jul1997

Lommuni~~tion Art~ 1997 Illustration Annual

Communication Arts (ISSN 0010-3519) is published eight times a year: January/February March/April May/June July (Illustration Annual) August (Photography Annual) September/October (includes Interactive Design Annual CD-ROM) November (Design Annual) December (Advertising Annual)

by Coyne & Blanchard, Inc. 410 Sherman Avenue, Palo Alto, California 94306 Volume 39, Number 3 Copyright 1997

by Coyne & Blanchard, Inc. Periodicals postage paid at Palo Alto, CA and additional offices .

POSTMASTER: Send address changes to Communication Arts P.O. Box 10300 Palo Alto, California 94303

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

Cover: ©1997 Joe Sorren

1997 Illustration Annual July 1997 Volume 39, Number 3 29

Books

43

Editorial

91

For Sale

104

Institutional

115

Self-Promotion

133

Unpublished

ec

Editor and Designer Patrick Coyne

Technology Feature Michael Kaplan interviews New York-based digital illustrator Nancy Stahl.

167

Design Technology Wendy Richmond discusses the importance of supporting expression-of self. community and culture .

170

Technology Reviews Pat Soberanis reviews Extensis CyberPress 1.0.

174

Technology Resources Books, tools, resources and educational opportunities .

Executive Editor Jean A. Coyne Consulting Editor and Designer Stephanie Steyer-Coyne Managing Editor Anne Telford Associate Editor Sue Garibaldi Associate Designer Mark Eastman Production Manager Scott Perry

c

Production Ron Niewald

Barbara Gordon reports on what's really going on out there .

185

Design Issues DK Holland on the "can do" philosophy of Americans and the need for designers to be more business savvy.

196

Legal Affairs An excerpt from Multimedia Law and Business Handbook, co-authored by J. Dianne Brinson.

203

Advertising Tom Monahan advises looking beyond an interview candidate's portfolio to the person behind the work.

208

Conference Review Anne Telford reviews the 17th annual SEGD conference.

Advertising and Circulation Director Michael Krigel Administrative Assistants Nancy Hagemann Nina Kitching Subscriptions Priscilla Brooks Kris Johnson Camille Leekins Gloria Rosario Controller Ronald Auger, CPA Traffic Manager Will Talton Founder Richard Coyne

dep

s

154

Contributors

156

Letters to the Editor

212

Book Reviews

220

Materials, Available Literature

224

Clubs, Conferences, Seminars

All pieces reproduced in this issue are under prior copyright by the creators or by contractual arrangements with their clients.

Nothing shown may be reproduced in any form without obtaining the permission of the creators and any other person or company who may have copyright ownership .

226

Index and Addresses of Featured Illustrators

~c

230

Index of Art Directors, Design Firms, Agencies and Clients

234

Directory

149

Advertising Joel Nakamura, illustrator Jonathan Navarro/Robert Krell, art directors Krell Advertising, ad agency Merck & Co., client Ad headline: Milestones in Migraine. 10 x 21, acrylic on tooled tin .

2 Philippe Lardy, illustrator Randy Lim, art director Studio M .D., ad agency Chateau Sainte Michele, client Poster for the vineyards and winery. 35 x 10, gouache.

3 Ken Joudrey, illustrator/designer Bob Morse, art director Unger Zitelli Sletten, ad agency Ralston Purina, client Poster headline: Ralston Purina cares for endangered species. 14 x 22, oil.

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Advertising (series) Gary Kelley, illustrator Lucy Thacker, art director/designer Decipher, Inc., client Game package illustrations for How-to-Host-aMurder. 22 x 16, pastel on paper.

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

2 Martin French, illustrator Tom Thornton, art director The Mednick Group, design firm Rockport Rhythm & Blues Festival, client Poster. 8 X 10, digital.

3 Gerard Dubois, illustrator Cindy Troupin, art director Jazziz, client CD cover for "Jazziz on Disc." Acrylic.

4 Cynthia von Buhler, illustrator Hans Rueffert, art director Zehrapushu, design firm Harper Collins, client Game card based on a Clive Barker novel.

29 X 40, gouache on canvas with a live dove.

5 Rene Milot, illustrator Sal Garguilo/Jan Ohye/Rene Milot, art directors Nappi Eliran Murphy, ad agency New York City Opera, client Poster for The Turn of the Screw. 22 X 28, oil and encaustic wax on canvas.

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Advertising Andrzej Dudzinski, illustrator/art director/designer Dudzinski Illustrations, design firm Polish Film Festival, client Poster. 30 x 40, oil crayon and pastel.

2 Mark Summers, illustrator George Vogt, art director/designer Katsin/Loeb Advertising Inc., ad agency Sandstrom Design, design firm Vale-New Haven Health System, client Newspaper ad headline: If you had three wishes in health care.

8 x 10, scratchboard.

3 Istvan Orosz, illustrator/art director Hungarian Opera House, client Poster.

5

4 Christian Northeast, illustrator Lane Wurster, art director Chris Eselgroth, designer Mammoth Records/The Backsliders, clients CD cover and poster. 20 x 20, acrylic and gouache.

5 Garrian Manning, illustrator Christine Simpson, art director Ken Janssen, designer Visualingo, design firm Plastic Factory, client CD cover for "Muddy Waters Rising. " 12 x 21, mixed media.

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Advertising (series) Mark Ulriksen, illustrator Shane Altman, art director/designer The Richa r ds Group, ad agency Cole-Haan Shoes, client Ad portraits of Cole-Haan customers. 9 x 11 , acrylic.

2 Adam Niklewicz, illustrator Sal Garguilo, art director/designer Nappi Eliran Murphy, ad agency New York City Opera, client

Tales of Hoffmann poster. 20 x 35, acrylic.

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Advertising Chris A. Gall, illustrator Karen Holland, art director Ogilvy & Mather, ad agency Child Advocates, client Non-profit children's advocacy group poster, "Slay Some Dragons." 10 x 10, scratchboard and dyes.

2 Gary Kelley, illustrator Francine Kass, art director/designer W.W. Norton Publishing, client Poster promoting the novel Morality Play by Barry Unsworth.

16 x 22, pastel on paper.

3 Cathleen Toelke, illustrator Jim Branham, art director Dana Communications, ad agency Millennium Broadway, client Illustration used in brochure and ads for Restaurant Charlotte.

61/a x 71/a, gouache.

4 Edel Rodriguez, illustrator/art director Marymount Manhattan College, client Poster promoting Women's Heritage Month. 11 x 17, mixed media.

5 Russell Farrell, illustrator Kay Woon, art director Hal Riney & Partners, ad agency Say Entertainment, client Billboard and poster for the "Secret Garden of Siegfried and Roy." 201/2 x 103/4, acrylic.

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Advertising (series) Rafal Olbinski, illustrator/designer Ann Murphy/Rafal Olbinski, art directors Nappi Eliran Murphy, ad agency New York City Opera, client Posters. Various sizes, acrylic on linen.

2 Daniel Craig, illustrator James Timm , art director New York City Opera, client

Bartered Bride poster. 17 X 25, acrylic on ragboard.

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Advertising Gerard Dubois, illustrator The New York Youth Symphony, client Poster. 161/4 X 21 , acrylic.

2 Christian Clayton, illustrator Jesse Fisher, art director/designer Epitaph Records, client CD cover for the Voodoo Glow Skulls. 12 X 12, acrylic.

3 Kirk Richard Smith, illustrator Christy Coxe, art director Chuck Hargett, designer Word Records, client Cover of Grover Levy's CD " Wrestling Angels."

12 X 16, acrylic on wood .

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Advertising (series) Kari Alberg, illustrator DeeAnn Budney, art director Citron Haligman Bedecarre, ad agency San Francisco Opera Company, client

La Boheme bus shelter posters. Linoleum block and gouache.

2 (series) Vivienne Flesher, illustrator Keith Anderson, art director Goodby, Silverstein & Partners, ad agency Starbucks Coffee, client Christmas promotion posters. 36 X 42, pastel.

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Advertising Laurie Rosenwald, illustrator/art director/designer Rosenworld, design firm Fez at Time Cafe, client Poster for a series of readings by Barry Vourgrau. 193/4 X 271/z, pen and ink.

2 John English, illustrator Carter Weitz, art director/designer Bailey Lauerman & Associates, Inc., ad agency Sheldon Memorial Art Gallery, client Poster for jazz concerts. 24 X 18, digital.

3 Wiktor Sadowski, illustrator Howard Levine/David Mayhew, art directors Mccarter Theatre, client Poster.

4 Raul Colon, illustrator Susy Overstreet, art director/designer McNeil Group, design firm Arizona Theatre Company, client Poster and ad. 11 X 14, watercolor, color pencil, litho pencil.

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Advertising Vivienne Flesher, illustrator Keith Anderson, art director/designer Goodby, Silverstein & Partners, ad agency San Francisco Society for the Prevention of Cruelty to Animals, client Bark and Whine Ball poster. 12 X 15, pastel.

2 Milton Glaser, illustrator/art director/designer Milton Glaser, Inc., design firm High School of Music & Art, client Poster to announce the 60th anniversary of the school. 24 X 36, watercolor.

3 Andrew Powell, illustrator Linda Henneman, art director/designer Think Design, design firm Pillsbury, client Poster for the opening of Caafe Haagen-Dazs. 18 x 24, acrylic, collage, pencil.

4 Glenn Harrington, illustrator/designer Rick Fehrs, art director Harrington Studio, design firm Artefact, client Promotional mailer. 12 X 14, oil.

5 (series) Istvan Orosz, illustrator/art director Petoff Theater, client Theater posters for A Streetcar Named Desire and West Side Story.

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Advertising Daniel Craig, illustrator Sal Garguilo, art director Nappi Eliran Murphy, ad agency New York City Opera, client

Brigadoon poster. 17 X 25, acrylic on rag board.

Books 2 Bee Willey, illustrator Judith Elliott, art director Dalia Hartmann, designer Orion Children's Books, publisher King Midas and his daughter. 7 X 101/2, mixed media.

3 Michael J. Deas, illustrator Carlos Beltran, art director Ballantine Books/Random House, clients Cover for the 20th anniversary edition of Interview With a Vampire.

14 X 20, oil on panel.

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Books (series) Tim Bower, illustrator Mimie Eng, art director/designer Editions, client Illustrations for The Real Real Mother Goose. 81/2 X 11, mixed media.

2 Tim O'Brien, illustrator Elizabeth Parisi, art director Scholastic, client Book cover for Slam by Walter Dean Myers. 18 X 24, oil on board.

3 Brad Weinman , illustrator Michael Farmer, art director Camilla Filancia, designer Harcourt Brace & Co., client Cover for Tales from the Brothers Grimm and the Sisters Weird.

11 x 17, oil on paper.

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Books (series) Chris Sheban, illustrator Rita Marshall, art director/designer Creative Education, client Illustrations from I Met a Dinosaur. After visiting the Museum of Natural History, a young girl sees dinosaurs everywhere. Square pieces 13 X 13, horizontal piece 24 X 12, watercolor and pencil.

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Books Jody Hewgill, illustrator Rebecca Porteous, assistant art director Michael Mitchell, designer Christopher Maclehose, publisher/creative director Harvill Press, client Cover of The Butterfly Effect, a Norwegian mystery. 12 X 141/2, acrylic.

2 Earl Keleny, illustrator Michael Accordino, art director/designer St. Martins Press, client Cover of The Sepia Siren Killer, concerning a black director in the '30s. 12 X 15, oil.

3 lvetta Federova, illustrator/art director/designer Lasky Press, client Limited edition illustrated book, Moire. 123/4 x 81/2, ink and collage.

4 Rob Day, illustrator Tom Stvan, art director/designer Free Press, client Book jacket for Alias Shakespeare, solving the greatest literary mystery of all time. 25 X 13, oil.

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1997

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Books (series) Nicholas Wilton, illustrator Louise May, art director Minna Greenstein, designer Mondo Publishing, client Illustrations for Where Does the Butterfly Go When It Rains? by Mae Garelick. 6 x 8, acrylic.

2 Michael J . Deas, illustrator Barbara Leff, art director Ballantine Books/Random House, clients Book jacket for The Knowledge of Water, a mystery novel set in 1910 Paris. 14 x 23, oil on panel.

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Books (series) Martin Jarrie, illustrator Bernard Girodroux, art director Delphine Renon, designer Nathan Jeunesse, client Illustrations for Toe Toe Monsieur Crie Crae. A little girl knocks on Monsieur Cric Crac's door as he feeds his plants; he doesn't like children looking into his garden.

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Books Gerard Dubois, illustrator/designer Gianni Caccia, art director Boreal Editor, client Cover of Julie. A story about an eight-year-old girl who smokes, drinks and watches late night movies because she thinks it's a hidden recipe to become an adult. 67/s x 91/4, acrylic.

2 Jody Hewgill, illustrator Rebecca Porteous, assistant art director Michael Mitchell, designer Christopher Maclehose, publisher/creative director Harvill Press, client Book cover of In the Palm of Darkness, a sensual tale that takes place in Haiti. Acrylic.

3 (series) Jack Unruh, illustrator Patrick Short, art director/designer Blackbird Creative, ad agency Asheville Convention and Visitors Bureau, client A Guide to Asheville, portraits of people who visited and stayed in this North Carolina city. 18 x 161/2, ink and watercolor.

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Books (series) Gary Kelley, illustrator Rita Marshall, art director/designer Creative Editions, client Illustrations from Edgar Allan Poe's Tales of Mystery and Imagination.

Various sizes, monotype.

Editorial 2 Limbert Fabian, illustrator GiGi Ortwein, art director Sarasota Magazine, client Article concerning women caught in the crossfire between pro-life protestors and Planned Parenthood, "Sex, Lies and Politics." 9 x 101/2, mixed media.

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Editorial Michael Wertz, illustrator Brooke Wenstrup, art director Ohio, client Magazine article titled "Giving Until it Votes. " Fred Lennon, America's most secretive billionaire, has donated more than a half-million dollars to Republican causes, making him the largest individual political giver in the United States.

11 x 131/z, pastel and pencil.

2 Douglas Fraser, illustrator Gudrun Gallo, art director Globe & Mail, client Newspaper illustration for a book review of the early years of Picasso, Life of Picasso, Volume 2; 1907-1917 by John Richardson . 7 x 10, alkyds on canvas.

3 Mark Ulriksen, illustrator Judy Garlan, art director/designer The Atlantic Monthly, client An Indian immigrant is in love with his next door neighbor, " Cosmopolitan. " 8 x 15, gouache.

4 Gary Baseman, illustrator Nancy Harris, art director The New York Times Magazine, client Article discussing how men have trouble apologizing, 'Tm Sorry You ' re Hurt." 111/z x 131/z, mixed media .

5 Tim O' Brien, illustrator Tom Staebler, art director Len Willis, designer Playboy, client Article concerning sexual harrassment in the military.

16 x 12, oil on board.

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Editorial N. Ascencios, illustrator Katie Craig, art director Impress Inc., design firm The American Benefactor, client Women in philanthropy-saints or scolds, angels or nags, they came in with baskets, checklists and a mission, "Ladies Bountiful."

15 x 20, oil on canvas.

2 C.F. Payne, illustrator Steven Heller, art director The New York Times Book Review, client Cover portrait of Whittaker Chambers. 13 x 15, mixed media.

3 Jacques Cournoyer, illustrator Andrzej Janerka, art director House Beautiful, client Thoughts of Home, "The Two Wegonas." 11 x 9, oil.

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Editorial Phil Huling, illustrator Joe Kimberling, art director Entertainment Weekly, client Nicolas Cage. 5 x 10, oil, ink and pencil.

2 C.F. Payne, illustrator Fred Woodward, art director Rolling Stone, client How Newt Gingrich went from being the life of the party to the GOP's pariah in two revolutionary years. 12112 x 15, oil and two pennies.

3 Frances Jetter, illustrator Florian Bachleda, art director Robert Newman, design director New York, client Magazine article on adult education courses, "Writing."

16 x 11, linocut, painted wood, thread and metal pen point.

4 (series) Brad Holland, illustrator D.J. Stout, art director/designer Texas Monthly, client Article on allergies, "Blowin' in the Wind." Various sizes, pastel.

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Editorial Gary Panter, illustrator Fred Woodward, art director Rolling Stone, client Russian President Boris Yeltsin.

2 N. Ascencios, illustrator John Korpics, art director Entertainment Weekly, client "Don of the Dead," Tupac Shakur. 121/2 x 22, oil on canvas .

3 Michael Paraskevas, illustrator David Armario, art director/designer Stanford Medicine, client "Vision Quest " article. Volunteers are working to help hundreds of West Africans who have lost their eyesight to cataracts and glaucoma.

4 Melinda Beck, illustrator D.J . Stout, art director Kathleen M . Marcus, assistant art director Texas Monthly, client Reporters are told that information is proprietary. What do private prison officials have against the public's right to know? 10 x 15, scratchboard, paint and collage .

5 C.F. Payne, illustrator Fred Woodward/Gail Anderson, art directors Rolling Stone, client

2

Critics Poll Artist of the Vear: Beck. 10 x 15, mixed media, oil.

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Editorial Andrea Ventura, illustrator Chris Curry, art director/designer The New Yorker, client Article about the International Brigade during the Spanish Civil War. 15 x 20, acrylic on paper.

2 Mark Ulriksen, illustrator John Korpics, art director Joe Kimberling, designer Entertainment Weekly, client Denzel Washington . Acrylic.

3 Brad Holland, illustrator Rick Margolis, art director Wheaton Quarterly, client "The Trail of the Tortoise." 12 x 10, acrylic.

4 (series) Benoit, illustrator Fran~oise Mouly, art director The New Yorker, client

Sketchbook by Benoit Van Innis, "The Fall Collection," "In Search of Ants at a Picnic" and " Five O'Clock." Oil on paper.

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Editorial (series) Philippe Weisbecker, illustrator Stephanie K. Birdsong, art director Shape, client Magazine article, "Prayer and penicillin, spirituality in medicine."

101/2 x 143/4, ballpoint pen on paper.

2 Brad Holland, illustrator Al Braverman, art director New Choices, client What doctors can do now for stomach and digestive problems, "Help for Your Gut Reactions." 143/4 x 19, acrylic.

3 Gregory Manchess, illustrator John Boyer, art director Gentlemen's Quarterly, client Article on F. Scott Fitzgerald, "Great Scott." 20 x 25, oil.

4 Owen Smith, illustrator Gail Anderson, art director Rolling Stone, client Review of the Rollins Band CD, "Come In and Burn ."

15 x 20, oil on board.

5 Jon Lezinsky, illustrator Heidi Larsen, art director Let's Live, client Magazine article, "AIDS," survival and alternative practices; zeroing in on natural treatments that work. 51/4 x 7, collage.

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Editorial (series) Brad Holland, illustrator David Carson, designer Speak, client Magazine article about the music business. Various sizes, pastel.

2 Christian Clayton, illustrator Owen Phillips, art director The New Yorker, client Portrait of Bob Mould at the Knitting Factory in New York.

7 x 10, acrylic on paper.

3 Manuel Geerinck, illustrator Harry Piccinetti/Manuel Geerinck, art directors Le Nouvel Observateur, client Cover illustrating relations between the French and Germans.

101/4 x 133/s, acrylic and pastel.

4 Liz Pyle, illustrator Pamela Berry, art director Travel & Leisure, client Scottish hotel on the Isle of Rum for My Favorite Place column .

30 x 22, pastel.

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Editorial lim Hussey, illustrator Rose Cefalu, art director Detour, client Magazine article concerning a woman's search for the perfect mate, "Hell Hath No Fury Like a Woman Horndog." Acrylic, pencil, collage and ink.

2 Joe Sorren, illustrator Christine Dunleavy/Susan Syrnick, art directors Susan Syrnick, designer Philadelphia Inquirer, client Newspaper short story about two sisters experiencing life through the movies, "Belated Movie Reviews : The '70s." 30 x 40, acrylic on canvas.

3 C.F. Payne, illustrator Julie Schrader, art director Entertainment Weekly, client Record review of Tom Petty and the Heartbreakers, "More Tom Foolery." 10 x 15, mixed media.

4 Paul Davis, illustrator Andrew Kner, art director Scenario, client Magazine illustration for the screenplay Bad Day at Black

Rock. 12 x 13, collage and acrylic.

5

5 Gary Kelley, illustrator John Korpics/Rina Migliaccio, art directors Rina Migliaccio, designer Entertainment Weekly, client Vear-end special reader's poll favorite TV show "NYPD Blue." 17 x 20, pastel on paper.

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Editorial Moira Hahn, illustrator Arthur Hochstein/Linda Freeman, art directors Sharon Okamoto, designer Time, client Cover, "Japan's New Anxiety." 67/s x 85/s, watercolor.

2 Christian Northeast, illustrator Deanna Lowe, art director Robert Newman, design director New York Magazine, client Article reports on a national prostitution-money laundering ring, "The Screwball Scheme." 8 x 101/2, acrylic, gouache, collage .

3 James Vang, illustrator Ezra Wolfe, art director Pennsylvania Gazette, client Article about a man's religion in conflict with his experience, "Passion Play at Mt. Pisgah ." 13 x 11, acrylic, mixed media.

4 Hadley Hooper, illustrator Owen Phillips, art director The New Yorker, client Illustration used in the Goings on About Town section for Fiona Shaw's interpretation of T.S. Elliot's The Wasteland.

121/4 x 121/4, toner and ink on an old album cover.

2

5 Nigel Buchanan, illustrator/designer Tim Donnellan, art director Australian Penthouse, client "Censorship." Is film censorship headed back to the bad old days? 73/4 x 75/s, gouache.

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Editorial Barry Blitt, illustrator/designer Kelly Doe, art director The Washington Post Magazine, client Washington Sketchbook. 81/4 x 11, watercolor and ink.

2 Gerard Dubois, illustrator David Moreno, art director American Way, client Magazine article, "Boxing at the Blue Horizon ." 85/s x 103/s, acrylic.

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

Boy commits a hit-and-run drive by, " Law of Our Fathers." 20 x 20, acrylic.

3

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2

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4

Editorial Philippe Weisbecker, illustrator Deborah Clark, art director American Spectator, client Article on "Immigration" describes a different viewpoint on the issue, a positive slant from a conservative. Mixed media .

2 Greg Clarke, illustrator Rina Migliaccio, art director Entertainment Weekly, client Inside cover of the holiday movie preview issue.

11112 x 111/2, watercolor.

3 Janet Woolley, illustrator Elizabeth Avedon, art director Swing, client Magazine article discusses the shopping habits of discerning young consumers, "New Materialism." 18 x 16, mixed media and collage.

