that? Hardly any creative energy goes into the workplace-the structures and systems of the agency organization itself-where even the lightest touch of imaginative thinking can leverage the quality of the creative product and the spirit of its development.

Group wise, agency foolish Let's say an agency operates with five creative groups. A new business opportunity has materialized, and management decides to mobilize everyone in its pursuit. While shared enthusiasm fills the air a couple of less visible things also happen: I L L U S T R A T I 0 N

A N N U A L

2. All group heads resolve (privately to themselves) to win

the new client. The thrill of the chase energizes concept development. Current accounts languish on the back burner. A "we-they" mentality takes control, abusing established relationships. Ideas-instead of being cultivated together, across functional boundaries-are kept utterly private. At best, there is secrecy and disinformation. At worst, sabotage and theft. (An acquaintance of mine in New York once told me that he bagged and removed the contents of his wastebasket every night during these new business free-for-alls , to prevent them from falling into the hands of the "opposition" inside his own organization. Military secrets?) "And the winner is ... " Tonight it will be champagne and celebration for a few, bitterness and beery vows of resignation for many more.

With victories like this, who needs defeat? Simple math tells this story: Five groups participate. One wins. Four lose.

Consider what's been happening:

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r. Current projects are immediately forgotten.

9 9 6

One-fifth of the agency's collective creative spirit is pumped up, four-fifths are in a shambles. Consider the condition of the organization as a whole after this kind of drill. How would you feel with wounds over 80% of your body? Flat-out internal competition uncorks destructive, if unintended, new interpersonal strategies. Inevitably these leak into everyday work and become bad habits. Second-class treatment of existing business during the big push discounts and abuses valuable client relationships. Even the grand prize-the new client-may itself be an illusion. Costly print and video presentation materials have already drained agency revenues away. The agency may not be able to recoup its costs, much less make a profit, on its new business pitching for years. Leo Burnett used to say-at the peak of his formidable career-that when his agency wasn't fun to work at any more he'd quit and start a new one. For many agency people today, shaken in the whirlwind of mergers, acquisitions, downsizing, dissolution and general chaos , things haven't been fun for quite a while. What a missed opportunity it is that so little of the industry's legendary creative power gets focused on making everyday work more satisfying and profitable.

TU D

XMEXTU -

pages 952,

•

992, 262, 276.

1996 Workbook Illustration v-1hat

you

see?

~ommuni~ation Art~ Discount Prices for Additional Copies of CA's 1996 Illustration Annual If you would like copies for others in your firm, or gifts for clients, friends or family, here's a price schedule for additional annuals. These prices apply only to the Communication Arts 1996 Illustration Annua l. $16 Each

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Recall, for example, that ice, steam and water-as differently as they behave-are all the same stuff at heart. Complex organizations manifest different behaviors based on different arrangements of the same constituent elements, too . People are rarely the problem . It's the way they're put together. That can be changed. Agency operating structures that are bureaucratic and unimaginative, chafe against the creative processes they could be facilitating. Departmental chauvinism emphasizes petty differences at the expense of shared values. Why not take some of your own communications planning knowhow and put it to work in the service of your own account?

stress. Aging artifacts of organizational culture need to be pulled from the mainstream and put in the company museum. Look for ways to build bridges between departments and functions, instead of tacitly supporting them to keep their distance. Agency people define "good creative" far too narrowly. Much more attention is paid to the form and hipness of the commercial, who shoots it and who gets to go on the production trip, than to looking for better ways to work with clients or each other. Why not apply some of that

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Twist the kaleidoscope on a handful of assumptions.

Competitive internal pressures swamp the impulse to cooperate, impede cross-functional collaboration, create

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award-winning creative thinking of yours to the concept and design of your agency as a whole? Investing in superior relationships and work flow also makes ads and commercials better. Preoccupation with new business undermines existing business, our commercial lifeblood. We often complain that current clients don't appreciate us enough, that they make unreasonable demands, don't understand our work. No doubt. Nobody is born knowing how to be a good client. We have to help them learn. When was the last time you organized an off-site retreat for an individual client, to clear the air and demonstrate as much attention to the way you do things as to the results: the "how" as well as the "what?" People endorse what they help create. Why not learn from yours how they actually see the attributes and values of your business today and how they'd like to see them in the future? Fresh attention to your firm's unique character can help you package and market it better, inside and out. Watch your staff spirit, client service, end product and new business success rate all improve at the same time. •

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Book Reviews Type & Layout By Colin Whe ildon Published by Strathmoor Press 2550 9th Street, Suite1000, Berkeley, Cal ifornia 94710 $24.95

Here's a voice from Australia telling of nine years of empirical testing, testing Type& to judge how type styles affect comprehension by readers and how readers Layout How typoer.phy anddesip> absorb the information and meaning -or(ltt inthtway Colin Wheiklon of what they've read. Do typefaces affect comprehension and which layouts make for easier readability? Colin Wheildon's tests involved 300 international suburbanites and he charts the results to suggest which typefaces and layouts work best. "...,,,,.. ........,,,..........., ........ .,.,,,....... _..,...,..... ~