4 Rich Borge, illustrator Brent A . Miller, art director/designer Medical Life Publishing, client Article concerning heart arrhythmia, a condition that causes the heart to beat irregularly, First Health of the Carolinas.

81/2 x 11, mixed media .

5

5 Kelly Alder, illustrator Fran~oise Mouly, art director/designer The New Yorker, client

Article on libraries turning into showplaces of information at the expense of hard-to-find, priceless books. 71/s x 93/s, brush, black ink and Photoshop.

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Editorial Joe Sorren, illustrator Brian Johnson, art director Christopher Jean, designer Live, client Magazine cover art for local music scene, " Portrait of Brad Munns." 24 x 30, acrylic, pencil and crayon on canvas .

2 Jeanne Berg, illustrator Janet Santelices, art director The Miami Herald, client Tropic magazine article about seeing a shark attack, " The Witness. " 11 x 13, watercolor.

3 Riccardo Vecchio, illustrator Owen Phillips, art director The New Yorker, client Goings on About Town section, the French movie, The 8th Day. 25 x 18, m ixed media .

4 Christian Northeast, illustrator Deanna Lowe, art director Robert Newman, design director New York Magazine, client Political column . 7 x 7, mixed media.

5 Leigh Wells, illustrator Robin Malik, art director Musician Magazine, client

2

Eulogy of a fictitious musician, Dooramalama, who had one early hit, but kept singing until his death, "We Remember Dooramalama ." 8 x 6, mixed media.

66

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2

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68

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9 9 7

Editorial Carter Goodrich, illustrator Fran~oise Mouly, art director The New Yorker, client

Academy Awards cover "Moment of Truth." 14 X 181/2, watercolor, colored pencil.

2 Joseph Lorusso, illustrator Phil Bratter, art director Worth, client Portrait of George Soros for a magazine article about prominent philanthropists. 9 X 12, oil on board.

3 Genevieve Cote, illustrator Mike Campbell, art director Lance Lekander, designer Anchorage Daily News, client Internal use of plants in health and beauty, "Phyto-Chemical Power." 45/s X 133/s, mixed media.

4 Anita Kunz, illustrator Karen Simpson, art director/designer Saturday Night, client Magazine portrait of writer Michael Ondaatje. 12 X 9, mixed media.

5 Al Hirschfeld, illustrator Fred Woodward, art director 6

Fred Woodward/Gail Anderson, designers Rolling Stone, client 6 Edward Sorel, illustrator Fran~oise Mouly, art director The New Yorker, client

Mother's Day cover. 14 X 18, pen, ink, grease pencil and watercolor.

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Editorial Juliette Borda, illustrator Sandra Schneider, art director The Washington Post Magazine, client A woman compares her present-day American life to her Iranian roots, "Two World Order." 9 X 12, gouache.

2 (series) Christian Northeast, illustrator John Korpics, art director Entertainment Weekly, client Illustrations used as leads for the magazine's Special Year-End I sue, "1996 The Year That Was." Various sizes, acrylic, gouache, collage.

2

70

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Editorial Anita Kunz, illustrator David Armario, art director/designer Stanford Medicine, client Endometriosis article, "It's NOT All in Your Head." Physicians now know that endometriosis is actually in the ovaries, the fallopian tubes or the bowels and medical researchers are trying to find out how it gets there. 91/2 X 12112, watercolor and gouache.

2 Sandra Dionisi, illustrator Gail Anderson, art director Rolling Stone, client Portrait of musician Me'Shell Ndegeocello. 51/2 X 91/2, acrylic on paper.

3 Christian Northeast, illustrator Mary Jane Fahey, art director Men's Health/Roger Black Studio, clients Magazine article concerning the search to cure male pattern baldness, "Re-Seeding Hairlines." 81/2 X 11, acrylic, gouache, collage.

4 Tom Curry, illustrator D.J. Stout, art director

2

D.J. Stout/Nancy McMillen, designers Texas Monthly, client Article about John Nance Garner. 11 X 13, acrylic on gessoed Masonite.

5 Cathleen Toelke, illustrator Christi Tessenyi, senior picture editor Eberhard Henschel, editor-in-chief Freundin, client Magazine book excerpt, Puerto Vallarta Squeeze. Two gringos and a Mexican woman try to relate in Robert James Waller's book.

18 X 14, pastel.

72

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3

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73

3

74

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I

9 9 7

Editorial Marcos Sorensen, illustrator Fred Dodsworth, art director/designer Au Juice, client Magazine article about ginger, "Fred & Ginger." 'Lectric media in Photoshop.

2 Rick Sealock, illustrator Don Besom, art director/designer Business Week, client Trying to kick the habit, "Ready to Toss Those Cancer Sticks."

91/4 X 11, acrylic, collage.

4

3 N. Ascencios, illustrator Owen Phillips, art director The New Yorker, client Ray Charles at Radio City. 20 X 16, oil on canvas.

4 Andrea Ventura, illustrator Steven Heller, art director/designer The New York limes Book Review, client Cover portrait of poet W.H. Auden. 13 X 15, acrylic on paper.

5 Juliette Borda, illustrator Carol Macrini, art director Bloomberg, client Magazine article explains how casinos exploit gamblers,

5

"Game Plans." 83/4 X 11, gouache.

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Editorial Tim Hussey, illustrator Heide Foley, art director Mondo 2000, client Interview with a rap star named Big Bird Magoo, a master of recording and sampling, " Fear and Loving in Berkeley."

Acrylic, pencil, collage and ink.

2 Jordin Isip, illustrator David Armario, art director/designer Stanford Medicine, client As the hope for a one-shot cure proves to be unrealistic, the medical community is fighting AIDS with combination therapy that is dramatically transforming HIV management.

171/2 X 221/z, mixed media on paper.

3 Christian Northeast, illustrator Dave Allen, art director Outside, client Magazine article on the cold hard facts of freezing to death, "As Freezing Persons Recollect the Snow, First Chill, Then Stupor, Then the Letting Go." Acrylic, gouache, ink, collage.

4 Allan M. Burch, illustrator Ken Palumbo, art director Bicycling, client Article about two brothers on a trip across Morocco, "The Fifth Pillar." 103/4 X 18, acrylic on illustration board.

5 Mark Ryden, illustrator Gail Anderson, art director Rolling Stone, client Metallica record review, " Into the Groove." 10 X 16, oil.

76

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9 9 7

2

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77

78

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9 9 7

2

Editorial (series) Riccardo Vecchio, illustrator Gary Falkenstern, art director Newsweek, client Special report, "The Man With the Passports." Various sizes, mixed media.

2 Juliette Borda, illustrator Kelly Doe, art director The Washington Post Magazine, client Camp Sandy Brook, "Summer of 1957." 9 X 111/4, gouache.

3 Jordin Isip, illustrator D.J. Stout, art director Texas Monthly, client A once-idyllic town finds itself in the middle of a controversial rape case involving four older boys and an eighth-grade girl, "Benham's Paradise Lost." 123/s X 165/s, mixed media on paper.

3

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3

2

80

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9 9 7

Editorial Edel Rodriguez, illustrator Owen Phillips, art director The New Yorker, client Illustration featuring the play, Marking, in the Goings on About Town section. 14 X 91/2, mixed media.

2 Gary Kelley, illustrator Chris Curry/Nick Parker, art directors The New Yorker, client Artist's Sketchbook page. Monoprint.

3 Christian Clayton, illustrator Tom Fille Brown, art director/designer Tower Records, Pulse, client 10 X 13, acrylic on paper.

4 Joe Ciardiello, illustrator Chris Curry, art director The New Yorker, client Dave's neurotic behavior and staff changes in a ratings struggle, "Letterman Unbound ." 8 X 101/4, pen and ink and watercolor.

5 Anita Kunz, illustrator Fran\:oise Mouly, art director/designer The New Yorker, client Cover illustration . 9 X 12, watercolor and gouache.

5

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Editorial Frances Jetter, illustrator Frank Baseman/Betsy Brecht, art directors Philadelphia Magazine, client Article about abused children who commit arson, "Playing With Fire." 12 X 16, linocut and collage.

2 Steven Guarnaccia, illustrator ltalo Lupi, art director Abitare, client Editorial feature, "Pulp Fiction." 12 X 151/4, watercolor.

3 Scott Menchin, illustrator Daniel Carter, art director Wired, client Illustration for Netizen column. 8 X 10, ink.

4 David Miller, illustrator Fred Woodward, art director Gail Anderson, designer Rolling Stone, client "Swinging Singles: The Smashing Pumpkins Put Their B Sides in a Snazzy Box." 20 X 27, watercolor, dyes, pen and ink, collage.

5 Tim Hussey, illustrator Carol Macrini, art director Bloomberg, client

2

Magazine article about the exploitation and blackmail of Japanese businesses by the Japanese mafia. Acrylic, pencil, collage and ink.

82

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3

4

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83

Editorial Joe Sorren, illustrator Doug Palladini/Jaimie Muehlhausen, art directors Jaimie Muehlhausen, designer Snowboarder, client Magazine open forum, We Could Be Perfect Lovers, or Something.

30 X 40, acrylic on canvas.

2 Etienne Delessert, illustrator Cynthia L. Currie, art director Kiplinger's Personal Finance Magazine, client "What to do With $1,000." 81/2 X 11, watercolor.

3 Janet Woolley, illustrator Isabel Jaskierny, art director Child, client Magazine article, "Parental Self-Esteem ." Parents need to keep their self-esteem in the face of new trends in child care . 18 X 18, mixed media, collage.

4 Ward Schumaker, illustrator Jorge Colombo, art director/designer San Francisco Focus, client Guitarist David Tannenbaum's recital of modern classical works.

8 x 8, Photoshop.

5 Christian Clayton, illustrator Steve Powell, art director/designer

2

Hippocrates, client Laughing clubs in India, "The Power of Laughter." Members say a daily dose of guffaws lowers their blood pressure, revs their immune system and helps them to sleep better at night. 12 X 11, acrylic on paper.

84

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3

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85

2

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86

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I

9 9 7

4

Editorial Pierre Le-Tan, illustrator Chris Curry, art director The New Yorker, client "Paganini's Recipe for Ravioli." Ink and watercolor.

2 Mark Summers, illustrator Robin Gilmore-Barnes, art director The Atlantic Monthly, client Portrait of William Gladstone, "The Most Eminent Victorian."

5 X 7, scratchboard.

3 Andrea Ventura, illustrator Chris Curry, art director The New Yorker, client Movie review of Secrets and Lies. 21 X 19, acrylic on paper.

4 (series) Ralph Steadman, illustrator Fred Woodward, art director Lee Searson, designer Rolling Stone, client Article on the occasion of the 25th anniversary of the publication of Fear and Loathing in Las Vegas by Dr. Hunter S. Thompson. Various sizes.

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

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3

88

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4

Editorial Steve Brodner, illustrator Gail Anderson, art director Fred Woodward, designer Rolling Stone, client Movie review of Clint Eastwood in Absolute Power. 15 X 20, watercolor and pastel.

2 Daniel Adel, illustrator John Korpics, art director Entertainment Weekly, client Declining ratings and an angry star make this year's Tony Awards Broadway's latest drama, "The Sound of Mutiny." 12 X 16, oil on panel.

3 Christian Northeast, illustrator Carol Layton, art director Bloomberg, client Magazine article concerning measuring your portfolio's performance, "Adjust Your Pressure Gauges." 71/z X 6, acrylic, gouache and collage.

4 Anita Kunz, illustrator Fran~oise Mouly, art director/designer The New Yorker, client

The Holidays Are Upon Us. 9 X 12, watercolor and gouache.

5 5 Brian Cronin, illustrator Fred Woodward, art director Rolling Stone, client Recording Reviews: "Earthling" by David Bowie. 83/4 X 117/s, acrylic and India ink.

I

I

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89

Editorial Jack Unruh, illustrator Audrey Razgaitis, art director Conde Nast Traveler, client George Kalogerakis and his father go afowl in Africa, "Travels With My Ancestor." 8 X 11 , ink and watercolor.

2 Peter de Seve, illustrator Fran~oise Mouly, art director The New Yorker, client Thanksgiving cover. Watercolor and ink.

For Sale 3 Thomas Blackshear, illustrator Terry McCaffrey, art director Derry Noyes, designer United States Postal Service, client Postage stamp. 5 X 7, mixed media .

4 Thomas Blackshear, illustrator Terry McCaffrey, art director Derry Noyes, designer United States Postal Service, client Postage stamp. 5 X 7, mixed media.

5 Thomas Blackshear, illustrator Terry McCaffrey, art director Derry Noyes, designer United States Postal Service, client Postage stamp . 5 X 7, mixed media.

6 Thomas Blackshear, illustrator Terry Mccaffrey, art director Derry Noyes, designer United States Postal Service, client

2

Postage stamp. 5 X 7, mixed media.

90

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9 9 7

3

4

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6

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

A R T S

91

2

3

92

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

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9 9 7

4

For Sale Brent Watkinson, illustrator/art director Carrie Brzon, designer Gregg & Associates, ad agency/client Illustration for the Kansas City History calendar. 6 X 6, digital.

2 Marc Rosenthal, illustrator Jennifer Culbert, art director Graphique De France, client Halloween note card. 41/z X 6, ink and watercolor.

3 Vern Dufford, illustrator/designer/client Ken Patrick, art director One from the Voyager series of limited-edition prints, depicting man and solitude. 151/z X 131/4, oil and pastel on board.

4 (series) Tom Bennett, illustrator Hans Rueffert, art director Zehrapushu, design firm Harper Collins, client Illustrations used for a board game based on Clive Barker's novel, lmajica. 10 X 14, monotype.

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93

For Sale Michael J. Deas, illustrator Terry McCaffrey, art director Carl Herrman, designer United States Postal Service, client Postage stamp. 8 X 10, oil.

2 (series) Judith Funkhouser, illustrator Karen Gelardi, art director/designer Sagoma Design Group, Inc., design firm Open Studio Picture Resource, client Artwork for digital image resource . 9 X 9, acrylic and oil pastel on watercolor paper.

2

94

ILLUSTRATION

ANNUAL

199 7

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

A R T S

95

For Sale Fletcher Sibthorp, illustrator Jan Stanton/Sue Rudd, art directors Sue Rudd, designer Royal Shakespeare Company, client Money-raising calendar. Portrait of Othello. Mixed media.

2 (series) Linda DeVito Soltis, illustrator Jackie Merri Meyer, art director Warner Books, client Illustrations from The Astrology Book of Days, a perpetual calendar.

12 X 12, mixed media.

3 Paul G. Oxborough, illustrator/art director/designer Gallery 3916, client Gallery sale. 22 X 18, oil on board .

2

96

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3

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

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97

2

98

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

A N N U A L

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9 9 7

For Sale Scott Gustafson, illustrator/designer David Usher/Jennifer Oakes, art directors The Greenwich Workshop, client Limited edition print Puss in Boots. 30 X 36, oil.

2 (series) Michael Schwab, illustrator Jami Spittler, art director Michael Schwab/Jami Spittler, designers Rich Silverstein, creative director Goodby, Silverstein & Partners, ad agency Michael Schwab Studio, design firm The Golden Gate National Parks Association , client Posters. 22 X 281/2, silkscreen .

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

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99

100

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

A N N U A L

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9 9 7

For Sale (series) Lorena Pugh, illustrator/art director/designer Limited edition series. Various sizes, oil.

2 Rachel Bliss, illustrator Portrait of the artist's daughter for gallery sale. 14 X 18, oil and acrylic on canvas.

2

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

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101

For Sale (series) Greg Spalenka/Michelle Barnes, illustrators/art directors Patty Wong/Virginia Sherburne, designers Spiritos, client Visions of Vespertina Spiritus. Various sizes, mixed media, painting and digital.

102

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103

For Sale Mark Summers, illustrator Fr. Richard of Caldey, art director Caldey Abbey, client Johannes Brahms. Original given to Fr. Richard for an Abbey fund-raising project. 7 X 11, scratchboard.

2 Michael J . Deas, illustrator Terry Mccaffrey, art director Carl Herrman, designer United States Postal Service, client Postage stamp. 8 X 10, oil.

3 Amy Butler, illustrator/art director The Thurber Center, client Mini poster of spiritual masters, Kahil Gibran and Martin Luther King, Jr., for sale during an exhibition . 20 X 40, acrylic on board.

Institutional 4 Jody Hewgill, illustrator Stephanie Beaugrand, art director Grapheme Communication-Design, design firm Lundbeck, client Brochure dealing with the many faces of schizophrenia. 73/4 X 71/2, acrylic.

2 5 Kazuhiko Sano, illustrator Daisuke Koga, art director Saurus Design, design firm Gakken, Co., client Gakken's gift phone card and postcard design. Acrylic.

104

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9 9 7

3

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4

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5

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

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105

Institutional Nicholas Wilton, illustrator Richard Klein, art director/designer RKD, design firm Genentech, Inc., client Illustration for the annual report. 9 X 12, acrylic.

2 Brad Weinman, illustrator Rikki Poulos, art director/designer Rikki Poulos Design, design firm National Academy of Recording Arts & Sciences, client Portrait of Coolio for the Grammy Awards program . 41/z X 6, oil and gold leaf on paper.

3 Polly Becker, illustrator Ronn Campisi, art director Ronn Campisi Design, design firm Federal Reserve Bank of Boston, client Illustration showing gender stereotyping in the workplace for the

Regional Review. 11 X 6, assemblage.

4 Joel Nakamura, illustrator Michael C. Fiore, art director 30 West Advertising, ad agency Wyeth-Ayerst Laboratories, client Calendar illustration about myths of the heart's function. "To the still near stone-age Kwoma tribe of New Guinea, the heart (mesuk) is the seat of life, and controls the breath. It is not connected to veins and arteries, but resides by day in the area behind the sternum. At night it moves up to the throat to sleep while the person sleeps. One should not awaken a person suddenly or the mesuk may not have enough time to return to the daytime position .

The mesuk should be allowed to wake itself first, and then the person will open his eyes." 14 X 14, acrylic on tooled tin.

5 Gerard Dubois, illustrator Theodora Tilton, art director Humane Society of the United States, client

Pitting Animals Against Animals. 133/4 X 131/s, acrylic.

106

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9 9 7

2

5

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

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107

Institutional (series) Rafal Olbinski, illustrator Slaw Rogowski, art director Marek Wajda, designer Filmar, ad agency Ministry of Environmental Protection, Natural Resources

& Forestry, client Calendar.

108

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109

Institutional Joe Sorren, illustrator Sally Weingarten/David Cravit, art directors Sally Weingarten, designer David Cravit and Associates, design firm Heller-Financial, client Financial brochure, " It could have been a real cherry deal, unfortunately the last laugh was at your expense." 24 X 30, acrylic on canvas.

2 (series) Rob Barber, illustrator Melissa Posen, art director Chris Krueger, designer C-Wave, design firm American Museum of Natural History, client Murals for fossil hall exhibits. 51 X 15, oil on canvas.

2

110

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COMMUNICATION

ARTS

111

2

112

3

I L LU S T RAT I 0 N

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4

Institutional Jack Unruh, illustrator Woody Lowe, art director Hal Riney & Partners, ad agency Nature Conservancy, client Shasta rainbow trout. 281/2 X 9, ink and watercolor.

2 Melinda Beck, illustrator Tom DeMay Jr., art director/designer Internet Underground, client Information about pirate radio stations on the Internet.

8 X 14, scratchboard, paint and collage .

3 Jeffrey Fisher, illustrator Nancy Hoefig, art director Landor Associates, design firm Risk Management Solutions, client Insurance company's annual report. Acrylic on paper.

4 (series) James Steinberg, illustrator Ted Williams, art director/designer Ted Williams Design, design firm Foundation Health, client Annual report. 83/4 X 111/2, Acryla-Gouache.

C 0 M M U N I CAT I 0 N

A R TS

113

2

3

114

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4

Self-Promotion Rafael Lopez, illustrator/designer Candice Lopez, art director Rafael Lopez Illustration, client Mailer. 16 X 18, tempera and gouache.

2 Matt Bandsuch, illustrator/client One from a series of twelve used for a promotional book.

81/2 x 12, acrylic.

3 Gerard Dubois, illustrator/art director/designer The Association des lllustrateurs du Quebec, client Cover of the annual directory. 183/4 X 127/s, acrylic.

4 Craig Frazier, illustrator/designer Robert Louey, art director Louey Rubino, design firm Lithographix, Inc., client Calendar page for April. 81/2 X 11, cut paper.

5 John Rutkowski, illustrator Susan Macintyre, art director/designer Pentagram Design, design firm Texas Creative Sourcebook, client

5

Divider page. 71/4 X 11 , mixed media.

COMMUNICATION

A R TS

115

Self-Promotion Eric C. Merola, illustrator/art director/client Mailer. 24 X 36, oil.

2 Jose Manuel Saraiva, illustrator/art director/client Postcard portrays the similarities between Kafka 's description of a creature and people who choose to isolate themselves from society.

81/2 X 9, watercolor, collage, colored pencil and gouache.

3 (series) Cornel Rubino, illustrator Robert Evans/Judith Martens/Mike Nelson, art directors Times 3, design firm/client Gift desk calendar based on the number three . 71/2 X 9, mixed media, drawing and assemblage.

3

116

ILLUSTRATION

ANNUAL

1997

COM MUNICATION

ARTS

117

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A N N U A L

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9 9 7

2

Self-Promotion (series) Amy Butler, illustrator/art director/client Art of the Midwest, design firm Studio sampler. 12 X 16, acrylic on board .

2 Etienne Delessert, illustrator/client Rita Marshall, art director/designer Delessert & Marshall, design firm Poster. 18 X 20, acrylic.

3 Andrzej Dudzinski, illustrator Yusaku Kamekura, art director Yutaka Mizukami, designer Yusaku Kamekura Design Office, design firm Creation Gallery G8, client Poster for artist's exhibition in Tokyo. Oil crayon.

3

COMMUNICATION

ARTS

119

120

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9 9 7

2

Self-Promotion (series) Etienne Delessert, illustrator Rita Marshall, art director/designer Delessert & Marshall, design firm Postcard mailers. 18 X 20, acrylic.

2 Jack E. Davis, illustrator/client Richard Solomon, art director

Saturday Night Special. 10 X 13, colored pencil.

3 Fred Otnes, illustrator John deCesare, art director/designer Reece lnc./Rosenwald Gallery, clients 30 X 40, mixed media collage .

3

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121

Self-Promotion Seth Jaben, illustrator/designer Kenny Garrison, art director Richards, Brock, Miller, Mitchell & Assoc. Inc., ad agency Simpson Paper Co., client Cover art for paper sample book. 11 X 14, watercolor.

2 Jose Manuel Saraiva, illustrator/art director/client Postcard mailer allegory based on Hemingway's The Sun Also

Rises. 9 X 10, watercolor, collage, colored pencil and gouache.

3 Douglas Fraser, illustrator Douglas Fraser/Tevy Grunberg, art directors Ignition Screenworks, design firm Poster. Digital art, screen printed.

4 Tim Bower, illustrator/client Mailer. 12 X 8, mixed media.

122

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2

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4

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123

2

124

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

3

A N N U A L

I

9 9 7

4

Self-Promotion Jack Unruh, illustrator/art director/designer Unruh & Forbes, client Announcement for annual used-art sale. 22 X 17, ink.

2 Melinda Beck, illustrator John Tan, art director/designer Bag of Tricks, design firm/client Art card from promotional deck of cards . 8 X 10, scratchboard, paint and collage.

3 Michelle Chang, illustrator/client Mailer. 83/s X 121/2, gouache and oil.

4 Susan Synarski, illustrator/art director/designer/client Postcard mailer. Gouache, oil pastel and pencil.

5 Fred Otnes, illustrator John deCesare, art director/designer Reece lnc./Rosenwald Gallery, clients

13 x 171/4, mixed media collage.

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Self-Promotion (series) Etienne Delessert, illustrator Rita Marshall, art director/designer Delessert & Marshall, design firm Postcard mailers. 18 X 20, acrylic on tin.

2 Balvis Rubess, illustrator/art director/designer/client Sourcebook ad. 8 X 12, acrylic.

3 Alain Pilon, illustrator/art director/designer/client Mailer portrait of John Lee Hooker. 87/s X 12, acrylic.

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Self-Promotion Milton Glaser, illustrator/designer Kit Hinrichs, art director Pentagram Design, design firm Simpson Paper Co., client Paper brochure cover. 11 X 14, crayon and collage .

2 Mark English, illustrator Tim Trabon , art director/designer The Norman Rockwell Museum, client Exhibition poster. 19 X 25, acrylic on canvas .

3 Emil Wilson, illustrator/client Mailer. 14 X 8, oil pastel and pencil.

4 Greg Tucker, illustrator/art director/client Ad page. 12 X 10, pastel on paper.

2

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Self-Promotion Alain Pilon, illustrator/client Mailer. 87/s X 141/2, acrylic.

2 Katherine Dunn, illustrator/art director/designer/client Sourcebook ad, Elouise. 12 X 9, acrylic, mixed media.

3 Will Wilson, illustrator/art director The John Pence Gallery, client Art show invitation, Underground Overture. 28 X 36, oil on canvas .

2

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Self-Promotion Peter de Seve, illustrator Bethanie Deeney, designer Graphic Artists Guild, client Announcement of the sixth annual Illustration Marketplace.

11 X 16, watercolor and ink.

Unpublished 2 (series) Lisa Nilsson, illustrator Weekend outings provided inspiration for these illustrations.

6 X 61/2, gouache on paper. © Lisa Nilsson 1997

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Unpublished (series) Karen Barbour, illustrator 22 X 30, oil on paper. © Karen Barbour 1997

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Unpublished Brian Rea, illustrator Erika Christiansen, art director Two Guys and a Girl Design, design firm Proposed cover, The Greatest Moments in Sports. 6 X 81/4, mixed media and collage. © Brian Rea 1997

2 (series) Anthony May, illustrator/designer/client Group show series depicting two grandfathers. 24 X 28, graphite on gessoed paper. © Anthony May 1997

3 Laurel Long, illustrator

Little Red Riding Hood and the Wolf. 711z X 11, oil on Masonite. © Laurel Long 1997

2

I

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1

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Unpublished Joe Sorren, illustrator Melanie Doherty, art director Wine label for St. Supery's Vineyards. 24 X 28, acrylic on canvas. ©Joe Sorren 1997

2 Natasha Rubel, illustrator/art director/designer Detzner Design & Illustration, design firm

Greta Goes for a Little Walk. 42 X 48, oil on canvas . © Natasha Rubel 1997

3 Eric White, illustrator/art director

Pursuit of Happiness. 16 X 12, acrylic on canvas. © Eric White 1997

4 Hayes Henderson, illustrator Peter Cimitini, art director

Newsweek illustration on violence and urban youth . 14 X 20. © Hayes Henderson 1997

5 Traci Haymans, illustrator Portrait of Ray Charles. 18 X 24, monotype. ©Traci Haymans 1997

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Unpublished (series) Edel Rodriguez, illustrator/art director Drawings from a trip to Havana, Cuba. Various sizes, mixed media. © Edel Rodriguez 1997

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Unpublished Patrick Cunningham, illustrator/art director/designer TV Man. Mixed media . © Patrick Cunningham 1997

2 Mark English, illustrator

21 X 191/2, oil on board. © Mark English 1997

3 Jeffrey Decoster, illustrator Big Smile. 14 X 19, acrylic on board. © Jeffrey Decoster 1997

4 Mike Liddy, illustrator/designer JB,The Singer. 11 X 14, mixed media . © Mike Liddy 1997

6

5 Vivienne Flesher, illustrator/art director 18 X 24, charcoal. ©Vivienne Flesher 1997

6 Charise Mericle, illustrator Personal piece about thrift stores. 8 X 13, mixed media. © Charise Mericle 1997

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ARTS

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Unpublished 1 (series) Ricardo Duffy, illustrator Welcome to America; Curtain Raiser; God's Domain; Border Jump; and Apperception. Various sizes, mixed media. © Ricardo Duffy 1997

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Unpublished (series) Cap Pannell, illustrator/art director/client Pannell St. George, design firm Portraits of the illustrator's sons. 9 X 12, pencil, ink and Macintosh. © Cap Pannell 1997

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Editor's Column

BY PATRICK COYNE

D

espite a slight drop in entries from last year's alltime high, this year's distinguished panel chose

a record 248 illustrations (out of 5,865 submitted) for inclusion in the Annual.

Warren

We added sixteen pages to accommodate the work of the 162 featured artists. While the number of selected entries in most categories were comparable to last year, we registered significant gains in editorial and self-promotion.

This year's jurying began Sunday morning, April 6th, 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.

Bass

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 ilh.!.stration 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.

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.

A simple majority was required for acceptance and all entries were treated as equals in the design of the Annual.

Ar low

I would like to thank our jurors for their conscientious efforts in selecting our 38th Annual Exhibition.

Arnold Arlow is executive vice president/partner, creative director of Margeotes Fertitta & Partners, Inc. in New York. Arlow joined the firm in 1994 and is responsible for the Carillon account. From 1984 to 1994, Arlow was at TBWA creating the memorable Absolut Vodka campaign among many others. Prior to joining TBWA, Arnie was executive vice president and creative director of the merged agencies of Geers Gross Advertising and Martin Landey, Arlow. A native New Yorker, Arlow is a graduate and former trustee of Cooper Union. In 1954 he went to Paris to study art on [ coNTINuEo oN PAGE 152 ) C 0 M M U N I C A T I 0 N

A R T S

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Editor's Column

the prestigious Fulbright Grant for Fine Arts. He is currently an active member of the One Club for Art and Copy and the Art Directors Club in New York.

Wendy Bass is a New York City-based freelance graphic

designer and art director. Prior to opening her own office three years ago, Bass was a staff art director at Random House and the creative director for the trade division of Macmillan Publishing Co. Her work as a designer and art director has received numerous awards from major organizations and publications such as AIGA, the Art Directors Club of New York, Communication Arts, Creativity, Print and the Society of Illustrators.

Doe

Kelly Doe has been an art director at the Washington

Post Magazine since 1991. Previously she spent time at Mirabella in New York and at Hippocrates and The San Jose Mercury News in California. Before switching to editorial, her advertising and studio design experience included work for Burson Marstellar, Atari and Michael Cronan Design, among others. Her work has received

numerous awards from the Society of Newspaper Design, the Society of Publication Designers, as well as being shown in the New York Art Directors Club annuals, Communication Arts, Print and AIGA annuals.

Jack Unruh is a freelance illustrator in Dallas, Texas. Born

in Pretty Prairie, Kansas, the son of a 30-year Air Force veteran, Jack lived in a variety of places while growing up.

In addition to cultivating Jack's reverence for the outdoors, his dad also gave Jack his first "how to draw" book. This was an early shove down the path that led eventually to a fine arts degree from Washington University in St. Louis and later to Dallas and a 30-year output. His work has appeared in the New York Society of Illustrators since 1967 and includes Gold and Silver medals. He is an active participant in the Dallas Society of Visual Communications and has previously held the office of president among other tides.

Linda Warren is the owner and creative director of The Warren Group, Venice, California. After childhood in Elko,

Nevada, she graduated from Occidental College in Los Angeles and the Ritz-Escoffier Ecole de Gastronomie Francraise in Paris, where she broadened her pastry skills.

Warren was president of the Art Director's Club of Los Angeles 1991-93 and is currently on the board of directors of the Los Angeles chapter of the AIGA. Her design work is in the Permanent Collection of the Library of Congress and has won numerous prestigious awards. • 152

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Contributors

Features Michael Kaplan, a New York

journalist, writes frequently on the subject of graphic design.

His work has appeared in a variery of magazines including Spy, G~ Premiere, American Photo, George and Manhattan, inc. He has written many

feature profiles for CA; for this issue he interviewed Manhattanbased digital illustrator Nancy Stahl for the Technology

Wendy Richmond is recog-

DK Holland is the managing

nized internationally as an

director and vice president of

innovator and commentator on

The Pushpin Group and is in

visual communication and

partnership with Seymour

technology. She has been

Chwast, director and president

involved with computer-based

of Pushpin . DK has written fea-

media since 1977, beginning

tures for CA and has worked

with research in design at

with other writers and profes-

Massachusetts Institute of Tech-

sionals in the development of

nology. She has participated in

her column, Design Issues,

the formation of software com-

since 1992.

panies to develop new communication media and tools, and co-founded the Design

Feature.

Lab at WGBH TV. Her writing and teaching focuses on this

Columns

question: How is technology

Pat Soberanis is a San Fran-

affecting the way we communicate? Wendy is an NEA grant

cisco-based print and online

recipient and has served on

publishing consultant. Her Web site, Publishing Resource, is located at www.soberanis.

numerous advisory boards. She has taught at MIT, the School of the Museum of Fine Arts

com. She reviewed Extensis

CyberPress r.o . for the Technology Reviews column.

Byron Ferris has written for

CA for 30 years. As a former college design instructor and creative director at McCannErickson, his interests are in design, advertising, letterform and rypography. One of his most recent projects is the writing and exhibit design of "A History of American Advertising," the centerpiece of The American Advertising Museum in Portland, Oregon, of which he is one of the founders.

Angelynn Grant is a Boston-

based graphic designer, writer and educator. She has taught at Rhode Island School of Design, the Art Institute of Boston, Simmons College and MIT. Her freelance work ranges from

(Boston) and Northeastern

Tom Monahan is a founding

compact discs to Web site

Universiry, and currently teaches

partner of Leonard.Monahan of

design. You can view her work

at Harvard Universiry. Her

Providence, Rhode Island and

on her own site at www.shore.

Sam McMillan is a San

column has appeared in Com-

president of Before & After

net/'"'agrant. In addition, she is

Francisco-based writer and pro-

munication Arts since 1 98 4 and

creativiry training and consult-

the host of a jazz program on

ducer of interactive multimedia

her book is titled Design & Tech-

ing in Tiverton, Rhode Island.

MIT radio, WMBR. She wears

projects for a number of Bay

nology: Erasing the Boundaries.

He has won numerous creative

another hat for CA as a book

awards and was featured in the

reviewer.

Area production houses. In Barbara Gordon, an artist

addition to teaching "Real World Writing for Interactive State University's Department

the Sociery of Photographers and Artists Representatives and

of Multimedia Studies,

a member of the Society of

McMillan writes frequently

Illustrators and the Graphic

about topics concerning the interactive multimedia design industry. He wrote the Technology Resources column.

and photographer representative since 1969, is a past president of

Multimedia" at San Francisco

Artists Guild and is also the author of two books. She heads her own firm, Barbara Gordon Associates, in New York Ciry.

She has written on freelance issues for CA since 198 2 . Barbara wrote this issue's column on what's really going on in the freelance scene.

154

J . Dianne Brinson , a copyright attorney in Portola Valley, California, teaches Law for Internet Users at San Jose State Universiry's Internet Education Institute and is the co-author of the Multimedia Law and Business Handbook, of which a chapter is excerpted in the Legal Affairs column, edited

by Tad Crawford.

Books

ILLUSTRATION

ANNUAL

I

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Wall Street Journal's creative

leaders ad series. He has written and edited our Advertising column since 1990. In this issue he advises looking beyond an interview subject's portfolio when hiring new creatives.

Letters to the Editor Kudos to Tom

to revamping an outdated traffic system, we have also cured a peck of other nagging symptoms of an ailing force field. Benefits include more efficient creative briefs and targeted creative

After eighteen years in the advertising business, although Kleier's creative force was far from dead, it was-as Tom Monahan indicated in his ad column, "May the Force Be With You" [December, 1996, page 262]-high time to take our aggregate creative pulse.

direction, as well as increased socializing between our creative and account services departments. As a result, our creative environment is more supportive and geared to the development of truly outstanding work.

Monahan's Creative Force Field Survey allowed our agency to open lines of communication for a three-way dialogue-between suits, creatives and the beleaguered production staff that frequently runs interference between these polar entities. His diagnostic strategy, as one creative put it, "Gave us the forum to be frank without sounding like whining assholes. "

Our thanks to Monahan for his insightful Creative Force Field Survey. Now, if we could only unite our creative forces to do something about that dress code ...

KLEIER COMMUNICATIONS LOUISVILLE , KENTUCKY

I am writing to thank you for the article which appeared in the March/April issue, "Sex, Lies and Video Effects, "

by Tom Monahan. I found it to be thoroughly entertaining in its unfortunately accurate observations on the costefficiency of the advertising business.

Mr. Monahan's writing is clever, humor-

On the other hand, there were warm fuzzies that feel good, but don't necessarily count for much at the Clios.

Heading up the positive list we had a relaxed and friendly atmosphere, investment in technology and good internal communications.

ous and informative and I sincerely hope to see his work in up-coming issues.

]AMES VICTORE INC.

NEW YORK CITY

January/February Cover How Al Snyder was able to glean an image of violence from the cover photograph on the January/February issue is completely beyond me and everyone else in our offices. To us, the cover pose appeared to be a dance move, one that each of us interpreted in his or her own way; most of us saw celebration and joy. Torture? Not a one of us saw this . Each of us projects what he or she has inside.

TERESA CONNORS

J. TEICHMAN

INDIGO , INC.

STUDENT, SCHOOL OF THE ART

Los ANGELES, CALIFORNIA

INSTITUTE OF CHICAGO

Errata Outraged I too am outraged. Outraged that not

I'm pleased to report that in addition A N N U A L

]AMES VICTORE

CHICAGO , ILLINOIS

To put the results of Monahan's survey to work, we unanimously voted to trade in an archaic linear traffic system for a more team-oriented environment. In a revolutionary step for our agency (imagine, no weekly status meetings!) , we implemented regular team meetings to monitor creative development and assigned staff to key accounts, thus reducing the learning curve and fostering greater consistency in creative output.

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

I have no need to defend Portfolio Center for placing the ad , they not only do a remarkable job of turning out students with Shinola portfolios (who should stay the heck away from Mr. Ossiander's office) , but they do it fearlessly. I also applaud CA for running the ad and not patently and flippantly censoring it because "it won't fly in Bethlehem, Pennsylvania. " "Success in our industry," to quote Mr. Ossiander, does not come from cautious, watered down ideas, but from the playful , quirky and dangerous ones.

LUCINDA WOODWARD

Emboldened by the anonymous survey, our employees revealed pent-up frustrations which inhibited the creative output of the entire agency, frustrations such as unreasonable time pressures, oppressive creative filters, lack of consistent creative direction and a conservative dress code (management note: our creative forces really let loose when the staff declared official "Naked Friday").

156

is being bludgeoned to death by lackluster, humorless puritans.

l

On page 26 of the May/June 1997 issue, designer Caroline Kavanagh's

only did the ad that I designed [January/

name was misspelled. Our apologies to Ms. Kavanagh.

February 1997, page 151] for the Portfolio Center receive a nasty letter to

Address correspondence to: Letters to the Editor,

the editor (May/June), but that there

4Io Sherman Avenue, Palo A lto, California

were two additional letters that found

94306 or e-mail letters@commarts.com. We

something offensive within the pages

reserve the right to publish letters and to edit fo r

of CA, including RJ Muna's beautiful

clarity and length. Please include a signature,

cover photograph. I am both outraged

address and phone number. Anonymous letters

and saddened that the design business

will not be p ublished.

9 9 7

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Nancy Stahl

BY MICHAEL KAPLAN

L

eading me through her sprawling apartment on

Manhattan's upper west side, guiding me toward the master bedroom that now serves as her art studio, Nancy Stahl purposefully pats a low-slung leather chair before inviting me to sit down on it. "Who has time to dust? " she needlessly apologizes (the chair is perfectly fine and completely dust-free to my naked eye). "I'd rather spend all my time on the computer. "

Stahl's love affair with technology and the role it plays in creating art dates back to 1988 when she responded to an advertisement in the Society of Illustrators newsletter. The ad was placed by Charlex, a Manhattan-based video postproduction company searching for an illustrator who could work on its Quantel machine. Stahl, now 47, was an unlikely candidate, not only for this job but for the implementation of computer technology in general. After all, she had devoted most of her adult life to long days of working in gouache and painstakingly rendering densely layered and texturally rich images.

At that point she had been working professionally in the medium for nearly twenty years, her rep was keeping her

Hardware • Macintosh PowerPC 8500/120 with 200MB RAM • Radius 19" monitor • Wacom 12 x 12 tablet • Agfa Arcus II scanner • APS CD-R (recordable CD-ROM)

busy (with clients that include Eddie Bauer catalogs, Time Life Records and Newsweek), and clients seemed to be happy with what Stahl was doing. However, the illustrator felt frustrated with her work. "I kept looking for a new style and was beginning to feel stuck," she says, now sitting at her work table, looking into a pair of Macintosh monitors that are networked together and powered with more than 200 megabytes of RAM. "Every job started out with me covering a huge board in dark color, then going to the grocery store and waiting for it to dry. Because I work from dark to light, it was impossible to make corrections and I was having a horrible time." Even worse, as her art went through the production process, her illustrations were routinely being peeled off the board and Stahl would receive her originals back with chunks of color missing.

In light of all that, the beacon of technology shone with bright and unexpected allure. "I went down to the postproduction company; a guy spent an hour demonstrating how this giant Quantel worked, and then he suggested that I sit down with it for a while," Stahl recalls, pointing out that she took her place at the machine in the early evening. ''At that point, all of the computer work I'd seen appeared to be very pixel-based; so I was surprised to see how painterly this looked. I started working on the machine, liked what I saw, got more and more into it and suddenly, it was three in the morning. The time went so fast that I thought I had been there only for an hour. That night I had computer dreams. All of a sudden I saw myself cutting out friends' faces and moving them around. The next day I called the guy at the production company and said, 'I love this, I love this. I want one."' She grimaces and adds, "But Quantels cost about $60,00 0 then. " Over the next four years, Stahl straddled the fence of highand low-tech. She enjoyed freelance gigs with Charlex (their relationship ended when the company pressed her to go fulltime), experimented with an early version of Adobe Illustrator and continued to have her computer dreams. Then in 1992 they came true when she bought a Macintosh Ilci, a Umax scanner and a Wacom drawing tablet. "At that moment

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Software • Illustrator 6.0

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

Portrait of tennis player Pete Sampras for Private Clubs magazine. "The impossible assignment to do six portraits of famous athletes in a very short period of time became a shared assignment with Skip Liepke and I each painting three personalities. This image was done entirely in Painter." Steve Connaster, art director.

For an article in Security Management magazine on maintaining campus security. "To portray a serene University of Nevada campus I posed as a woman comfortably reading in an outdoor setting. The OuickTake photo formed the basis of my sketch. This is one of the few times I have been able to recycle a portion of a drawing . You'll notice the palm fronds overhead were brought in from the drawing of the flamingo."

[See page 163] Roy Comiskey, art director.

• Photoshop 4 .0

158

Right: Workbook ad. "This piece had its start as a rejected sketch for Nabisco's in-house magazine, NFG. The basic shapes and colors were created in Illustrator and then the image was brought into Painter where those crisp Illustrator edges were softened using the chalk tool over a paper texture."

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a lot of things changed for me," says Stahl. "I began smiling when clients asked for changes and I became able to save versions of the illustrations that I really liked while still pleasing the client." She also left her rep of eighteen years. "It became easy for me to do my own books" -Stahl uses FileMaker Pro for billing and tracking income- "and I see a major advantage to discussing jobs directly with the client. While I miss having someone on my side who knows my entire schedule, now I know ahead of time whether or not I will really feel comfortable working with a person."

Operating digitally has not allowed Stahl to complete her illustrations any faster than she did before (she still requires the same amount of turn-around time and completes around roo assignments each year), though it has elevated the level of work she receives. Lately, she's been called upon to do high profile packaging assignments for clients that include Kentucky Fried Chicken (she updated Colonel Sanders) , Motorola and Nabisco (the Cream of Wheat chef). "It's fun to be able to go to the supermarket and see my work there, " says Stahl. "I did the cow on a yogurt container. Now I walk past the dairy case and it's like looking at a little gallery with my work in it."

Even while using the computer, however, Stahl's quest has been to keep her pieces from looking unmistakably digital.