-...::=:..:..-==-·

can iietyourn~ acrca

If you're an innovative graphic designer, this book is going to ruin your fun. However, if you're a serious communicator, these studies will remind you that readers respond in rather standard and ordinary ways and if you want good contact with them and want them to understand the content of your message you should listen to Wheildon. This is actual

~ommunication Art~

stuff they don't mention in art school: practical, sensible talk. These are basics about typography, things I learned at my first job setting metal type at Paramount Printing. These were basics about craft-the craft of typesetting. When some copywriter wanted to punch a single word by making it 36 point in an 18 point headline, I didn't think it was a very good idea because it took so much work to surround the word and the line with little rules and shims so everything would lock tightly into a printing form. Now it takes just a few mouse clicks to punch a word in the same way on your computer. Author Wheildon still wonders if it's a very good idea. His studies show chat most readers find such trickery to be a barrier to reading comprehension. His surveys were not just about typeface legibility: whether Garamond is more readable than Helvetica, but were directed to color, weights, letter spacing, line spacing, rags, tints and even headlines ending with periods. All of these typographic design elements affect the reader's desire to read and to absorb what you want to stuff into his/her mind. The reading of the many years of surveys in Wheildon's book is not dull because he includes many voices. He has high respect for typography and communications and tells of his father, a master printer in Derby, England, who believed that language was the start of civilization; that "editors and designers are the missing link between the ape world and man." He calls on the teachings of Edmund Arnold, formerly pro-

The Essential Creative Resource

fessor of typography at Virginia Commonwealth University, and points out that his teachings about typography and reading comprehension have fallen out of most art school courses. Art courses now teach how to make type on the computer, but usually not how to use typography as a communications transaction between the reading page and the reader. Arnold reminds us that reading is a learned activity; that when we were taught to read we were trained to start at the upper left of a page and that as our eyes move down the page, the influence of "reading gravity" is substantial. But, as our eyes float down the page, they are attracted by added visual elements and these distractions can influence absorption and comprehension. Control of the "eye track" on the designed page becomes important to the graphic designer.

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Professor Siegfried Vogele in Munich has used an eye camera to track eye pauses and movement as readers' eyes flit around a printed page. The pauses and timing show what interests the respondent, so Vogele makes some claims

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We are proud to announce that renewal advertising in the upcoming Graphic Artists Guild's Directory of Illustration has set an all,time record. This is our best indication of market satisfaction! For more than 14 years, the Directory of Illustration has been generating business for commercial artists. We take this responsibility very seriously. The Directory of Illustration has a solid track record as an important link between the commercial illustrator and the creative buyer.

If your company is not receiving the Directory of Illustration and spends at least $50,000 per year on commercial illustration talent, you may qualify for a complimentary copy of this valuable source book. Please inquire for further information. As an illustrator, advertising in the Directory of Illustration places your work among the best in the business. For more information on how the Directory of Illustration can help your business grow, please call for our 16 page brochure.

Directory of Illustration Published By Serbin Communications, Inc. 511 Olive Street Santa Barbara, California 93101 Phone 800,8 76,64 25 Fax 805,965,0496

Book Reviews

about what kinds of typography seem to work most smoothly. He backs the author in the claim that sans serif type is notoriously difficult to read in continuous text, even though the "creatives" say sans serif is clear-cut, modern, authoritative, decisive, sharp and exciting. The classic anti-sans serif bias was noted by Adrian Frutiger when he designed Univers in 1957. Rather than the single stroke-weight that typifies sans serif, Frutiger took the more humanist path of forming Univers with a graceful thick-thin quality and then used the eye camera to track both legibility and absorption, modifying the letter forms through hundreds of reader tests until a full range of weights and sizes was perfected and readable. In spite of the author's preference for serif faces, his own ranking finds the legibility of Roman Oldstyle to be 92 % and Sans Serif 90%. These old-line attitudes and biases are all woven into a very rewarding discussion, one that is thoughtful and packed with proved information . I have a hard-boiled client who rants against "creatives" and believes that too many times most graphic designers use forms of typography that blow away readers. She's always for the bottom

line-"Stop getting in the reader's way." I won't give her this book because she'll start telling me how to do successful typography and ruin all my fun. -BYRON FERRIS

Branding with Type By Stefan Regener, Albert-Jan Pool, Ursula Packhauser Published by Macm illan Computer Publishing 201 W . 103rd Street, Indianapo li s, Ind iana 46290 $18