Advances in Illustrator make it possible for her to render colorful brush strokes in a painterly manner. Nevertheless, on another, more subtle level she needs to remain cognizant of an issue that arises when employing cyber media in the creation of art. "Back when I was working in gouache, it took so many layers of paint before something looked right that I would automatically make refinements throughout the process, " explains Stahl. "With Illustrator you have a tendency to think that things look finished when they really don't, so while laying down shapes , I need to keep remembering to refine deeper and deeper as I go along. " Desiring to retain the kind of roughly hewn, textural quality that leaves art directors wondering whether she makes her pictures with Illustrator's vectors or old-fashioned oils, Stahl still executes some stages of her work with non-computer techniques. "I like to do a drawn sketch early on so that I can work out the lights and shadows and break the illustration down to a posterized look that will read correctly," she says. "I will not use Streamline or Photoshop's posterization to make that 160

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decision for me. I like intellectualizing it myself, seeing where the light falls, maybe deciding that it should wind up somewhere other than the obvious place. Besides, anyone can ~ buy these programs. I have to be sure ~ I'm bringing a design element into ~ it that keeps my work a recogniz© ably human creation. " Q)

Though Stahl has files upon files of swipe images from which to draw inspiration, she usually embarks upon illustration projects by photographing herself acting out whatever the person in her image will be doing. In the course of accomplishing that, she's portrayed tightrope walkers, burglars, spies and in one instance three different people in a confrontational love triangle. An illustration that she did for a cover of Security Management (a publication aimed at security guards) depicted a partying couple at Mardi Gras- initially they were both portrayed by Stahl. "Before taking the pictures of myself, though, I worked on sketches and faxed them to the art director," says Stahl, explaining that she then based her photos on the art director's fine tuning of her roughs. "I use a digital camera and compose the pictures in Photoshop. From the printout, I create my final sketch which is then scanned back into the computer. " For Stahl, the beauty of Illustrator is that it allows her to build her artwork in levels, making it possible for her to continually check back to previous steps in order to ascertain that the image is proceeding properly. "People hear 'scan' and they think that I am just manipulating existing photographs," Right: For a poster for a company party hosted by Travel & Leisure.

"Posing myself for my reference can lead to problems as in this piece where I was confused by which of me was leading. It wasn't until the posters were about to be printed that I realized the couple faced the wrong way. I volunteered to flop them but it was agreed that no one would notice." Liza Greene, art director.

"To see an Illustrator image go from my computer's screen to the side of a building is a real kick." Craig Neuman, art director; Barkley & Evergreen, agency; Millcreek Restaurant & Brewery, client.

For a capabilities brochure for Mercury Printing. "Painter was used for the majority of the work on this job. The client really wanted there to be motion to indicate the speed of Mercury. I cautioned him that my work is pretty static as a rule. I tried to do things with the motion blur feature of Photoshop and I applied some streaks with the blur tool, but in the end the rubber stamp brought me back to comfortable ground." David Collins, art director; Grafik Communications, agency.

"Music for Stage & Screen" CD cover for Sony Music. "One of the few times I ever used the layers feature in Painter was in the creation of this CD cover. The foreground was drawn in Illustrator and added to the painting of the director as a layer allowing for adjustments in placement and color of both images. And sparing me worry should the art director want changes." Jim Debarros, art director.

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says Stahl. "But the reality is that I use them for reference. Up 'til the very end I can check on whether or not a hand or a hat or the subject's eyes look just right."

Transformed by her computers-wh en she's on the road she travels with a Powerbook that allows her to continually work on projects while feeling unencumbered by messy supplies-Stahl insists that extended work sessions in front of her screen leave her eyes feeling far better than they did after she p ulled all-nighters with her gouache. She has her own Web site

[http://members.aol.com/NStahl/NStahl.html] and is in the process of negotiating an assignment with Trans World Airlines that has come about as a direct result of the Internet presence.

Though computerization has clearly energized her career, Stahl insists that her cyber fascination goes beyond its ability to generate increased revenues. She simply enjoys the technology and gets off on exploring it. "I recently bought a camera so that I can have video conferences on the Internet and I want to get a chance to use White Board," says Stahl, referring to technology that allows two people at remote locations to work in tandem on a single illustration.

"Then I want to learn to do animation and 3-D, even if I don't do it for my living. Hey, I just want to know about this stuff." • Left: Personal practice piece. " Painter allows me to be more fluid with my strokes than I was with traditional paints since there is always Command-Z or in dire circumstances, the option to revert."

Cover image for Security Management maga zine r egarding an article about grammar school safety. " I took advantage of Illustrator's mix of soft filters while creating the sky. To safeguard against any last minute decisions, I always save a version just prior to applying any filter that will divide my vector lines. Or I may perform the filter on a copy, keeping the clouds (in this instance) intact." Roy Comiskey, art director.

Part of an ad campaign entitled " Power to the Cable " for Motorola Corp . " If it weren't for the computer I would have been bored after drawing the first five or six cable connectors . I was very happy to be able to cut and paste that g rouped element throughout the seven illustrations." Billy Riley, art director; Sossamen Bateman & Associates, agency.

This page: Backhand an Anna Lee Mystery by Liza Cody.

"Done in Illustrator, this was a direct recreation of a pre-computer book jacket, created to bring my portfolio up-to-date with my new medium of choice. The orig i nal painting was for Doubleday, for art d i rector Peter Kruzan ."

Pillow Lady, personal work . " Creating textures in Painter is very seductive. If overused, they can be a telltale sign that the image is digital. This was a practice piece using the paper texture as a fabric's pattern ."

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Supporting Expression

BY WENDY RICHMOND

A

s I write this column, the spring semester at Harvard

author felt unnecessary. Sometimes it was an cesthetic

University Graduate School of Education is in its

preference: a citizen liked pink, the author didn't. Some-

final weeks. I've been co-teaching a new class this

times it was a deeper conflict, such as religious attitudes. As

semester with Ceasar McDowell who, along with his teach-

they grappled with representing the citizen's expression

ing at Harvard, is the President of the Civil Rights Project, Inc. (CRPI , as the educational partner of Blackside Film

instead of (or in addition to) their own , students were reminded of other aspects of their lives where they had to challenge their own biases.

Productions, develops educational and media tools for supporting public dialogue.) Our combined interests are

Or the conflict was about expression itself. One student

reflected in our long tide: Media & Technology: Support-

said that she was eager to do another project where she

ing Expression of Self, Community & Culture.

could use her own expression. After I watched a video sketch

One of our projects is Expressive Portraits. We asked the

she had created for herself, I understood what she meant.

students to choose a person-a "citizen"-about whom they

Her video portrait of her citizen was humorous, slow-paced,

would like to create a portrait. Some students chose people

with a definite narrative. Her personal video was fast, abstract

who they were very close to , like a wife, a daughter, a boy-

and more conceptual.

friend. Some chose people they knew only slightly, but

Because the students' primary goal was to support their

admired and wanted to know better: a neighbor, a colleague,

subjects' expression, they were more protective of their

a friend. The citizens ranged in age from three-years-old to

citizens' representation than their own. In every case men-

early 6os. Students also chose a range of media: video, audio,

tioned above, the student chose whatever was most appro-

computer, photography, print and physical construction.

priate to the citizen. One student worked together with her

Part of the assignment was to exhibit the portraits in an

citizen on every aspect of the project, specifically to avoid

open studio. Knowing that the portraits would be viewed

having too much say and control.

in public added an additional layer of responsibility.

Throughout the class, issues of representation and respon-

Exposure vs. privacy

sibility were at the front of everyone's consciousness. How

As the portraits progressed, the angst came out. Will I

do you develop and portray a representation of a person?

represent this person fairly? Accurately? Too much? Too

It's an incredibly complex task. You want to be truthful,

little? Often, the traits or circumstances of the citizen that

but whose version is the "truth?" You want to express the

were the most interesting were precisely the ones that he or

subject's view, but you also want to express yourself. You

she didn't want to reveal. One student brought in a relevant

want to collaborate with your subject, but you want artistic

article about documentary filmmakers titled "Truth and

control. You want to get at something provocative, but you

Betrayal in the Editing Room." (Ted Conover, The New

want to represent the individual in a good light.

These were just some of the questions that the students faced as they immersed themselves in the process of authoring and building a portrait. Ceasar and I did not introduce these questions ahead of time; they came up naturally, irrepressibly.

Self expression vs. citizen's expression There was a wonderful spirit of collaboration between author (the student) and citizen. Relationships grew stronger,

York Times Magazine, March 30, 1997.) Though much more extreme than anything in the students' work, the story articulated their concerns. Conover writes about the filming of a teenager who is admitting his own part in date violence: "This kind of intimacy is what verite documentarians live and die for. But it's not always easy to get and it's not always something the subjects, looking back, are glad to have supplied."

All of the students faced a struggle: How much can I expose?

people learned more about themselves and each other, and

Some were absolutely clear on the matter; they were not

often the citizen gained perspective and self-confidence.

willing to jeopardize their relationships and chose to avoid

But it was interesting to see the conflicts that arose when a

anything touchy. One student had to give up his first choice

citizen's preferences didn't match the author's. Sometimes

of subject because of immigration concerns.

the conflict was about the flow of the narrative, when, for

Another student, however, decided to highlight the issue,

example, a citizen wanted to include elements that the

perhaps as a result of choosing a person whose primary C 0 M M U N I C AT I 0 N

A RT S

167

requirement was privacy. What a challenging issue for a portrait! She solved the problem by focusing on it: privacy

acknowledged that the citizen portrait was not the appropriate place to present it. " A number of students employed

was a pronounced theme in her portrait. Few specific facts

video and audio as a sketching tool, using the tapes as infor-

about the citizen were revealed. Instead she created a phys-

mation for other media, such as physical constructions,

ical representation of her citizen's office and invited the

media projections or computer-based presentations.

audience to sit in and use the elements in the space, thus

Building a portrait is also about not predicting an end result, and allowing the process itself to determine the resulting product. One student wrote, "You have to put the data

simulating the experience of being that person. The portrait was a reflection of audience members as they participated in her "space."

together based on themes that often emerge throughout the process. Over time, you reflect back on the past and compare it to the present while still anticipating the future. "

Choosing supportive media What media do you choose to use, and what do you reject?

Because we encouraged the students to carefully consider different media, they were very sensitive to the fact that a medium can be both an inhibitor and a supporter of expression. This affected their choice as well as their use of media.

One student put the medium in the hands of her citizen, a three-year-old. The little girl was comfortable using a camera, and took wonderful pictures from, literally, her perspective.

But she was better at telling her stories without audio and videotaping to distract her, so the author listened to and transcribed her stories. Ultimately, the author chose to create a small book of the girl's pictures and stories as the medium for the final portrait: it was the best representation of her citizen's expression.

Being seen, being heard

studio, my portrait continued to change at an ever increasing pace. Decisions about media and form became more intuitive, as I found myself with less and less time to intellectually debate the 'correctness' of my choices. Ultimately, I found that the layers in my portrait conveyed my own working process as well as my idea, vision and feeling of my citizen. " This reminded me of a quote by Wayne Thiebaud (Vision and Revision) that I keep on my wall: "When an artist or viewer feels involved in a work, they relate to that work as a living thing, with a sense of exhilaration and freshness of spirit. It is primarily an intuitive process that can give the work a life force. In contrast, finishing off demands an intellectual process, a neat tying together of things in a way we 'think' is correct."

When we were planning the course, Ceasar and I had numer-

When media freezes time

ous discussions about the issue of being heard. One of the

One student's video recorded a transitional phase in a friend's life. But by the time she completed the editing and compilation of the portrait, her friend had moved beyond that difficult period. She says, "Although the camera records time as it is happening, it also freezes moving time. The content of that segment is no longer real , yet it is the data that I have to use to create. The content was history. "

primary goals in our class is to determine ways in which media and technology can be used to amplify, so to speak, a person's or a community's voice. We saw the complexity of this endeavor in the portraits, especially in the little girl's book portrait. It was beautiful, and those who saw it were moved by it. But in the commotion of the open studio, many did not realize it was there and didn't see it.

cess. In a reflection paper one student wrote, "I created a

These are some of the thoughts and issues that were shared by the members of our class. As we work on other projects, we will continue to discover the importance and complexity of supporting expression through media and technology. As one student wrote: "Expression through media creates something permanent, and will always be there for ourselves and others to see. Simultaneously, it can change our lives as well.

Will this capturing of a moment in time make that moment more important in (my citizen's) life merely because it has been captured and therefor can be retrieved? Expression is not simply reflection; it is also a proactive, conscious event

video piece about my anger and left it out of the portrait.

that has consequences. Expression has power. " •

Instead of trying to suppress my anger, I expressed it, yet

© 1997 W Richmond

Is the loudest voice the strongest? We know that often something that is small and quiet is the most effective, but what if it isn't seen or heard? What do we do to make sure that something or someone is not overlooked when everything else is bigger or louder, or more present?

Process over product Many of the students created various media pieces that were not for the final portraits, but for their own personal pro-

168

Another student wrote, "As we neared the time of the open

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Extensis CyberPress 1.0

why Extensis bundled Adobe PageMill with CyberPress ro allow designers who don't want to learn HTML to polish their Web pages outside of CyberPress.

BY PAT SOBERANIS

For a simplistic catalog page (see Figure r) CyberPress

0

ne of the most stubborn problems in publishing

converted the TIFF images to GIF format , placed the text

these days is converting print documents for the

to the right of each image and set the background color

Web. Now Exrensis, in partnership with Asrrobyte,

to gold, all based on selections made in Preferences. Fine-

has come up with a low-cost solution called CyberPress .

A QuarkXTension for Macintosh, CyberPress has a separate palette with its own toolbox, preferences and button selections. A scaled-down version of Asrrobyre's $595 BeyondPress XTension ($449 as an upgrade), CyberPress inventories all the elements in your QuarkXPress document and converts them to corresponding elements in an HTML page.

Along the way, you can rearrange elements; add elements from the pasteboard (say, navigation buttons for the Web version); delete elements, such as page numbers , from the document i rs elf; and insert links , horizontal rules ,

tuning included adding a horizontal rule between the items, and adding a half-dozen line breaks between items so they didn't run together (a process performed much more quickly in Adobe PageMill) .

CyberPress did a commendable job in converting a relatively complicated layout reproduced from its packaging (see Figure 2). It converted the PICT image, as well as the head and subhead, to GIF format; converted a tabbed table to an HTML table with a border; stripped the dingbat bullets from

a list and replaced them with bullets in a standard H T ML list; and converted the text to HTML ,

paragraph and line breaks and dare and rime.

retaining bold and italic styles

_

These are j usr the beginnings of CyberPress's rich set of features. In Preferences ,

,,,

-._...-~_

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(bur nor fonts ).

But again , you'd need PageMill to make the result-

Figure 1: With a little fine -tuning , CyberPress's

Figure 2: Although CyberPress handily converted

ing stacked

conversion was faithful to the original in this simplistic catalog .

all elements, it'll take a WYSIWYG tool such as PageMill to make the Web layout more int eresting.

layout more

you can select the Web page's background, text and link colors; specify formatting for tables (such as border width) and lists ;

interesting.

Neither of these examples include navigation buttons on their Web versions; incorporating buttons in C yberPress

map font-size ranges to header and other HTML tags; and

would be more work than they're worth.

specify GIF or JPEG conversion for any image placed in QuarkXPress. In the CyberPress palette, after clicking on

In short, CyberPress's rich feature set, intuitive interface and

the List Document button, you can edit the resulting Content List "inventory." In the pop-up menu alongside each element, you can choose whether it will convert as text, image (even for text boxes) , table or list. You can also "anchor" one element inside another- say, an image anchored in text.

affordable price give it a leg up over the competition. In the tough print-to-Web world, CyberPress gets your QuarkXPress files more than halfway there . And for all bur th e most sophisticated Web designs , the bundled Adobe PageMill 2.0 program will rake you the rest of the way. •

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happening automatically. But its ease of use also depends

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Books Elements of Web Design

By Darcy DiN ucci with Maria Guidice & Lynne Stiles 200 pages, paper, $39 .95 Publ ish ed by Peachpit Press 2414 Sixth Street Berkeley, California 94710

Slowly but surely, information design is making its impact felt in interactive multimedia, and with the publication of Elements

of Web Design., the discipline has

designers. That means the first

designer begin by defining the

several chapters are devoted to

site's goals. A 43-point Goals

Briefly N oted:

planning, process and produc-

and Messages checklist used

tion . Elements of Web Design.

by vivid studios in their Con-

explains how designers must

ceptual Development phase is

function as part of a team; how

included. Branching diagrams

by Pemberton Press, 462

the new medium differs from

that define the scope of the site

Danbury Road, Wilton, Con-

print; and how designers must

while laying the foundation for

necticut 06897, 338 pages, paper,

understand and exploit the

its structure and navigation are

$29.95), by Reva Basch. Thirty-

opportunities offered by this

described and illustrated. Each

five of the "world's top" Inter-

new medium, including hyper-

net researchers are profiled in

linking, navigation, interactiv-

page must then be defined in terms of its function and the

ity and multimedia.

type of information it contains.

Secrets of The Super Net Searchers (Published

these 338 pages, and the reader may have to read them all to

This type of page architecture

find the information they need.

describes how a page works, as

The book is arranged as a series

moved to center stage. This is

While just about any book can

one of the few design books on

teach a designer the basics of

opposed to how it looks. When

of Question & Answer inter-

the shelves that devotes almost

HTML, and how to create graph-

all this work is complete, the

views and it makes for an odd,

half of its 200 pages to issues

ics in GIP and JPEG formats,

authors move on to traditional

frustrating format for a book

that must be addressed before

Elements of Web Design. is one of

design issues, i.e., how to

of this type, since it makes it

"traditional" graphic design can

the first to concentrate on teach-

integrate the goals, functions,

nearly impossible to use this

take place. The authors wisely

ing designers how to create the

content and navigational

text for conducting research.

use these pages to educate their

architecture for a Web site. Just

opportunities into a coherent

Q & A interviews may be appro-

audience on the kinds of skills

as an architect begins a building

visual look and feel.

priate for the personalities pro-

and expertise the World Wide

with an assessment of the client's

Web now demands of graphic

needs, this book suggests the

Elements of Web Design. does an admirable job of explaining HTML to first-time designers.

Concepts are clearly explained,

James Uic

and illustrated with full-color screen grabs that include the URLs of the sites cited. Basic HTML tags are laid out in easy-

filed in Playboy, but not for a readership that demands quick access to information. On the plus side, the Q &A profile does humanize the technology and there is lots of useful information hidden within the pages.

Patrick Sullivan's advice on

to-read tables that define each

managing Listserve postings is

tag and explain what it does.

incredibly valuable and will

Separate chapters cover design

help prevent information over-

in HTML, the creation of graph-

load. Patient readers are

ics that function using limited

rewarded with hard-won advice

color palettes for fast download-

from pioneering practitioners

ing and how to incorporate

of online information search

multimedia and interactivity

and retrieval.

when designing Web sites. The one thing missing from this,

(Published by Allworth Press,

Web design book I've seen is a

IO E. 23rd Street, New York,

step-by-step guide to creating

paper, $!8.95), by V A. Shiva.

While all the required steps are

This book offers anyone-artist,

included in this book, it would

designer, bureaucrat , new-

be truly useful to see a book that

comer-a guide to going online.

focuses on a single design pro-

The author provides a basic

ject and follows it from begin-

overview of Internet history,

ning to end, rather than leaping

defines technology buzzwords

from one great example to

and describes some of the strate-

another in an attempt to survey

gies artists and arts organizations are using to communicate

-SAM McMILLAN I L L U S T RAT I 0 N

A N N U A L

I

9 9 7

New York 10010, 207 pages,

and posting a single Web site.

the field.

174

Arts on the Internet

and in fact, from almost every

their message, find their audi-

ence and level the playing field.

and publishers to create Web

of 3-0 fil e drawers, desktops,

However, this book fails to pro-

sites that rely on dynamic con-

drawing tables or entire build-

multimedia elements, view site

vide much advice specifically

tent drawn directly from data-

ings. Teleconferencing applica-

structure graphically, add or

directed to artists, arts educators

bases. Special features enable

tions can be expanded to

delete pages and verify and

or arts managers. Individual artists, like Laurie Anderson, are

intuitive drag and drop page layout techniques, font compres-

include unlimited participants.

DpIV also allows two-way inter-

more information, check out

named as exemplars of pioneers

sion technology that allows

action between users over the

the Web site www.golive.com

exploring the boundaries, but

designers to specify any Type I

Internet or on corporate Intra-

or call (415) 463-1580.

the book neglects to provide

or TrueType font on their sys-

nets. For more information, call

tern as their display and

(303) 757-8040, e-mail chg@ rakshele.net or check out

Web Utilities

www.dpiv.net

WebExrensions GIF Animator from Ulead Systems brings 3-0

an example of her work on the Web, or even a URL. Some of the larger collaborative efforts, such as OTIS are mentioned briefly, bur readers will be

WYSIWYG text line entry. For

more information, check out www.futuretense.com or call (508) 263-5480.

forced to hunt for their URLs

a graphic mode, incorporate

update links and anchors. For

1--t

(D

V'J

0

design functions to the Web.

GoLive CyberStudio is a new

WebExtensions for Photoshop

3-D Graphic Interface

Mac-based Web sire authoring

is a plug-in that contains 3-0

of the book.

The desktop metaphor has been

tool created with the needs of

effect features for creating 3-0

around since the '70s, but a new

graphic designers in mind. Users

buttons, text effect and graphics.

software development from

have full graphic control of

WebExrensions's background

Takshele is beginning to change

their page layout and dragging

designer lets users create abstract

that. DpIV is software that ere-

and dropping text, images and

background tiles for Web pages.

ares configurable 3-0 graphical

multimedia elements onto grids

The image map feature auto-

Web Publishing Tool

1--t

n (D

design effects and automated

Authoring Tool

in an uneven index at the back

Tools

~

Texture I.I for the Macintosh,

user interfaces. Which means

and frames. Users can work in

matically generates the HTML

a new Web design tool from

you can replace folder hierar-

HTML native file format, switch

code for the selected image area.

FutureTense, enables designers

chies with logical arrangements

between HTML source code or

GIF Animator allows users to

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175

create GIF animations simply by dragging and dropping individ-

back, downloaded to a PC or Macintosh or accessed via lap-

ual images directly into the GIF

tines, users can automatically

via its catalog of 200 CD-ROMS

color correct entire archives of

and distributes royalties and

scanned images, or optimize col-

Animator Workspace. GIF Ani-

top using an optional PC Card adapter. In addition to auto-

lections of graphics for the Web.

sales reports on a quarterly basis.

An individual artist's work

mator automatically sorts the

matic exposure, features include

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images as close as four inches.

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call (800) 204-9935 or send email to artists@artville.com

Systems Web site at

For more information, call

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Digital Camera Fuji Photo Film has introduced

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The Grammar of Ornament,

Cross-Platform Management Software

originally published in 1856 has

While project management may

most influential works on orna-

gone on to become one of the

be a contradiction in terms,

mental design ever produced.

new JobOrder software from

Now, it is available on a CD-ROM

Management Software promises

with more than 2,JOO royalty-

a digital camera that includes a i.8" active matrix color LCD

CE Software has tailored its

screen that enables users to view

to the graphics, publishing and

a comprehensive, integrated,

free designs , plus a facsimile

their images before they are

electronic media marketplace.

cross-platform solution for

edition of the original folio

loaded into memory. Using the

Predefined automation

design firms and ad agencies

edition with the full text, all

DS-7 Digital Camera, photog-

sequences for applications like

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color plates and black-and-white

raphers can capture a JPEG image, view it on the built-in

QuarkXPress, Adobe Photoshop

ning, estimating, scheduling

engravings. Button-dick func-

and Macromedia FreeHand

and invoicing jobs. JobOrder

tionality means detailed images

LCD monitor, delete it or save it

reduce time and effort for

3.0 includes a Proposal Center

can be launched with popular

to a 2MB solid state floppy card

routinely performed, multi-step

which helps automate the pro-

image editing programs like

capable of storing up to 30

operations. For example, using

posal and estimate process . For

Photoshop, CorelDraw, Illustra-

images . Images can be played

QuicKeys batch processing rou-

more information, call (607)

tor and FreeHand. For more

756-4150 .

information, call (818) 793-8387 or visit the Web site at www.

newest release of QuicKeys 3.5

Resources CD-RO Ms Award-winning illustrator Mark Jasin has compiled 150 of his vector-based, fully-editable, royalty-free stock illustrations on a Mac-compatible CD-ROM. Categories include Animal, People, Sports, Mythology and Heavenly Bodies. For more information, e-mail Lightbend@aol.com or call (303) 837-1888.

dimagin.com to download a free demonstration.

Letraset has compiled a fourCD series of images specially created for use on Web sites. web.STIR Art Kit for Mac and Windows platforms offers 125 different images from the collections of Buttons & Bullets , Backgrounds & Dividers, Banners & Bars and Images & Icons. All artwork is created as GIF files for use in any HTML document. For more information, call (201) 845-6100 X8299 .

In what promises to be a win/ win development for illustrators and corporate consumers of roy-

176

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

A N N U A L

I

9 9 7

Web Sites

alty-free digital clip art, Artville

lconomics has launched a Web

has created a catalog of CD-ROM

site featuring instant delivery of

disks featuring digital illustra-

stock line artwork from a roster

tion, photography, backgrounds

of 59 artists working in a wide

and textures. Artists whose work

range of styles and imagery.

is selected by Artville agree to a

More than 5,000 images on

two-year exclusive license of

the site are searchable by key-

their work. Artville digitizes ,

word, topic or artistic style.

prepares and markets the work

For more information, call

lconomics Web site at

(800) 297- 7658 or visit the

circumstances of each sale. For more information, e-mail

www.iconomics.com

cradoc@aol.com or call (800)

A new Web site launched by

1

679-0202.

H ewlett- Packard and Live Picture, devoted to photoquality digital images demon-

Digital Imaging Information

strates how viewing, sharing

Digital imaging guidebooks,

and printing high-resolution

directories, product reviews on

images from the Internet can be accomplished quickly. The

CD-ROMS and white paper

reports that address marketing

Imaging for Internet Web site

opportunities in this expanding

allows publishers to display photo-rich content while enabl-

field are available for profession-

ing users to download the Imaging for Internet technology and then view, send and print photos from the Internet. For more information, check out www.image.hp.com

D igital Image Libraries Creating Virtual Reality scenes for Web sites, CD-ROM productions and digital presentations is as easy as cutting and pasting

Creative SourceBook

als in the graphic arts from the Digital Imaging Marketing Association. For more information, call (517) 788-8100 or check out the DIMA home page at

www.pmai.org/ dima.htm

Printing Canvas IRIS has announced the addi-

at Creative SourceWeb.

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a clip art file, thanks to Clip

polyes ter blend matte finish

VR, a new family of digital image libraries from eVOX

formulation offers precise control over ink absorption and it's

Productions. Clip VR includes

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complete 360° panoramic scenes

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Computerized Price Guides

Education

Anyone in the business of pro-

Computer Based Training

viding, selling or buyi ng stock photography will want to check

The World Wide Web has

out fotoQuote 2.0 from Cradoc Corporation. This computerized guide for pricing and selling stock photography has over 2,000 prices for stock, and

revived interest in delivering Computer Based Training.

Asymetrix is just one of the companies revamping their products for distance learning and train-

incl udes 30 new categories to

ing. They are currently offering

accommodate emerging uses on the Intern et and C D-ROM S.

seminars around the country on

Available for Mac and Windows,

products for the Internet. For

fotoQuote automates the pro-

more information, call (800)

cess of negotiating sales rights

810-3354.

depending on the unique

the next generation of CBT

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-S.M. C 0 M M U N I C A T I 0 N

A R T S

177

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~~ PACKARD

The Freelance Scene What's Going On Out There?

B Y B A RB ARA GORDON

I

f my mail, the phone calls I receive and the conver-

own surveys, 80% use stock art and photography in

sations I listen to at most professional meetings are any

their work.)

indication, there's a lot of concern and apprehension

The editorial m arketplace has also undergone changes . There

about what's going on in the freelance field today. Many

are sto ck purchases, but there is also a lot of internally-

freelancers are confused about their future in the field .

produced, comp uter-generated visual material that, in past

I am not an economist, or a psychic, but as a working rep-

years, would h ave been handed out as individual assign-

resentative, heavily involved in the fields of advertising and

ments to illustrators and photographers. Also , because of

editorial, I'd like to share my views and observations about

h eavy mergers and acquisitions in this field, there has been

what is taking place in the freelance field today. In order to effectively deal with any business situation, one has to know the status of the marketplace before implementing changes or making selling and marketing plans to deal with that marketplace. Let me share with yo u wh at I know about the current freelance scene.

Let's start with the advertising marketplace. There are two dominant elements that have changed the face of the freelance advertising market as we have known it in the past.

One of the biggest elements is the increased use of stock illustration and photography. During the past few years, there has been a sh arp increase in the quality and diversity of stock art and photography. Using stock has advantages over giving an assignment to an individual artist or photographer. The advantages are mainly speed of delivery and lower costs. With the increased quality and diversity of the visuals that are offered, in the always time-pressed and financially driven world of advertising, it often makes sense to the advertising client to buy stock rights to an image rather than to hand out an assignment.

In the same vein, the second element that has contributed to the decline of individual assignments in the advertising marketplace has been the trend for advertising agencies to buy all rights, for their clients, to much of the art and photography that has been commissioned. This art and photography can be used over and over again, meaning that there is less need to go out in the marketplace and commission new art and photography.

180

The good news is that the market for visuals is growing and there will be even more venues and markets for art and photography. The bad news is that some ofthe new markets do not pay as well as some ofthe markets we've known in the past.

a shrinking of the freelance pie because in some merger/ acquisition situations, publications were put out of business to ease competition for the merging or acquiring company. In some cases the merger/ acquisition gave the dominant publication access to the other publication's visuals and it was cheaper and more expedient to buy second- or third-rights to material previously used in the other magazine, rather than to commission new work.

Some publications did market surveys and found that their readership would remain steady if they cut down on art and photography; in the interest

of saving money, in a ferociously competitive business, the magazines simply cut down on the visuals they used, further slicing into the freelance pie. Along with this there was a downsizing (if I may use that term) in the number of tides that book publishers were buying and publishing. Many of the major publishers drastically reduced the number of mid-list titles they bought and produced. Publishers started to watch the bottom line and began to concentrate

While the income from stock can be a wonderful addition

more on blockbuster authors and titles . Mid-list books

to a freelancer's income, and some photographers and illus-

were often the bread and butter to a wide range of illus-

trators can earn a good living solely from stock sales, for

trators and photographers who could almost automati-

the majority of artists and photographers, the income from

cally count on receiving a number of cover assignments

stock sales will not make up for the loss of income that will

during the year. (I won't even go into how freelance assign-

result from a decrease in individual assignments. (One side

ments for designers in publishing were virtually eliminated

note: If we add design firms to the mix, according to their

with the advent of the computer. It's old history.)

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

A N N U A L

I

9 9 7

You keep pulling the string, flipping the switch,

send you someone to do it. So the next time

turning the knob , and the light just won't go on.

you're wondering how many creatives it takes

Portfolio can help take the pressure off. We have a

to screw in a light bulb, call Portfolio and find

huge pool of talent to draw from, so no matter wha type of work you need done - Art Direction, Copywriting, Ill Graphic Design, Prepress, Web Site Design, and so on - we can

out

the

answer

p © r t f o l i r

1

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TH E ST AF FI NG AG ENCY F0 R FR EELAN CE , PERMANENT, ANO TEMPORARY CREATIVES.

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Adding to this situation, many of the unemployed or underemployed designers and art directors have entered the freelance field, thereby turning some of our clients into some

And while stock and the reuse of art and photography have been enjoying a boost lately with changes in the economy, increased competition and the digital revolution , we may

of our competitors. And, because of the bulge in the population, not only is the country faced with an oversupply of lawyers and doctors, our field is faced with an overabundance of freelancers. This is a broad view of the tough, competitive freelance field that we're dealing with today.

find that stock and reuse will continue to take place in this fluid evolving freelance scene.

If this sounds grim, on some levels it is. But to further complicate the situation, the freelance scene is still evolving.

So if you happen to be in one of those areas that seems to be thriving, don't get too complacent because more changes are looming on the horizon. On the other hand, if your business has been off, or lackluster, don't despair.

This is a capsule view of the field today. How should you deal with it? My initial feelings are that for a minority of freelancers in specialized fields , because of the uniqueness of what they have to offer, not much will change. But the majority of freelancers will have to rethink some of their techniques, time management and pricing structures along with which additional markets they should consider pursuing.

The good news is that the market for visuals is growing at the speed of light and there will be even more venues and markets for art and photography. The bad news is that some of the new markets (some of which are already in existence) do not pay as well as some of the markets we've known in

As a working representative, I don't have any quick answers or fixes but I am in the process of doing research among a variety of clients and professionals, both off and on the record, to get a feel for some of the approaches that will work best. In future columns I will share the results of that research and discuss some of the new markets and

the past.

approaches that freelancers may want to consider. •

Consider a CB Audit. Review issues like sales, marketing stratgy, marketing materia ls, management effectiveness, financial issues, t echnology, productivity, portfolio, employees, retirement

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182

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

A N N U A L

I

9 9 7

S

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Discovering America (Or Someplace Close Enough)

BY DK HOLLAND

A

new client confided in me recently, "When we called around to interview designers to work with, we

were shocked at the response we got. Some firms never even called us back, others said they were just too

on tasks that we may not be able to fulfill, no matter how talented (and American) we are. Thus causing us to risk damaging our clients' businesses, our reputations and the image people in general have of our profession.

busy to talk to us. " This client, a cosmopolitan, thoughtful

Designers often tend to sound alike in promoting their com-

professional, had brought us one of the more energized,

panies. Consider the classic, tired, graphic design firm's

interesting projects for children I'd seen in a long time.

promotion copy: "We are visual problem solvers, tailoring

I responded , "You know, designers get very emotionally

our design solutions for our clients, developing each project

involved with projects. So they can only handle so many at

from the beginning through to delivery of the printed

one time. " This felt like a really lame apology for my colleagues' rude behavior. Then I added, "We're one of the

it sound like this design firm is convinced they are quite

only firms I know of that has a specialty in children's products. " This may have been true, but I was still not address-

symptom- a fuzziness, a lack of business focus chat makes

piece, blah blah blah ... " The tone of the promotion makes unique in chis approach. Perhaps chis blandness is another

ing the issue. I caved in, "They should have taken the time

it more comfortable for the designer to articulate in visuals

to listen to you. "

what is hard to say in words. The look of the work is what

Designers who have all the time in the world to design have

distinguishes the firm from its competition. So the pro-

none left to deal with the core issue of business: business.

And they may not see this problem as a threat to their livelihood. But if they have no business strategy, they are letting their capabilities become defined by the work that comes their way. This client, like many others, went on a methodical hunt to find graphic designers. She looked in books and magazines from publishers like Communication Arts and

Graphis. Of course, this didn't lead her to any good fits, just work she liked and names to call.

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Back in the late '6os, we were told by our teachers at Parsons School of Design, "When someone comes to you and asks 'Can you do this? ' you answer with a resounding 'Absolutely!' even if you have no clue. Then, after you get the job, find out how to do it!" We eagerly awaited the day we, too, could meet the challenge and tell a client, "Yes, I can. I can fly to Mars. Yes, I can. I can find a cure for cancer. For I am a desigh-ner. What's more, I am an American. " This Can Do attitude is a phenomena of American culture.

And it is a big part of the appeal of working in graphic design. Graphic design is like air, it's everywhere, almost indefinable. So designers are asked to consider a seemingly limitless range of projects which is one of the big reasons

£ cces.5ful ad agencies and desill studios get that way when everyone wons together, Over 800 of today's smartest shops do it with Clients &Profits~ the best-selling job tracki& costi& bilq and accollltq software for the Maciltosh. It's designed only for creative businesses, so it works just like you do.

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design is such an exciting and important field. (The variety also keeps our brains from atrophying.)

But being spread so thin also makes it difficult for us to act

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as experts for many of our clients; thus causing us to take C 0 M M U N I C A T I 0 N

A R T S

185

motion relies on the old adage, "The work speaks for itself. " Since the client "listening" to "the work" doesn't necessarily speak the same language as the designer, or may in fact be "design blind," the client may get little out of the visuals.

Business speaks business language not design language. And since the client may be a perfectly reasonable person to work with, a little education could make all the difference.

If the client were a designer, they wouldn't be the clientand they wouldn't need a designer.

Design companies bypass the discipline of marketing yet marketing may be the key to taking control.

may describe the kinds of clients and projects they handle.

And variety may, indeed, be important to the health of a design firm. All companies rely on revenue streams. Think of revenue streams as streams of light controlled by an aperture: too narrow and the light is too limited, the film is under-exposed; too wide and the light floods in and overexposes the film. Right in the middle is perhaps the most comfortable setting.

We need a balance of revenue streams coming into a design firm because certain types of businesses that come to designers may wither or flourish depending on the business climate.

A diversification of clients ensures that the design firm may

Inching Closer to the Client

adapt in the midst of varying

In the wild, naturalists have learned how to get close to gorillas. This is how it's done: The naturalist finds a family of grazing gorillas and squats far enough away not to pose a threat to the head male gorilla. As the family grazes, so does the naturalist, gnawing on a small branch of an acacia tree (or whatever vegetation the family's eating at that point) inching ever closer to the group. The naturalist makes some familiar grunts and scratches his or her belly, just like the gorillas are doing and, as the naturalist finally comes within arm's length of the closest gorilla, he or she may be accepted as just one of the family.

Taking a cue from the naturalist's example, it behooves the designer to observe the client and the client's natural habitat. The client must identify with the designer; eye contact must be made. It is up to the designer to create a comfort level for the client. Luckily for designers, the number and kind of clients is vast and constantly growing. A large part of the comfort level is achieved by establishing respect for the client and conversely, respect will come from the client to the designer. This respect comes from recognition and understanding of what it is each does (and does well) in business. The naturalist, you see, understands full well that, without the gorilla-this strange and often inscrutable creature-the naturalist would be out of work. So it is with the

The best clients come with a sense ofurgency. They have objectives they need to meet and they need your help. And they know why they need your help and not help from some other design firm down the block. You know too.

business climates. In 1990, for instance, business took a nose dive in the eastern part of the United States. There was a lot of discussion about what businesses designers should target that were doing well (if any) and quite often computer technology was mentioned.

Of course, design firms that had done work in the hightech areas, might have found it relatively easy to move into (see matrix, page 190) while those design firms that didn't have a leg up , had a rough time breaking into this area.

Of course, the health of a design firm that works solely

in the high technology area may be equally jeopardized by such a narrow focus. Nothing remains still for very long in business these days.

Another reason to implement a marketing plan is to achieve a healthy balance of clients: No one client should represent

designer/ client relationship as well. Indeed, it trivializes

more than 30% of your annual gross income. If the work

design for the designer to stop short of a circumspect and profound understanding of the client's world.

comes your way, think first before you take it. Why? Because

Some of the most exciting work is done by designers who bring a fresh, new approach to a business area. And the most engaging work, for the designer, is often the freshest and newest. Again, it's the calculation of risk that leads the designer/ client to a successful encounter.

it will make your business lopsided and if that one client fails , it could sink your company by loading you down with uncollectable accounts receivable. Or if you lose that one client, the contraction could be too great to survive.

Business categories include consumer (goods and services purchased by individuals), business-to-business (goods and services purchased by businesses) and institutional (goods

The Core Business A little of this, a little of that, is the way some design firms 186

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and services purchased by hospitals, universities, museums , etc.). These arenas include subcategories useful to consider

when evaluating the marketing targets:

Publishing Magazines, books, newspapers, the Internet.

Product Packaging, promotion, product.

In order for most businesses to survive they must first establish the need for what they do best in a niche market, usually from the thousands of business arenas that fit into the business categories listed above and, after that, show how that need can be filled in some special way by their design firm.

of the competition is essential. Clients size you up in this way, so it's important to take a hard look and therefor, be forewarned/forearmed. Take a look at: The principals of your firm, the size of your firm, its location, your staff or consultant technological support and the number and type of employees you have. What is the correct ratio of administrative personnel (non-billable) as opposed to those working on projects (billable) for you to keep your overhead (and therefor your billing rate) reasonable? Check out other design firms you compete with. Do this once every six months.

Identify your core capabilities. Highlight those you haven't developed but would like to:

Design

The C Word Designers aren't, I've observed, very competitive. And certainly are not ruthless and cutthroat like some business people. In fact, designers are notoriously nice. But Darwinism

Interior, environmental, exhibition, cartography, packaging, product, surface.

Computer Production, programming.

in design does exist and taking stock of the capabilities of

188

the office is important to survival. Assessing the strengths

Non-Design

and fitness of the staff and facilities as matched against those

Writing, marketing.

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It's amazing how good designers always know who's out there and who's doing what. In fact, the better they are, the more they seem to know. Match the firms you know you are in competition with and the business category(ies) in which you compete. Then put your company alongside the competition's and compare core capabilities. Identify the competition by their business persona as well. Are they known as smart and fresh? Established and reliable? Think of the principals of the firm, since that's where the persona comes from.

Then define your own firm . If this is difficult to do, ask colleagues to help. This is not a d umb "If I were an animal, what kind of animal would I be?" exercise. It's important to realize that any firm that doesn't have a persona is difficult to differentiate in the marketplace. Certainly other areas of design have proven this-consider Ralph Lauren, Philippe Starck, Donna Karan. These designers have very distinctive personalities that are at the heart of their success.

From all this information, you can start to define your company, develop a reasonable focus for it and institute a plan to do what you do for your clients. Create a way of differentiating yourselves in the marketplace. The plan comes after some soul searching and discussion.

and must be distinguished from the work the principals think they can get more of (if these aren't one-and-the-same).

What kind of work does the staff want more of? What work will energize the whole firm? These two key questions should be reviewed once a year to keep the firm on track.

The Matrix It's generally easier to get more of the type of work you are known for, by referrals from satisfied clients. Conversely, it's hard to get work if you have no track record, from clients you have never worked with. So if the principals decide to expand into new markets, the matrix below is very useful.

EXISTING WORK

EXISTING CLIENTS

N ew Wo rk

New Clients

Definitions

1. Try to get current clients to let you work in new areas.

One of the ways to think about your firm is to define the

2. Approach new clients who have a strength in the new

kind of work the company does best and wants to do more of. This is an important qualification to make going through

areas, but get in the door by getting work in the areas in which you're proven.

the process of developing a marketing plan.

The Watering Holes

1. What the principals do best.

Not only are the principals the constants, and the reason the company exists, but they most often have the greatest talent and contribute the most to the portfolio, even if they don't design "on the board." It is the principal's communication with the client that creates the marching orders for the design staff. It is the approval or rejection of the work by the principal that dictates what work sees the light of day.

What does the staff do best? Does the staff support what

which you work, can be a source of targeted exposure and information for your marketing effort. For instance, if you have just designed a great line of packaging for fancy chocolates, read the magazine Chocolatier and attend the annual gourmet food show. Send out feelers to get more work to build this area into a specialty for your firm . O r, to put it another way, read a trade magazine in the area you

the principals do best? Are changes necessary to reach 100%

want to work in and go to a trade show. Do you see your competition there? If not, great, because you are. If yes ,

efficiency?

great, because you are too. Again, this goes back to the

2 . What do the principals want to do more of?

gorilla metaphor. Getting exposed to, and informed about,

Principals most often put in more time and effort into keeping the company going than any other activity. In this way,

190

The trade shows and magazines in the business areas in

a business area is one of the first steps in getting work in that area. Getting some media coverage about your company in a trade magazine is tantamount to a gorilla seeing

they may put in a 60-hour-week. This means more risk, more hassle and, more reward. The gains are long-term and

you biting down on an acacia branch. It's love at first sight.

the carrot must be out there to keep the doors open and energy level up. This seems obvious-but an honest look at

getting the client to come to you with a project in hand. It

what the principals want to do more of is very important

gets the ball rolling. How many clients come because they

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know some day they will need a designer (not now, but

Is Your Style Your Brand?

some day)? Those are the ones that never return.

Have you established a company design philosophy? If you

The best clients come with a sense of urgency. They have

don't know what you believe, how do you expect your staff

objectives they need to meet and they need your help. And

or clients to know? If you know, but you've never expressed

they know why they need your help and not help from some

it coherently, that's almost worse because your staff has prob-

other design firm down the block. You know too. A vice

ably heard bits of a philosophy spoken by you here and there

president of a Fortune 100 toy company called on us at Pushpin about a year ago. This person was having a very

and are now second-guessing you.

What would Ralph, Philippe or Donna do? The entourage

hard time finding designers to work with. She spoke with

of public relations professionals that name designers have,

our communications director, Ellen Landress-Bowkett,

control the word that gets out about their "talent. " How-

asking, "What's the difference between Pushpin and (place

ever, the name designers have undoubtedly spent personal

the name of a large, well-known design firm here)?" Ellen

time developing their philosophies-if not in writing then

replied, "Warmth. " She, of course, knew that this client

verbally to someone who has been able to articulate it to

would not only respond to the concept of 'warmth' but that

others in writing.

we had it and the other firm didn't. The VP responded, "That's the answer I was looking for." She visited our offices and soon became one of our largest (and most favorite) clients. She had found our work in a Graphis book on letterhead design. The projects she hired us for have nothing to do with letterheads.

The brand is a promise and the promise is fulfilled in the consistency of everything the brand delivers. Your style is your brand. And Ralph, Philippe or Donna wouldn't seek to create new work in an area that is counter to their philosophy because it would weaken the brand. By articulating the brand, others can help nurture it.