Brandlngwithl'ype

How types.tis

Adobe Press brings us this interesting little book with a German accent. Its

main point is about linking a brand with a specific typeface to imprint an additional recognition factor on consumers. This is a good idea that's been used by some large advertisers over the years. Marlboro, which hasn't advertised tobacco recently, has stuck with a signature typeface, a form of condensed Clarendon called "Neo Contact," to keep its brand recognition going through "Marlboro Country" and now "Marlboro Gear." We recognize an Apple ad even before we see Macintosh because of the computer firm's consistent use of its 20% squeezed Garamond, refined for them by Bitstream. And Volvo has kept with its rather awkward headline typestyle

~ommunication Arts

for so long that we recognize the face as we would that of a friend's among the thousands of people we know. When the Volkswagen Bug was first marketed in the United States in the '6os, Swiss designer Carl Gerstner had already established an ad format and type family style, stripped down and as simple as the car. Doyle, Dane, Bernbach's Bob Gage and Helmut Krone were wise enough to continue the personality, establishing VW ads among the leaders of the Golden Age of Advertising. So "branding with type" can work effectively. The question is one of constancy as accounts are won and lost in the ad biz game. The value of consistent use of a constant logo is well accepted but it seems that each time an account changes advertising agencies a new art director has to try his or her own set of typeface preferences, and branding strength is lost. The authors examine the question of appropriateness in matching a typeface with the character of a company. Through carefully Germanic surveys, they can point out

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that international cosmetics ads show that Optima is used almost without exception: Pond's, Guerlain, Estee Lauder and nineteen others surveyed. Of course, to find a type

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style that could be considered to be an advertiser's own then sets off a discourse on letterforms that fills up most of the book. Their favorite word set for comparison seems to be "Hamburg," "Hamburger" or "Hamburgerfont," set tall or squat, fat or skinny, bold or delicate. A plentiful catalog of types is shown in use in almost a hundred ads. Since most of them are European-German, Dutch, French, Italian, Spanish-the letterforms become more apparent, easier to study in foreign-to-us groupings. Though their defining idea is that of an advertiser's linking with a signature type style, the authors also chart the changing moods of type preferences and presentation as generations and technology shift. Six ads demonstrate the changes from 1959 to 1995 as Peter Stuyvesant themes moved from Hamburg to Continental, to the jet age, turned modern, and now picture close-ups that might fit a television screen Type styles shift to fit the stories but one consistent element carries through and holds the identity together-the distinctive package that Bruno Wiese designed for the cigarette company (Rothman's) in 1958 hasn't changed for almost four decades. Adobe Press has brought us a thoughtful and interesting book with an international flavor and a bit of a scold at the end with the Fontshop's "Ten commandments for digital type users."

had another go at them and this time it was cautiously accepted; he was paid a derisory fee; ... the public, however, loved it and suddenly the designer was the blue-eyed boy ... " The account of Henry (Harry) Beck's revolutionary diagram, its creation, rejection, acceptance, refinement and later rejection, makes a surprisingly entertaining story, highly recommended for anyone enamored of maps, design and creative perseverance. Ken Garland, a close friend and confidant of Beck's, takes the reader through each step of his creative process, from his first sketch across two pages of an exercise book in 1931 to the permanent display at the London Transport Museum in a gallery now named in his honor. Amply and colorfully illustrated, with extensive captions, footnotes and appendices, Mr Becks Underground Map brings together the troubles and trials inherent when graphic design and public information overlap. "For its lessons have to be learned the hard way: that, to be effective, information design must start, not merely end, with its users, their needs, their perceptions." Perhaps, as Garland contends, the London Underground Diagram is one of the few works in 20th century graphic design "whose influence has been so seminal and so enduring." -ANGELYNN GRANT

Strangely, this same month's Adobe software catalog arrived, a publication that defeats everything that Branding with Type exemplifies. It seems to be made with an exuberant, layered adolescence rather than as a measured, designed book. It does, however, along with the accepted, readable letterstyles, offer dozens of junk fonts (Litterbox?) chat could very well be used for "branding with type." An advertiser could fairly well be assured of exclusive use because no one else would copy them.

-B.F.

Briefly N oted· Mr Beck's Underground Map , by Ken Garland

(Published by Capitol Transport, distributed by Very Graphics, P.O. Box 95642, Seattle, Washington 98145, $25). "So what happened was this: in his own time and on his own initiative, an ex-employee of the Underground Railways invented a way to represent London's underground network in diagrammatic form, laying emphasis on its connections rather than its geography; it was flatly rejected by the management; a year lacer he C 0 M M U N I C A T I 0 N

A R T S

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CALL FOR

ENT RI Send in your brightest ideas and compete for $10,000 in cash prizes, $50,000 in hardware and software prizes, and exposure to

660,000 design professionals

Deadline: August 9, 1996 Entry fee: $35 per entry

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please!). Digital files must be accompanied by a printed

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ond Runner-Up prize consisting of $2,000 cash, the Dynamic Graphics Art & Training Package (seminar of choice at Dynamic Graphics Educational Foundation,

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