Fuzzy Logic In the end, work comes from some pretty strange places: people you know surprise you and bring you clients because they believe in you; books that your work is in offer you exposure, clients who may have been naive to do so give you work that pushes the envelope for your firm. And you thank God for their leap of faith.

The point is, you never know where the work comes from until it comes. And since most design firms are purposely small in size, they only need a few good clients, the marketing effort need not be a major investment. "Half of my money is wasted on advertising, the only problem is, I don't know which half," is a truism. All we can do is put our good efforts out there and be pleasantly surprised at the results. It's good to get into the habit of finding out where the inquiries come from so that over a period of years it becomes clear which half of your money is wasted and which is well spent.

Knowledge helps open up the world, helps make progress possible. Well-informed marketing can make your 30-50 year voyage through the business world more exhilarating because you can take advantage of where you are and guide your firm where you want it to go. And as when Columbus landed in the West Indies thinking he had discovered the New World, it was someplace close enough. • 192

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We Get It

Fair Use and Permissions BY

J. DIANNE BRINSON

The following article is an excerpt from Multimedia Law and Business Handbook co-authored by Ms. Brinson, published by Ladera Press. very time you use copyrighted material owned by a third party, you must determine whether it is necessary to obtain permission from the owner. For most uses, permission should be obtained-whether you are planning to use the copyrighted material in traditional media or on the Web.

E

Here are the basic rules for using copyrighted material owned by others:

• You need permission to use a third party's copyrighted work ifyour intended use ofthe work without permission would infringe any of the copyright owner's exclusive rights.

• You don't need permission to use a copyrighted work if your use is ''fair use."

The first section of this chapter, Fair Use, includes guidelines for deciding when it is reasonable to rely on fair use.

The second section discusses the permissions process. The last section discusses some common myths about fair use and getting permission.

Fair Use You don't need permission to use a copyrighted work if your use is "fair use." The "fair use" of a copyrighted work is not an infringement of copyright. Copyright owners are, by law, deemed to consent to the fair use of their works by others. Examples of fair use are quoting passages from a book in a book review; summarizing an article, with brief quotations, for a news report; and copying a small part of a work to give to students to illustrate a lesson.

Unfortunately, it is often difficult to tell whether a particular use of a work is fair or unfair. There is no definition of the term. Instead, determinations are made on a case-bycase basis by considering four factors:

Purpose and character of use. The courts are most likely to find fair use where the use is for educational or other noncommercial purposes or where the use is "transformative."

The use of a copyrighted work to create a new work is "transformative" if the new work adds some additional element or has a different character or serves a different purpose. An example of a "transformative" use is a parody or satirization of an existing work.

Non-transformative use-where the new work merely serves the same objectives as the original work, or supersedes it196

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is less likely to be fair use. In general, commercial use is not likely to be fair use.

Nature of the copyrighted work. The courts are most likely to find fair use where the copied work is a factual work or a work that has already been distributed. They are least likely to find fair use where the copied work is creative or fictitious, or the work has never before been published.

Amount and substantiality ofportion used. The courts are most likely to find fair use where what is used is a tiny amount of the protected work. They are least likely to find fair use where much of the protected work is used. If what is used is small in amount but substantial in terms of importance-the heart of the copied work-a finding of fair use is unlikely.

Effect on the potential market for or value of the protected work. The courts are most likely to find fair use where the new work is not a substitute for the copyrighted work.

They are least likely to find fair use where the new work is a complete substitute for the copyrighted work.

Fair Use and the Internet Some people think that there's an absolute fair use right to use someone else's copyrighted material on the Web because the "culture" of the Web is that it's okay to do this. ("Everyone is doing it.") And some people think that there's a fair use right to copy and use any material found on the Web. The truth? There is no special fair use exemption for the Internet. The four-factor test discussed above applies to the Web as well as to traditional media.

Guidelines Because getting permission to use copyrighted material can be complicated and costly-as explained later in this chapter -you may be tempted to skip the permissions process and just rely on fair use.

Before you yield to that temptation, please read these guidelines.

Ifyou are creating material which will be used only for purely noncommercial purposes-for example, training materials for the American Red Cross to use to train volunteers-it is possible that you can justify copying small amounts of material as fair use.

Ifyour work is designed for commercial use ofany sortfor sale to consumers, for use in retail stores, or for use by

a for-profit client-it will be hard to succeed on a fair use defense. It's better to get permission.

Ify our p roject serves traditional 1air use" purposescri ticism, comment, news reporting, teaching, scholarship, and research-you have a better chance of falling within the bounds of fair use than you do if your work is sold to the public for entertainment purposes.

If the work you want to use incorporates several different copyrightable works, you may need more than one license.

Getting Permission Getting permission to use copyrighted material involves three steps:

• Determining who owns the copyright in the work you want to use.

• D etermining what rights y ou need.

• Obtaining permission-known as a "license"-from the copyright owner.

Example: Web Publisher wants to use text and an illustration from Bookco's book in an on-line magazine. Bookco does not own the copyright on the illustration, the freelance artist who created the illustration does (Bookco just has the artist's permission to use the illustration). To use the text and the illustration, Web needs permission from Bookco and the artist.

Locating the Owner

Determining What Rights You Need

If the work you want to use contains a copyright notice (many works do, although use of copyright notice is now optional), the name on the notice is your starting point for locating the copyright owner. The name in the notice is the name of the copyright owner at the time the copy of the work containing that notice was published-but not necessarily the work's creator or the current copyright owner.

The second step in the licensing process is determining

The copyright owner named in the notice may have assigned the copyright (transferred ownership) to someone else after your copy was published. You need to get permission from the current owner.

Example: John, a freelance writer, assigned the copyright

in his book to Mega Books, Inc. If Sue wants to use excerpts from John's book, Sue must get permission from Mega Books.

You may find that the owner has already granted others permission to use the work you want to use. Unless you want an exclusive license, you don't need to worry about earlier nonexclusive licenses. An existing nonexclusive licensee has no grounds for complaint if you are granted permission to use the same work on a nonexclusive basis.

Exclusive licenses are a potential problem, though. A copyright owner cannot give you a license that conflicts with an existing exclusive license.

Example: Web Publisher wants to use some excerpts from

Reference Book Publisher's book in an on-line encyclopedia.

If Reference has already granted another company, Massive, an exclusive license to use the reference book's text for an on-line encyclopedia, Reference cannot give Web the license Web wants.

198

According to U.S. copyright law, an exclusive licensee can grant sublicenses unless the license agreement states otherwise (an exclusive licensee is considered an "owner" of an interest in copyright). In the previous example, Web should find out whether Massive has the right to sublicense. If it does, Web should ask Massive for a nonexclusive license to use excerpts of the reference book.

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what rights you need to license from the copyright owner.

To shield you from an infringement suit, your license must authorize every type of use that you will be making of the licensed work. Consequently, you need to determine how you will be using the work and what rights you need before you seek your license. A license is no protection for uses not authorized in the license.

Example: Web Developer obtained a license to reproduce Photographer's photograph of the Golden Gate Bridge in a

Web site that Developer created for a client. Although the license did not authorize Developer to alter the photograph, Developer manipulated the image to eliminate cars and pedestrians and create an uncluttered image of the bridge. If Photographer sued Developer for unauthorized exercise of the modification right, Developer's license would be no defense.

Using a licensed work in ways not authorized in the license may be material breach of the license agreement. If it is, the licensor can terminate the license. In the previous example, Developer's alteration of the photograph is probably a material breach of Developer's license agreement with Photographer. If Photographer terminates the license, Developer will no longer have even the right granted to Developer in the license.

If you want the right to use the licensed work in more than one project, the license must explicitly give you that right.

Example: CD-ROM Developer obtained a license to use a fivesecond clip of Movieco's movie in Developer's interactive multimedia work, "City Tour." Developer later used the same film clip in another multimedia work, "Downtown." Developer's second use of the film clip is copyright infringement.

Obtaining a License The third step in the licensing process is obtaining a license from the copyright owner. The terms of the license should cover the following seven points:

• Definition of the product or products in which the licensed work can be used (by title or by description or both). Pay careful attention to the definitions of the products covered by the license. If you want to be able to use the licensed work in future versions of your work or in sequels, include the future versions or sequels in the license's definition of the products. If your current project involves one medium (co-ROM, for example), but you might want to shift it to another medium in the future (an on-line interactive game, for example), make certain the license does not limit your right to just the current version's medium. Given the rapid advances in technology, you should try to avoid limiting the product definition to a particular format or configuration.

• Whether the license is exclusive or nonexclusive.

• Specific authorized uses, such as reproduction, modification, distribution, public performance and public display.

• License fee, whether royalties or one-time fee.

• Term (duration) of the license.

• Territory limitations, if any. You probably want a worldwide license, but the licensor (the U.S. copyright owner with whom you are dealing) may not own the worldwide rights.

• Warranties of ownership and noninfringement. You should try to get the licensor to warrant three things: That it is the sole and exclusive owner of all rights in the licensed material, that it has the right to grant you the license, and that the licensed material does not infringe any third-party intellectual property rights or other proprietary rights. If you are licensing a film or television show clip or a master recording of music, your license should also include a warranty that any applicable union re-use fees have been paid.

Exclusive copyright licenses must be signed and be in writing to be valid. It is a good idea to get exclusive copyright licenses notarized. Notarization is legal evidence of the signing of the license.

Oral nonexclusive licenses can be enforced-if you can prove their existence. However, you should always get a written license so that you will have proof of the license and its terms.

Myths There are a number of myths concerning fair use and the necessity of getting permission. Don't make the mistake of

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believing these myths.

C 0 M M U N I CAT I 0 N

ARTS

199

Myth # 1:

"I don't need a license because I'm using only a small amount of the copyrighted work. " It is true that de minimis copying (copying a small amount) is not copyright infringement. Unfortunately, it is rarely possible to tell where de minimis copying ends and copyright infringement begins. There are no "bright line" rules.

Copying a small amount of a copyrighted work is infringement if what is copied is a qualitatively substantial portion of the copied work. In one case, a magazine article that used 300 words from a 200,000-word autobiography written by President Gerald Ford was found to infringe the copyright on the autobiography. Even though the copied material was only a small part of the autobiography, the copied portions were among the most powerful passages in the autobiography.

Copying any part of a copyrighted work is risky. If what you copy is truly a tiny and nonmemorable part of the work, you may get away with it (the work's owner may not be able to tell that your work incorporates an excerpt from the owner's work). However, you run the risk of having to

For works published on or after March 1, 1989, the use of copyright notice is optional. The fact that a work doesn't have a copyright notice doesn't mean that the work is not protected by copyright. Unless you have good reason to believe a work is in the public domain, assume that it is protected by copyright and get permission unless your use is fair use.

Myth #5:

"Since I'm planning to give credit to all authors whose works I copy, I don't need to get licenses."

If you give credit to a work's author, you are not a plagiarist (you are not pretending that you authored the copied work). However, attribution is not a defense to copyright infringement.

Myth #6:

''/don't need a license because I'm going to alter the work I copy."

You cannot escape liability for copyright infringement by altering or modifying the work you copy. You can use a copyrighted work's unprotected facts and ideas, but if you copy and modify protected elements of a copyrighted work, you will be infringing the copyright owner's modification right as well as the copying right.

defend your use in expensive litigation. If what you are copying is tiny, but recognizable as coming from the protected work, it is better to get a license (unless fair use Myth #7: applies). You cannot escape liability for infringement by ''Rather than just scanning in the copyrighted cartoon characshowing how much of the protected work you did not take. _ ter I want to use on my Web site, I'll draw my own version Myth #2: of the cartoon character. That way, I won't need a license. " "I don't need a license because what I am creating will only be Drawing a facsimile of a copyrighted character-like scanning used in-house by my client. It will never be shown or marketed the character from print media-is a way of copying the to the public. " character. Unless your use is fair use, you need permission The Copyright Act does not permit copying for "private to copy. use" or "in-house use" other than under the "fair use" docMyth #8: trine. How a work will be shown or used is relevant in deter"We've used this song (photo, logo, illustration, text. .. ) in our mining whether you need permission to exercise the public productions in the past, so we don't need to get permission to performance right. However, even if you don't need a license use the work now." for public performance, you need a license if you are planDon't assume that past use was licensed use. Even if the past ning to copy a third party's copyrighted work into a project. use was licensed, the license may not cover your use now Myth #3: because the license may have authorized one-time use only, "I don't need a license because I'm doing this project for a or may have been limited in duration, or there may have nonpro1.I:,,t group. " been other restrictions. And watch out: An old license that Copying for educational or public service use may be fair authorized you or your client to use material in specified use but is not necessarily fair use. Type of use is one of the print media will generally not give you the permission you factors that determines whether a use is fair or unfair. Three need to use the material on a Web site. • other factors must be considered, as discussed in the first ©1997 J. Dianne Brinson section of this article.

200

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Myth #4:

book, call (800) 523-372I or (4I5) 854-0642 or send $44·95 plus $7

"The work I want to use doesn't have a copyright notice on it, so it's not copyrighted. I'm free to use it. "

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'

Whose Portfolio Is It Anyway?

BY ToM MONAHAN

T

he portfolio has always been a dubious document

account exec or clients all the credit. These animals exist,

of creativity and talent. Today, it's less reliable than

too. It's very refreshing. But it doesn't unravel the riddle of

ever before.

whose ideas are in the damn book?

To the people shopping for jobs, it's their calling card. The

Now, I'm talking mostly ideas here. To be differentiated

advance guard. Often the only opportunity to make an

from the executional disciplines of arr direction and copy

impression. In many companies they don't hire people,

writing. Not that those craft elements aren't misrepresented

they hire portfolios.

as well. Hardly. In fact, I'd say 90% of the books in the busi-

For a creative director trying to determine the ability of a prospective employee, the book (I'll use the terms portfolio, book and reel interchangeably) is one of the most important gauges. For many creative directors, it's the only gauge.

ness possess much executional detail that is far from original.

And it's hard to separate out graphic design elements or word uses that are simply part of the accepted vocabulary of the business. Just like we can't discredit Mozart for using a diminished 7th to create a certain tension and lack of resolution in

But any CD who has ever taken the hiring leap will tell you that even when the book is wonderful, three months into

his music, as did many composers before him. And, although there is piracy in this realm, let's stay with ideas and leave

the new player's employment, if not three hours, one often

that for another discussion.

finds that the actual creative output is a far cry from the work they saw in the book. So much for the most important yardstick.

Of all our brain children, I believe the concept is the area where parentage is most difficult to establish. Some ideas are born from the loins of two or more people's imagina-

There are many reasons why this happens. Some more

tions. Some are more the product of, well, let's just call it

legitimate than others.

immaculate concepting, whether there's someone else in the

One almost acceptable reason is that the individual simply

room or not. And oftentimes, you simply don't know whose

can't produce the same product in this new environment as

baby it is. Those are always my favorite moments in the

he or she did in another system. Like the running back

concepting stage, when there is so much creative energy

whose stats just can't match his performance on his last

that ideas seem to emerge out of thin air. It does feel like

team, because it's a different front line, different blockers,

magic sometimes, doesn't it?

who knows, it could be the new turf, the altitude or even

Tell that to a creative director who's hiring a key employee

the humidity.

to put on an important account. 'Tm not really sure if it

Too often, though, the lack of performance just can't be

was my idea." I don't think so. In that situation, even Mother

explained so easily (not that an explanation remedies any-

Teresa might give herself the benefit of the doubt.

thing). Some books simply don't represent the individual's true capabilities.

I had mentioned above that I feel this portfolio authorship quandary is greater today than ever before. Let me explain.

I have hired creative people with very nice books, only to

To start with, for too many people the portfolio is an end

find that the person I hired is simply not an idea person.

in itself. It's not just a record of this or that advertiser's suc-

This individual might be wonderful at the executional side

cess stories. Not even close. Too often the portfolio is the

of arr direction and/or writing. But the ads in the portfolio

objective, not marketing success . "Will it look good on my reel?" is the big question, not, "Will it sell products?" You

all represented other people's ideas. How can you tell by looking at the book or reel? Even grilling the candidate won't

know this is true. You could fill Yankee stadium with these

necessarily do you any good. Even if the prospective employee

offenders. Hell, you could fill South Dakota.

isn't an out-and-out phony, often the accused simply doesn't know the ideas came from somewhere else.

Another reason this problem is bigger today is that people are more sophisticated in their job hunting. There's a part of

And on the flip side of this dilemma there's the insecure or

me that applauds this. A part of me that abhors it. I admire

modest creative person who's always giving his partner, CD,

the resourcefulness and the salesmanship, but I must blame C 0 M M U N I C A T I 0 N

A R T S

203

some of the ad schools for contributing to the downside of this problem. For all the good they are doing, often these

issue even more. It's the mistaken notion that coolness equals creativity. And here creative directors are as much at fault as

schools are responsible for some very good-looking books

the legions of body-pierced crearives who think that career

hitting the streets, carried by some people who don't have a

prep happens in front of a mirror. True story: A kid right

clue about business realities like client's needs, economics

our of school interviews with a CD who doesn't believe in

and marketing. Where are our priorities? Creative directors

socks, ties or anything else that demonstrates conformity.

in almost every corner of the industry tell me it's a dilemma today like never before.

The kid shows up wearing a jacket and tie. Bad scene. The CD berates the kid for nor being hip. The kid goes on to

Next there's the Mac and the director's cut. I dare say there's

carry a jacket and tie on a coat hanger to subsequent inter-

not a portfolio in this business that doesn't have a piece or

views to cover his options, and makes sure all who interview

two (or is it ten or twenty?) that isn't cosmetically enhanced

him hear about this Spy-eyed CD. I'd have hired the kid

over the actual advertisement that appeared in the media.

based on the story alone.

Tell me it's easy for a CD to judge true creativity and talent

Get to know the person, people! Not the book. (Whoever the

under these conditions.

hell's book it is.) Not the threads. Not the hair style. Those

Do I need to mention the preponderance of out-and-out

things are anywhere from highly infallible to totally irrelevant.

fake ads in books these days? It's in an awards show annual,

Get to know the individual. Look under the hood of the

it must have run . Right.

idea machine. That's the only foolproof way of knowing.

Then there's the global village factor. Because we all have

Really knowing.

such easy access to most every ad done on this planet, forget

One of the proudest hires in my career (or was it one of

the naive kids who do one more ad in the "Got milk?" campaign and think they're being creative, it's simply too easy for even the seasoned pros to take an idea from an obscure corner of the advertising world, steal it and put their client's logo on it. And it's not just the no-talent hacks who commit

the luckiest?) was a truly wet-behind-the-ears kid who didn't even have a book. I found him interning, crunching numbers in the media department of my agency. He then labored as my assistant for parking money and an occasional creative bone.

such thievery. I witnessed a case recently where a "very good" creative person knocked off an ad he had seen while judging

Yes, I had to ignore his ponytail. (I should note, here, rhar I

a local awards show. Shame, shame. He probably didn't

have nothing against hip. I actually had a ponytail in the

expect it to win awards and gain visibility outside his market.

'70s. Way ahead of the coolness curve. I'm just saying that

The global village factor works both ways. These shenani-

surface stuff has nothing to do with creativity. Never has.

gans are done everyday. Consciously and unconsciously. And,

Never will. And in some convoluted way the book too has

the authorship soup gets muddier.

become more surface today.)

The solution to this problem?

Back to my proud hire. This kid had never done a spec ad.

For the "creative" people who are perpetrating these scams,

fake it, because he didn't know what to fake. All he had was

know you will be found out. And it will cost you dearly.

Or you won't be found out and you'll have to live with

a mind. An inquisitive, open mind.

your own little lies.

Fast-forward to today, this guy is a rising star at one of the

For creative directors, well, like lots of things in life there's no sure-fire solution. But I have a suggestion. Actually a very

204

Didn't know any of the hip agencies. Didn't know how to

most respected creative agencies in the business. I repeat: He didn't have a book. And, frankly, that made it easier.

simple one. Sit down and get to know the candidate you're

Yes, this is a luxury few creative directors will ever have-a

considering for the job. Look at the book, sure. But make

situation not clouded by "whose idea is it?" But you can

the person the major factor. And really get to know that

take a lot of the fudge out of the equation if you make the

individual. Talk about music and family, food and films. Get

book less of a factor (and the clothes and the haircut, for

behind the pat answers. Get behind the fas;ade. Find out

that matter) and face the fact that you're hiring a mind. And

what fuels that person's soul.

that's the most important thing by far.

There is a superficial nature to much of this business today

I mean, how simple does it get. A great mind is a great mind.

that some people have allowed to confuse the who's creative

It's pretty hard to fake. •

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So why is it your parents still don't get what you do for aliving?

Ever since the day you first wrapped your fingers around a crayon,you've been driven by the need to create. The way you create, however, has changed beyond recognition. Or at least beyond Mom and Dad's recognition.

Apple• Macintosh· computers have always understood people who create. In the words of I.D. Magazine, "The designer-friendly quality that characterizes the Mac is deep in the machine'.' Now, with our newest Power Macintosh· lineup, it's even deeper.

We understand your need for speed.

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9600 you won't need For an even better understanding of the an MIS person, or even computers that understand you, visit us at a screwdriver to do it. www.powermacintosh.apple.com. Or call Push a button and they us at 800-538-9696 for the name of the open up simply and Power Mac reseller nearest you. And then, if gracefully, placing the logic board at your you haven't lately, call your mother. fingertips. So you can do what you need to www.powermacintosh.apple.com do and get back to doing what you love.

8 SEGO ~

(tj>

On the Edge: Being Human in the Face of Technology

1--t ('t)

~

n ('t)

BY ANNE TELFORD

A

rt and creativity, tech-

nology and tradition and the future of

design were some of the key themes at the annual confer-

At the heart of interaction desigR

author Joan Didion, "The center cannot hold. " In light of the proliferation of new media, Holt said we have a choice of " ignorance or

ence of the Society for Environmental Graphic

acceptance. " The designer's

Design (SEGD), held April

job is to create order out of

10-12 in San Francisco. The

a disorderly world; and the

conference looked at the edges

challenge of design is "how

of human creativity and the

to do more for less. "

intersections of the Pacific

The frogdesign credo is

Rim and the world at large.

"form follows emotion. "

Over 600 design profession-

The company, with offices

Figure 1

als came together to explore these topics, gain inspiration

208

being obliterated. He quoted

in Sunnyvale, California; Altensteig, Germany; Austin, Texas

from the opening day's plenary sessions, network and to

and a new one just opening in New York (with Tucker

share information and experiences during the second day of

Viemeister, formerly of Smart Design at the helm) designs

workshops and make valuable contacts at the Annual Trade

sleek high-tech products that integrate ergonomics and

Showcase-an exhibit of more than 50 vendors working in

cesthetics in an attempt to personalize technology. Frogdesign

the environmental graphic design profession.

is trying to reinvent the paradigm for computer design. Holt

The SEGD is an international nonprofit organization

showed prototypes of personal computers whose electronics

founded in 1973 to promote public awareness of and profes-

could be "clothed" in a jacket of leather; ostensibly other

sional development in the field of environmental graphic

jackets could be fashioned of materials to complement the

design. Environmental graphic design is the planning and

wearer, reduce the weight of the computer and provide a more

design of communications for the built environment-in

personal, human feel. He foresees a time when computers

other words, practitioners of this discipline design graphic

will be made from a mixture of wood, plastic and leather.

elements that help to identify, direct, inform, interpret and

He cited the fact that only 34 % of homes in America have a

visually enhance our surroundings.

computer in them. This statistic, according to Holt, seemed

The highlight of their annual conference is the plenary

"strangely and incongruously low. " For the listening audience,

sessions. A variety of top professionals are chosen to speak

the percentage would, of course, be far higher, since most

on the conference theme and their 45-minute presentations range from impassioned speeches to sophisticated versions

designers , and especially those working in EGD are using computers with CAD/CAM programs to facilitate the design

of grammar school show-and-tell. The grand ballroom of the Hyatt Regency Embarcadero was the site; the stage ,

and/or prototype process. "To some people, technology is what wasn't around when you were born"; to Holt, "tech-

a stunningly modern confection designed by Mitchell

nology is something you don't know"-yet.

Mauk of Mauk Design, San Francisco, resembled a futur-

Holt said if students are the predictors of the future , there

istic diving board complete with steep metal stairs , placing

is a trend toward softening the edges of technology, toward

speakers on what appeared to be a literal edge.

something more organic, more fluid. He felt we should use

After welcoming remarks from conference organizers Debra

nature as the inspiration for the mechanical things we do

Nichols, Nancy Daniels and SEGD president Gretchen

and draw from the spiritual force of nature.

Coss, first up as speaker was Steven Skov Holt, a visionary

"Choice is a great gift that designers can deliver," Holt said.

designer and strategic manager at the international design

He showed examples of what he termed "post market pro-

firm frogdesign, who began by saying that boundaries are

duction alteration" -hot rods and custom cars that the owners

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c .....................................

ro

(.)

915 Broadway 14th fl NYC 10010 212 -673 -6600

www.showcase .com

·~

showcase

E ro ...................................

Criterl• for inter.al on design

had transformed from an ordinary object into a functional and highly idiosyncratic objet d'art. The inference is that we can apply that type of customization to technology as well.

Holt gave a timeline of computers : In the 1940s and ' 50s, the computer was a room.

Figure 2

In the ' 6os, it was a small room with an air conditioned mainframe.

In the '70s, the box became something that could be put on the desk.

In the '8os, the box became something that could be carried.

Actually getting inside the technology is a future direction.

Bill Hill, partner in the international firm MetaDesign (look for upcoming feature coverage in CP.:s September/ October issue), discussed the theories and practice of information design and creative problem solving using "VizAbility," their award-winning interactive CD-ROM "visual thinking" kit, as an example. An inspiring learning tool, "VizAbility" bears out Einstein's admonition, "Imagination is more important than knowledge, " by encouraging the viewer to think creatively and to draw outside the lines. A combination of graphic design, information design and cognitive psychology, Hill's demo inspired designer Jon Goldman of Belmont, Massachusetts-based GoldmanArts to immediately buy one for his children's school. [You can preview "VizAbility" at

www.vizability. com J Lauralee Alben of Alben+Faris in Santa Cruz, California, talked about the center of interaction design; people are at the heart of it and it requires courage and empathy to produce compelling work. She discussed the quality of experience (see Figure r), defining criteria for effective interaction design (see Figure 2), and presented a number of questions one can extrapolate from each heading. [For more on this , check out her Web site at www.albenfaris.com] Alben's presentation was at times emotionally moving, such as her description of San Francisco landscape designer Topher Delaney's inventive and original garden spaces. Delaney, of Delaney, Cochran & Castillo, worked on a garden for Alzheimer's patients and Alben's telling of this project brought tears to the eyes of many attendees.

Paul Kaufman, author of the Book of the Month Club selection The Creative Spirit, and creator, writer and senior pro210

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ducer of the companion television series, explores the subjects of creativity and values and their impact on understanding and communicating information. He advised that we must build in time to be still as an antidote to the speed with which we're called upon to create work. "The soul never thinks without an image," he said, quoting Aristotle. He used clips of animator Chuck Jones's Wile E. Coyote to underscore his various points, enchanting the audience and adding a note of levity. He said that Jones held meetings in which it was forbidden to say the word "No. " They were referred to as "big yes meetings. " Kaufman showed a clip of Jones illustrating and animating the words yes and no and describing the effect each had on the idea of creativity, leaving no doubt which was the preferable word and attitude. His presentation brought home the point that joy is a central part of the creative process and that despite our busy lives and hectic schedules, it behooves the creative individual to keep it in mind. The themes of simplicity and reflection were threads woven through many presentations.

Curator of contemporary design at the Cooper-Hewitt National Design Museum, which presented the recent exhibition "Mixing Messages: Graphic Design in Contemporary Culture," Ellen Lupton is also the author, with her husband J. Abbott Miller, of Design, Writing Research: Writing on Graphic Design,. Despite her initial nervousness , she spoke with passion, enthusiasm and wit about visual literacy, graphic design and public spaces.

She offered a term , "stereo-typography, " the association of typefaces outside the cultural milieu in which they were created, and showed many quite humorous examples. This "second alphabet" of cultural expressions and adaptations of known marks is a vibrant form of communication, and gives additional meaning to corporate identities, similar to the post market production alteration that Steven Skov Holt described. While American contributions seem to be in the realm of cliche and icon, the European approach is that of innovation and the avant-garde. Lupton's description of punctuation as the signage system of writing was quite engaging.

Metro Art, the public art program of the Los Angeles County Metropolitan Transportation Authority is a far-reaching endeavor, whose end results-depending upon whom you discuss the work with-have varied success. Maya Emsden, director of Metro Art, talked about the visual professional

and how sometimes the best form of communication is

Web site design and interactive multimedia technology in

"nonverbal, artful and dual purpose." The issue of public

directory and wayfinding applications. The day also included

art drew a somewhat cynical response from conference

a tradeshow and a surprisingly good buffet lunch which

attendees seated nearby. I liked the series of seven book-

took over the grand ballroom.

marks (available at the check-in table), from a Metro Art

Day three's presentations-all about change and what lies ahead-included P.B. "Skip" Wall, Jr., architect and executive director, Tech Museum of Innovation ("Exhibiting Technology"); weaver and "textile engineer" Junichi Arai, with Yoshiko Wada ("Silk and Steel, Technology and Tradition"); Hong Kong-based designer Alan Chan, whose presentation was interestingly enough titled "A New Perspective: Oriental Passion and Western Harmony" (it's usually the other way around); landscape architect Peter Walker ("Landscape As Art: Designing for and on the Edge"); Pete Docter, animator/writer from Pixar (makers of Toy Story); and John Seely Brown, chief scientist, Xerox Corporation and director of the famed Palo Alto Research Center ("Fitting Technology Into Our Lives").

project celebrating National Poetry Month (April 1997).

Especially the following, taken from "A Life in Earrings" a collaboration between poet Janet Sternburg and artist Jo Ann Callis: "I have only one.II keep thinking I'll open/an old pocketbook/and there will be its mate.II miss it./Then again,/! only have one breast,/and it's adequate for living."

Other speakers included the San Francisco Chronicle's Pulitzer Prize winning architectural critic Allan Temko who spoke from a historical perspective on the interface between graphics and architecture; and a panel discussion on the Embarcadero Project, "the ribbon of art along the edge."

The first day ended with a San Francisco Bay cruise and reception, putting the edge more clearly in perspective.

range of topics from copyright protection to a primer for

The SEGD conference showed the possibilities inherent in new media, the importance of creative thinking, the benefits of being on the edge and the rewards of human

female bosses, to train station signage, common mistakes in

interaction. •

Day two offered a series of informative workshops on a

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211

Book Reviews Anybody Can Be In Advertising .. .lt Beats Working For A Living

work. He says, "Study the local papers for ads that look good or bad. It's better to learn what's bad than good. " (Learning

By Stan Cotton 154 pages, paper, $19 .95 Published by Cotton Concept Company 10101 Grosvenor Place, Su ite 809 Rockv il le, Maryland 20852

bad ads sounds a bit mixed up to me.)

But Cotton does point out "The Ad business is a no-inventory, no-overhead business that you can get into overnight. "

Mr. Cotton sent his book in manuscript form, ready for publication. In the bookstore, it will have the rather scrappy cover shown with a photo of

As for the production of ads he says, "Stick with freelancers.

Talented creative people are lousy salespeople, (but) if they are good enough to survive on their own without a weekly paycheck, they'll be good enough for you."

To demonstrate the idea that ads that give honest informa-

the author scribbled over with

tion-ads that are straightforward and contain no quasi-

mustache, goatee and Bride-of-

elegant language-are most competent and effective, the

Frankenstein hair, even with

author shows over a hundred examples of his work. Inter-

darts thrown at it: "The author as seen by Madison Avenue."

The cover illustrates the tone of the book, a maverick kind of attitude about advertising by a self-made man. Signing the introduction "The Voice of Experience," Cotton records his twelve easy steps to success . Step #r is "Don't go to college to learn the ad business ." There's probably some truth in this. By college time, you're probably so stuffed with the American advertising culture that you know what doesn't

esting explanations about the thinking behind his ad campaigns and promotions for regional clients accompany the illustrations.

But an intrusive number of sectional pages are taken with supposedly humorous cartoons, carefully crafted drawings that make everything look like bagels.

In our town, 206 advertising agencies are listed, but only five have continuing national recognition. Of that number, two agencies are spin-offs of the top three. What of the other 201? Many are one-person shops who do low-level service

T H E • D E S I G N MA N AG E M E N T I N S T I T U T E •

production. Some have contracts to do ads and media placement at the local level for national accounts, and that can be modestly profitable. I would think that most of them do the massive mess of utility advertising which surrounds us.

Goal: To help design managers become leaders in their profession

Somebody does those auto dealership ads.

I wonder how many of them learned their craft in college and how many of them just started as independents as Stan

Fact: Celebrating more than 20 years of leadership in design management Learn: The 22nd Conference on Design Management Sept. 21-25 1997, Newport, R.I., USA

The 2nd European Conference on Design Management March 15-17, 1998, Amsterdam, The Netherlands

Cook apparently did? Advertising comes at all levels.

-BYRON FERRIS

The Elements of Typographic Style

By Robe rt Bri nghurs t 350 pages, hardcover $34.95/paper $24.95 Published by Hartley & Ma rks Publi shin g P.O. Box 147 Point Roberts, Washington 9828 1

"Typography thrives as a shared concern-and there are no paths at all where there are no shared desires and directions .... The subject

Visit: www.dmi.org

of this book is not typographic solitude, but the old, well-travelled roads at the core

The Design Management Institute 29 Temple Place, Boston, MA 02111-1350 USA 617.338.6380 Fax: 617 .338.6570 E-mail: dmistaff@dmi .org

212

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of the tradition: paths that each of us is free to follow or not, and to enter and leave when we choose-if only we know the paths are there and have a sense of where they lead. " So begins

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Book Reviews

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The chapters range in subject from "Rhythm & Proportion" to "Choosing & Combining Type" and include just about every issue involving typographic characters, readability, layout, page and grid relationships and the evolution of metal type up to recent additions in computer typesetting (including multiple master typefaces). Bringhurst provides his own take on type classification, eschewing terms like "Old Style" and "Modern" for less confusing and more historically associative terms like "Renaissance" and "Romantic." He extends it into the present with classes like "Expressionist Postmodern," such as Zuzana Licko's Journal, and "Geometric Postmodern," like Erik Spiekermann's Officina, while describing such postmodern efforts as recycling and revising Neoclassical, Romantic and other forms "with an engaging lightness of touch and a fine sense of humor."

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Robert Bringhurst, Canadian typographer, book designer and poet as well as eloquent and thorough detailer of typography's finest nuances. He uses as his model Strunk and White's The Elements ofStyle, with each of the first nine chapters subdivided into numbered "rules," such as, "5.2.1. Use spaced en dashes-rather than em dashes or hyphens-to set off phrases. " (A list of all the rules appears in Appendix E, providing both a brief overview as well as handy index.)

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and literary, historical and cultural references that serve as spoonfuls of sugar. For example, introducing a discussion of point size, he writes, "The simplest scale is a single note, and sticking with a single note draws more attention to other parameters, such as rhythm and inflection." An interesting digression from the issue of punctuation involves

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William Faulkner's curious use of multiple hyphens and numerous periods instead of long dashes and ellipses.

Throughout his book, Bringhurst provides marginal notes and illustrations. These range from enlightening asides to a large sample "a" or "g" for each of the profiled typefaces in Chapter IO. Among the appendices is an extensive list of sorts and additional characters so one need never again confuse a cedilla, a hanging accent used with consonants in several languages , with an ogonek, a similar accent that curls the opposite way and is attached to vowels.

This is the second edition; the original came out in 1992.

The Elements a/Typographic Style should be required in the libraries of anyone claiming to practice design. As for its place in the classroom: one student recently shouted after one look, "Wow, this book is great!" And it is.

-ANGELYNN GRANT

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the U\\\£C10R~ OF ILLUSTRffT/llfl GENERATES BUSINESS

The Graphic Artists Guild's Directory of Illustration

respected artists and largest artist representation

is not only an award-winning source book, but

firms are participating in this year's edition.

for generating business for our

If your company is not receiving the Directory of Illustration and spends at least

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Renewal advertising for the current

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source book. Please inquire for further

business is the most important indicator

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that the Directory of Illustration is meeting

As an illustrator, advertising in the

our advertisers' needs for generating

Directory of Illustration places your work

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more information on how the Directory

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call for our I 6-page brochure.

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SERBIN COMMUNICATIONS CELEBRATING 20 YEARS 1977-1997 PUBLISHERS OF:

California Image• California Image Stock CD • Directory of Illustration• Medical Illustration Source Book• Photographer's Forum Magazine • Best of College Photography Annual • Best of Photography Annual • Designer Jewelry Showcase

SERBIN COMMUNICATIONS, INC. 5II OLIVE STREET SANTA BARBARA, CALIFORNIA 93IOI PHONE 800-876-6425 FAX 805-965-0496

Book Reviews

Graphics Master 6

By Dea n Ph illip Lem 158 pages, hardcover, $74.50 + 6.50 shipp ing Publi shed by Dean Lem Assoc iates, Inc .

P.O. Box 959, Kihei, Mau i, Hawa ii 96753

This is the sixth edition of Graphics

Master, updated to be the complete and authoritative kit of graphic design information, and it is now vital as a studio resource for a field undergoing such rapid change as ours. It contains up-to-the-minute information and descriptions of new imaging technology, digital prepress, advanced printing processes and design studio equipment.

This is the value of Lem's masterful compendium of methods and techniques. He's pulled current technical information together into one very usable kit, a one-handful library tailored to our profession stuffed with specialized information you won't find in the Columbia Encyclopedia.

I know some d esigners who can't program their vcRs. Keeping up with all the new things for the studio and at the printers can be quire confusing. My advertising agency boss, when he found inept copy, would shout: "Thar's right!

Spread confusion!" Graphics Master 6 is dedicated to anticonfusion. Ir's a great gift to professionalism.

In past reviews CA has said about Dean Lem's book: "It can save you a lot of Tums." In today's quick-acting studio scene, oh, what a relief it can be.

When CA reported on Dean Lem's first edition in 1974, we spoke of it as an ambitious and thorough recording of the methods and practices of graphic design. The new edition is a measure of how remarkably the field has changed over

Briefly Noted:

the years. It was just 30 years ago that we ran a story about "Computer Graphics," a word which William Fetter coined

Street Smart Design by Diana Martin and Lynn Haller

to explain the output of a computer, drawing machine and

Cincinnati, Ohio 45207, 144 pages, hardcover, $29.99). If you've caught yourself admiring the fresh, exciting work of Art Chantry, P. Scott Makela, Margo Chase or other designers on the cutting edge and were curious how they achieved those eye-catching effects, then check out Street Smart Design.

Cincinnati-based designer/author Martin and editor/author Haller have accumulated over roo examples of posters,

designer combination. At Boeing, Wichita, Bill Fetter translated the dimensions of the yet-to-be-built supersonic transport to punch cards that drove the computers of those days. He then made step drawings to animate and prove the behavior of the plane in flight-the first demonstration of computer accurate graphics. That was a slow, incredibly expensive process. That's history. Now the little electrons can do all that work in a small box in the graphic design studio at bright speed. The technology also changes at lightning speed and it has been easy to miss something, new things that are probably described in this edition .

In form it is a wire-o bound ro" X IIJA" portfolio sectioned as a reference kit, with everything you need in one book, sections on typography, color screens and an extensive set of process color guides bound in. There's a full-bore copyfitting section with type comparisons, sizes and weights and a line gauge and ruler packaged right into the sections, and also a proportion wheel and color selector isolation mask. From the glossary of new and current design and printing terms to the sections on proofing methods and systems, it's written to bring you into the next century.

Dean Lem, with his decades of professional knowledge, has not allowed the inclusion of new developments to squeeze out the basic and practical things we should know. His thoroughness in informing the full range of tools, methods and mechanics creates confidence in the production of graphic design so you can focus on the art of design.

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-B.F.

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(Published by North Light Books, 1507 Dana Avenue,

flyers, book and magazine covers, page spreads, company identities, menus, fonts and many other varied projects, all united by their end-of-the-millennium style. Each entry is reproduced in color on as many as four pages along with information on designer, studio, client, product, materials and tools, budget and cost, platform and software, concept and technique. Under the latter head, the designer reveals her/his method, process and occasional "happy accidents."

Paul Sych of Faith studio constructed the Box font for Neville Brody's magazine Fuse using early American quilt patterns for inspiration, arriving at "something quite different in the end." To capture on CD cover the moody ballad by the normally hard rock band Ten Inch Men, Margo Chase combined photography, Photoshop, Illustrator and "distressed" photocopying for a "surreal dreamlike effect. " Mike Salisbury turns a surf ad on its ear, collaging Chinese newspapers with ambiguous images of androgynous non-professional models as a "satire on the sexism in most male fashion ads. " If your designs are stuck in a rut, perhaps a glance at Street Smart Design will give you the visual equivalent of a slug of]olt cola.

-A.G.

As this oil painting which hangs in the lobby area of the Screen Actors Guild headquarters shows, professional actors come in all sizes, shapes, colors and abilities. Titled Union, Arsen Roje's work is a celebration of diversity.

SAG itself is a celebration of diversity with 90,000 members nationwide representing every age, ethnicity and physical ability you can imagine.

Why not bring greater life and texture to your commercials by casting the full range of experienced, available SAG talent?

One call to the Guild's Affirmative Action Offic .ca in touch with hundreds of actors you might rtot know, but s

In New York, call

212.827.1433

Book Reviews

Greek Letters: From Tablets to Pixels, edited by

Michael S. Macrakis (Published by Oak Knoll Press, 414 Delaware Street, New Castle, Delaware 19720, 300 pages, hardcover, $49.95). In June of 1995, the Greek Font Society held an international symposium on the evolution of Greek letterforms, the development of Greek typography and the future of both with respect to computer generated type. Greek Letters is a collection of the over twenty presentations including a roundtable discussion, drawing from leaders in the fields of history, classics, architecture, publishing and others, as well as such notables in typography as Hermann Zapf, Jerome Peignot and Matthew Carter. Because the Greek alphabet is preserved in stone cuttings from several hundred years B.C., and still survives today as a modern, living writing system, it provides unique opportunities for study and unique problems to solve. From Zapf's "The Development of Greek Typefaces" to Stephen V. Tracy's ''Athenian Letter-Cutters and Lettering on Stone in the 5th to the 1st Centuries B.C.," Greek Letters tells an engaging history. In addition, essays such as Takis Katsoulidis's "The Physiognomy of the Greek Typographical Letter" give insight into the problems faced

-A.G. DesignTutor, by John Bonadies and Michael Boudreau

(Published by Mayfield Publishing Company, 1280 Villa Street, Mountain View, California 94041, for Macintosh

by type designers which are particular to Greek. "Comparing the Greek alphabet's morphology with that of some others, one might say that the Arabic appears as if lying down and tending to rise, the Indian seems to be hanging from a tightrope, the Latin looks like a row of trees with their roots on a straight line, while the Greek with its successive curves gives the impression of rolling on wheels."

on three 3.5-inch high density disks, $24.95). Learning the basics of typography is not much different than beginning piano. The student must learn new tools, become sensitive to new effects of their actions, learn from history to understand or create modern work and practice, practice,

Greek Letters is a long book (over 300 dense pages), but the

relationships on the page has become increasingly difficult

reader will be impressed and pleased by the depth of information here and by the dedication of the participants to preserve, protect and improve Greek typography.

as they chomp at the bit to get to their more familiar digital territory and jump to advanced layout applications.

-A.G. The Animated Alphabet , by Hugues Demeude (Pub-

practice. To ask a student to cut-and-paste individual letters in order to experience slowly and in a tactile manner the

Design.Tutor provides a nice middle ground. A Hypercardbased tutorial, it leads students on a self-paced journey from history of type, through letterspacing, wordspacing and on to lines of type and small text blocks. It still asks students

York, New York IOIIO, 176 pages, paper, $24.95). "Black A, white E, red I, green U, blue 0: vowels all I I shall relate

to perform some cut-and-paste assignments with the "You try it" exercises at the end of each section, but leads up to these projects with simple yet clear animations and brief

one day your hidden birth and rise." Just as Rimbaud sought

explanations of terms. Each section also ends with a quiz.

in "Vowels" to poetically illustrate the imagery evoked in his mind by letterforms, so countless scribes, calligraphers,

Navigation is easy and the student can revisit any page or quiz question for review. The "voice" of the tutorial seems

artists, type designers and others have used the alphabet as

at times to be aimed at a younger than college-aged audi-

a springboard for their imaginations. In this beautifully

ence, but in general it is constructed and paced appropriately

lished by Thames and Hudson, 500 Fifth Avenue, New

printed, image-filled soft cover book, Hugues Demeude has

for an undergraduate freshman or sophomore. Design.Tutor

accumulated hundreds of rubricated, decorated, animated

won't replace the teacher, and teachers would be wise to pre-

and illustrated letters. He provides an engaging history, from

view it completely to anticipate any areas chat may need further clarification or even opposing views. But as an addi-

the early Carolingian hand-painted creations of the 9th century, the intricately detailed framed letters engraved in 17th century France, to the amusing acrobatic letter-forming 218

human figures from the 19th century. Demeude helps compare Flotner's robust and rotund Human Alphabet of 1560 to its more graceful and refined counterpart by Silvestre in 1834. The former creates a "V" with a "bottom" view of a male with legs in the air, while the latter accomplishes chis form using two balletic female figures leaning away from one another. In some alphabets, the letter is just the architecture or landmark around which a visual narrative plays our, whether religious, hiscorical or childlike. In others, the letters are the passive recipients of the adornment of vines and leaves, cherubs and dragons. Jean Midolle's mid-19th century Woodland Alphabet is a delightfully subtle construction of tree stumps and sprigs, and, as with all the examples in The Animated Alphabet, another reminder of how these marks we so unconsciously use to communicate, can be reborn to our eyes and tickle our minds.

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tion to the basic design curriculum, it is well recommended.

-A.G.

W ith so many products available to boost performance and creativity, your Mac has never had more potential than it does today. See the best and latest of these enhancements at MACWORLD Expo/Boston!

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Materials Print Buying Guidebook

non profit, scientific, technical

Knowing that print buying is a

and educational organization

major expense for many com-

dedicated to advancing graphic

panies, The Graph ic Arts Tech-

communications industries world-

nical Fo undation has pu blished

wide. The book is $75 ($60 for

a book tided Professional Print

GATF mem bers) and it's probably

Buying. The 200-page, illustrated,

a good idea to have one if you're

fully-indexed, casebound book is

in the business; if you're in the

intended to help people, that buy

field it's a write-off anyway and

print services, walk that fine line

you might learn something. Call

between negotiating a good con-

(412) 621-6940, fax (412) 621-6598

tract and getting the services they

or write Order Department,

want. Ir includes chapters such as

GATF, 4615 Forbes Avenue,

will not only put a name/logo/

fax numbers and e-mail addresses

Commercial and Legal Issues,

Pittsburgh, Pennsylvania 15213 .

whatever on a phone card, but also

have been included for convenience.

a promotional voice message that

Print Buying D evelopments, Preparing Artwork, Prepress Production and The Printing Processes.

Phone Card

will play every time someone

A rch ive Photos ... is always sign-

OK, here's a rather annoying idea

uses it. Actually, I shouldn't be so

ing deals to represent selections from various archives and The Sporting News is their latest effort;

Ir's written by specialists in the

for someone's client; I don't know

rough on them, some really

field and phone, fax and e-mail

whose, but someone's. You know

creative type might find a not-so-

addresses are included at the end

those prepaid phone cards that

typical use for this marketing

the stock photo agency recently

scheme. Test Drive is the name of

signed with the weekly paper for

this promotional phone card pro-

selections from its photo archives.

of each chapter to encourage feed-

are omnipresent. Well, there's a

back from readers . The GATF is a

company, Call Marketing, that

gram that allows mid-size com-

The Sporting News was started by

panies to take advantage of the

Alfred Henry Spink, and his

phone card marketing scheme that used to be financially out of reach.

~ommunication Art~

Here's a line from the press release: "Prepaid phone cards, featuring flat rates anywhere, anytime, have

The Essential Creative Resource

carved a significant niche with an American public whose total annual phone bill exceeds $100 billion." I guess the idea is that if

brother, in 1886 and was originally published as a general sports paper; by 1906 its pages were devoted to organized baseball.

More than a hundred years after publishing the first issue, the paper is still going strong and at one time or another, has captured all the famous faces of baseball in addition to well-known athletes

someone is going to make a call

from other sports. The archives

they may as well use a prepaid

at Archive Photos seem to be

card with locked-in rates and if

expanding on a monthly, if nor

they're going to use a prepaid

weekly, basis and the company is, I imagine, a great source for any

card, then it may as well have your client's company name on it. If

type of historical photography.

you're working on a project that is

Check them out if you haven't

screaming for a unique angle, call

already; their Web address is

(610) 525-0958 and get a sample

www.archivephotos.co m and

card and a price quote.

their phone number in

ew York

is (212) 675-on5.

http://www.commarts.com

2 20

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Literature For Your Files

Island Paper Mills .. .has

A request on your Letterhead to the

and Emerson, Wajdowicz Studios

teamed up with Bruno Barbey

following companies will bring you

to create Bravo Barbey, the second

the Literature described. ..free unless

installment of their "Bravo Photo

otherwise noted. Whenever possible,

Masters Series. " Printed on Bravo

No. 1, which by the way comes in

less (unless of co urse they mean,

Zanders ...has done someth ing

th eir prod uct . And although I

gloss and dull finishes and is

less than the originals) . Yo u

interesting with the latest promo

won't go into detail, I think

available in 80 and 100 lb. text

decide. These are rhe prices: $350

for their Mega paper line-titled

they've been careful about whose

and cover and 80 and 100 lb. web

for 40 X 50; $250 for 28 X 36; $115

O ne ofLifts Unexpected Pleasures

paper they're showing. The ti tle is

text, each promotion from the

for 16 X 20; an d $89 for 8 X IO.

- they've included their competi-

intended to mean that rhe bright-

series features the work of a world-

But, they also mention rhar their

tor's papers in it. It works, but it

ness of Zanders Mega (in text

renowned photojournalist. I have

reproductions are flawless and are

has to be a nail biter for

to admit that photographers who

made us ing "the best process avail-

appear later in this series will have trouble matching the impact of the images from this Magn u m photographer. This latest installment from the series and any paper samples are available from your Bravo merchant or by calling (800) 663-6221.

ab le, period. " So, at least their prices seem high for a reason.

The Gold Book consists p rimarily of old travel, advert isi ng and theater posters from 1895 to 1950 but also includes reproductions of some previo usly u navailable

and cover weigh ts and

the heads of the

gloss and dull finishes)

company, not to

paper is one of life's

mention somewhat

unexpected pleasures,

of a gamble. W hat if a reader likes the competitor's paper bett er th a n

one of life's unexpected pleasures

but to confuse the iss ue is an opening spread that shows a photo of a mixed-breed

Zand ers's? Wi th

dog with the headline,

orders is six to eigh t days. If yo u're

paper like theirs

"Your pet, a dog of

interested , e- m ai l finearrs@

tho ugh, I guess

unknown parentage,

posters. Turnaro u nd t ime for

Poster World ... says they have

pos rerwo rl d.com and as k fo r a

it's worth taking

wins the blue ribbon."

"great posters for less. " Well ,

catalog, call (508) 369-9088 or rake

the chance; not

T he obvio us interpre-

they do have great posters, but

a look at their Web sire at www.

too many co m-

tation wo uld be that

I wouldn't say they have them for

posterworld.com

panies can match

it, like Zanders Mega,

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

,~~· Adobe

A R T S

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Materials and Available Literature

is an unexpected pleasure, bur

paper really do it for me. Endless

80 and 100 lb. cover. For

couldn't it also mean that you'll

possibilities and all that stuff. The

a copy of this promo or

be pleasantly surprised when you

nice part is that the pads are 6 x 8

samples from any of

get good results even though this

and have more than one copy of

their lines call (800)

paper isn't very good? Just a

each sheer and each sheet has a

920-9988 or contact your Fraser rep.

thought; get the promo and see

top perf, so not only are you left

what you think. And while you're

with a nice size sample but you

thinking, compare Zanders Mega

can write or draw on it after you're

Surface Studies ...

to the competition and see which

done ordering. There are a lot of

is a new Kromekore®

paper comes our on top. Call

sheers in these pads; and while

print demo from

your Zanders distributor or

most of them look alike, trained

Champion International

write Zanders U.S.A., Inc., 100

professionals can probably see

that utilizes four print

Demarest Drive, Wayne, New

differences . Order the books from

and finishing processes

Jersey 07470.

your rep or write Westvaco Cor-

(dull varnish, contrast,

poration, Fine Papers Advertising,

emboss/deboss and tonal

Westvaco ... has obviously come

299 Park Avenue, New York, New

values) on the high-gloss

up blank, for the latest promotion

York 1017i.

coated paper. I've men-

for their Sterling line, with two

tioned before that my

swatch pads, one for Cover and

Fraser ... comes up with great pro-

heart is nor really into

Lirho Gloss and the other for

motion pieces for their Passport

coated paper, bur this

Lirho Sarin. I don't know about

line-I wrote about the last one

anyone else, bur blank sheers of

just about a year ago and figure

~ommunication Art~

promotion makes it enough rime has passed that it's OK to bring it up again. This

that as far as paper promotions

one, Book A Trip With Passport,

go, this one talks very little about

is too good to pass up; I'll quote, "it's packed with the names and

you know, the basics, like whether it is recycled or recyclable (espe-

bookstores [with addresses and

cially important with coated

phone numbers] in North America," which include those

able in and what colors (I guess basic white only). This must be

Minneapolis/Sr. Paul, New

more of an image piece. Anyway,

ew York,

it shows several interesting pro-

Washington D.C. and Raleigh,

cesses and the production notes

North Carolina. San Francisco

are extensive. For your own set of

is noticeably absent from the

Surface Studies call Champion at

list, and even though I'm sure the

(800) 442-3463.

how anyone could come up with this list and overlook us. (What about City Lights?) It's a good brochure as long as you're not using it to find a bookstore in Northern

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Holo-Pack/Holo- Print GuideBook ... offers advice on

all aspects of the selection, conversion and use of holograms and holographic products for packaging, print, promotion and

California and even though their list could use some work, the

security applications. Compiled

paper is exceptional. I think one

by Reconnaissance Holographies

of the best aspects of this acid-free,

Ltd., the 200-page guide, also

50% recycled, 20% post-consumer

has a country-by-country list of

content paper line is the colors,

relevant suppliers. Fax (44) 178-

but, it's also available in 24 lb.

449-7001 for more information.

writing, 70 and 80 lb . text and I L L U S T R A T I 0 N

papers), what weights it's avail-

in Seattle, San Diego, Denver,

other places mentioned have good bookstores, I don't understand

222

the physical aspects of the paper;

addresses of some of the greatest

Orleans, Toronto,

http://www.commarts.com

look appealing. I have to admit

-SUE GARIBALDI

Until inspiration comes with freshness dating, subscribe to CA and keep your creative edge. ~ommunication Art~ {800) 258-9111 www.commarts.com

Clubs, Conferences, Seminars The Association of Medical Illustrators annual

The Mead Annual Report Show & Gala

meeting will take place in Baltimore, Maryland, July 24-28 at the Omni Inner Harbor Hotel. The focus of "lmagenesis"

is scheduled for the Trading Floor of the New York Stock

is the process of creating instructive medical imagery. Equally significant in new/emerging technologies and traditional media, the process of creation defines the role of the medical illustrator. Works from the world's most prominent medical

Exchange, Saturday, September 27, where the 1997 Mead Annual Report Show winners will be recognized. For information, call (800) 345-6323, x53586. Mead Fine Paper Division, World Headquarters, Courthouse Plaza Northeast, Dayton, Ohio 45463.

illustrators will be displayed during the opening reception on July 25 at the Salon of Medical Illustration. On July 2425 workshops will cover many diverse subjects and methods used in the creation of medical art: trompe l' oeil painting and color theory, 3-D modeling and Web page design. General and concurrent sessions, master classes, seminars, demon-

The 22nd International Design Management

stration and panel presentations continue on July 26, 27 and 28. The meeting will be attended by more than 500 medical illustrators and related professionals. For more information

maintain the intimacy and close interaction, attendance is limited to 142. For information, contact Earl Powell, DMI ,

and registration materials, contact AMI Headquarters,

338-6380; fax (617) 338-6570; e-mail dmistaff@dmi.org.

Conference information is also available on their Web site: www.dmi.org/ conferences

1819 Peachtree Street N.E., Suite 620, Atlanta, Georgia 30309; call (404) 350-7900; fax (404) 351-3348; e-mail assnhq@mindspring.com; or browse the AMI home page at www.medical-illustrators.org

Institute Conference convenes September 21-25, at the Doubletree Islander, Newport, Rhode Island. The conference attracts senior design executives, managers and designers, as well as internationally-known speakers. In order to

29 Temple Place, Boston, Massachusetts 021n; call (617)

Island Illustrators Society of Victoria, British Columbia, elected a new executive board: president Bill

design organization, will hold its biennial conference,

Bartlett; vice president Filu Jackson; secretary Roy Schneider; treasurer Diane Lucas; and past board member Colin MacLock. For information, write Island Illustrators Society,

ICSID '97 Congress, at the Toronto Metro Convention Center in Toronto, Canada, August 24-27. With "The Humane Village" as its theme, the conference will offer a

865 Wollaston Street, Victoria, British Columbia V9A 5A9 , Canada; call (604) 380-6562; e-mail illu@pinc.com; or visit their Web site www.swifty.com/illu

The International Council of Societies of Industrial Design (ICSID), the world's largest international

new perspective on how design can help shape a more compassionate society. The Congress will be divided into morning plenary sessions with visionary speakers, afternoon forum discussions with catalysts from design, journalism, art and commerce, and late afternoon small group exchanges led by Canadian designers. For conference information, call Design Exchange (416) 216-2124; fax (416) 368-0684; e-mail dx@pathcom.com or write DX, 234 Bay Street, Toronto, Ontario M5K 1B2, Canada.

AIGA/Minnesota will present its Design Camp Conference September 26-28 at Ruttger's Bay Lake Lodge in Deerwood, Minnesota. The 17th annual conference will attract 350-400 local, regional and Canadian designers, photographers, writers and ocher creative people who will be gathering to renew and refresh their minds and expand their chinking. Speakers and workshops will be offered throughout the weekend and on Friday, September 26, international, national and regional companies will display informational materials about their products and services.

For information, contact AI GA/Minnesota, 275 Market Street, Suite 54, Minneapolis, Minnesota 55405; call (612) 339-6904; fax (612) 338-7981; e-mail aigamnoff@aol.com.

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World Federation of Advertisers announces the 1997 World Congress will be held in Geneva, October 1617. This two-day event, the 43rd Biennial Congress to be organized by WFA, will address key issues affecting the future of commercial communications in the coming century. The WFA defends the common interests of national associations of advertisers and international corporations throughout the world and is primarily concerned with protecting the right and freedom of business to promote goods and services freely and effectively across the globe. The following speakers have been confirmed: Peter Beresford, 'Concerned Children's Advertisers,' McDonald's; Ira Carlin, executive vice president and worldwide media director, McCann-Erickson Worldwide; Senyon Kim, worldwide president of the International Advertising Association. For details on the World Congress, write WFA, Rue des Colonies 18-24, Box 6, B moo Brussels, Belgium; call (32) 2-502-57-40; fax (32) 2-502-56-66; e-mail info@wfa.be. For information on WFA, visit their Web site at www.wfa.be -JEAN

A. COYNE

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Index to Illustrators

Adel , Daniel

89

Phone~12)989-6114

56 W. 22nd Street, 8th Floor New York, NY 10010

Alberg, Kari 22 Phone(507)645-2272 11125 Kane Trail Northfield, MN 55057 Alder, Kelly 65 Phone (804)643-5761 11 S. 2nd Street Richmond, VA 23219 Ascencios, N.

47, 50, 75

Phone01ffi388~931

918 Metropolitan Avenue, #1 L Brooklyn, NY 11211

Bandsuch, Matt 115 Phone(313)831-7324 497 Prentis, #4 Detroit, Ml 48201 Barber, Rob 110 Phone(408)479-4322 3734 Roland Drive Santa Cruz, CA 95062 Barbour, Karen 135 Phone (415)663-1100 P.O. Box 1210 Point Reyes Station, CA 94956 Barnes, Michelle 102 Phone (818) 992-5828 21303 San Miguel Street Woodland Hills, CA 91364 Baseman, Gary 44 Phone(213) 934-5567 404 N. Formosa Avenue Los Angeles, CA 90036 Beck, Melinda 50, 113, 125 Phone (718)499-0985 536 5th Street, #2 Brooklyn, NY 11215 Becker, Polly 106 Phone (617) 247-0469 156 W . Newton Street Boston, MA 02118

226

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

Bennett, Tom 93 Phone (718)349-2477 84 Withers Street, 5th Floor Brooklyn , NY 11211 Benny, Mike 63 Phone(512)860-3224 2600 Lake Austin Boulevard, #5108 Austin, TX 78703 Benoit 53 Represented by Riley Illustration Phone (212)989-8770 155 W. 15th Street, #4C New York, NY 10011 Berg, Jeanne 66 Phone (415)853-8418 220 Palo Alto Avenue, #202 Palo Alto, CA 94301 Blackshear, Thomas 90 Phone (719) 636-5009 220 Elm Circle Colorado Springs, CO 80906 Bliss, Rachel 101 Phone(215)427-1851 127 W. Wilt Street Philadelphia, PA 19122 Blitt, Barry 63 Phone (203)622-2988 34 Lincoln Avenue Greenwich, CT 06830 Borda, Juliette 70, 75, 79 Phone (412) 441-7188 114 Carnegie Place Pittsburgh, PA 15208 Borge, Rich 65 Phone (212) 262-9823 459 W. 49th Street, #4W New York, NY 10019 Bower, Tim 31, 122 Phone(718)834-8974 61 Pearl Street, #306 Brooklyn, NY 11201 Brodner, Steve 89 Phone(212) 740-8174 120 Cabrini Boulevard , #116 New York, NY 10033

A N N U A L

I

9 9 7

Buchanan, Nigel 60 Represented by Tonal Values Inc. Phone (800) 484-8592, code 2787 111 N.E. 42nd Street Miami, FL 33137 Burch, Allan M. 76 Phone (417)335-2410 404 Red Maple Kirbyville, MO 65679

Craig, Daniel 19, 29 Phone (612)871-4539 Oasis Art Studio 118 E. 26th Street, #302 Minneapolis, MN 55404 Represented by Francine Rosenfeld Bernstein & Andriu lli Phone (212)682-1490 60 E. 42nd Street New York, NY 10165

Butler, Amy 104, 118 Phone (614)397-1236 29 Public Square Mount Vernon, OH 43050

Cronin, Brian 89 Phone (212) 254-6312 682 Broadway, #4A New York, NY 10012

Chang, Michelle 125 Phone (718) 797-4427 36 3rd Street, #4L Brooklyn, NY 11231 Ciardiello, Joe 81 Phone (718) 727-4757 2182 Clove Road Staten Island, NY 10305 Clarke, Greg 65 Phone (310) 395-7958 844 9th Street, #1 0 Santa Monica, CA 90403 Clayton, Christian 21 , 56, 81,84 Phone (213)653-2035 135 S. La Brea Avenue, #1 Los Angeles, CA 90036 Colon, Raul 24 Represented by Vicki Morgan Associates Phone (212)475-0440 194 3rd Avenue New York, NY 10003 Cote, Genevieve 69 Phone(514)282-9399 400 de Maisonneuve 0 ., #851 Montreal, Quebec H3A 1L4 Canada Cournoyer, Jacques 47 Represented by Marlena Torzecka Phone(609)252-9405 278 Hamilton Avenue Princeton, NJ 08540

Cunningham, Patrick Phone (718)625-6902 131 4th Place Brooklyn , NY 11231

143

Curry, Tom 72 Phone (915) 837-2311 901 W. Sul Ross Alpine, TX 79830

Davis, Jack E. 121 Phone (402)477-6446 2301 S. 19th Street Lincoln, NB 68502 Represented by Richard Solomon Phone (212) 683-1362 121 Madison Avenue , #5F New York, NY 10016 Davis, Paul 59 Phone (212) 420-8789 14 E. 4th Street New York, NY 10012 Day, Rob 34 Phone (317) 253-9000 6095 Ralston Avenue Indianapolis, IN 46220 Deas, Michael J. 29, 37, 94, 104 Phone 018)852-5630 39 Sidney Place Brooklyn Heights, NY 11201 Decoster, Jeffrey 143 Phone (415) 206-9430 3530A 22nd Street San Francisco, CA 94114

Delessert, Etienne 84, 118, 121, 127 Phone(860)435-0061 Box 1689 Lakeville. CT 06039 de Seve, Peter 90, 133 Phone(718)398-8099 25 Park Place Brooklyn , NY 11217 Dionisi, Sandra 72 Phone (41 6) 588-4588 37 Hanna Avenue Door 13A, Suite 200 Toronto, Ontario M6K 1W9 Canada Dubois, Gerard 10, 21 , 40, 63, 106, 115 Represented By Marlena Torzecka Phone (609) 252-9405 278 Hamilton Avenue Princeton, NJ 08540 Dudzinski, Andrzej

Fabian, Limbert 43 Phone (941) 957-3231 229 S. Osprey Avenue, #102 Sarasota , FL 34236 Farrell, Russell 16 Phone(609)848-9236 136 Mercer Avenue Woodbury Heights, NJ 08097 Federova, lvetta 34 Phone (212)673-5363 640 Broadway, #3E New York. NY 10012

Geerinck, Manuel 56 Represented by Jerry Leff Associates, Inc. Phone (212)697-8525 420 Lexington Avenue. #2760 New York, NY 10170

Hirschfeld, Al 69 Phone (212)223-4230 Represented by Margo Feiden Galleries Ltd. 699 Madison Avenue New York, NY 10021

Glaser, Milton 27, 128 Phone(212)889-3161 207 E. 32nd Street New York, NY 10016

Holland, Brad 49, 53, 54, 56 Phone (212) 226-3675 96 Greene Street New York, NY 10012

Goodrich, Carter 69 Phone (800)992-4552 100 Angell Street, #1 Providence. RI 02906

Hooper, Hadley 60 Phone (303)458-6077 2111 W. 31st Avenue Denver, CO 80211

Fisher, Jeffrey 113 Represented by Riley Illustration Phone(212)989-8770 155 W. 15th Street, #4C New York, NY 10011

Guarnaccia, Steven 82 Phone(201)746-9785 31 Fairfield Street Montclair, NJ 07042

Flesher, Vivienne 22, 27, 143 Phone (415) 921-2440 71 Atwood Avenue Sausalito, CA 94965

Gustafson, Scott 99 Phone (773) 725-8338 4045 N. Kostner Avenue Chicago, IL 60641

Huling, Phil 49 Phone (201) 795-9366 938 Bloomfield Street Hoboken, NJ 07030 Hussey, 1im 59, 76, 82 Represented by Wanda Nowak Phone (212) 535-0438 231 E. 76th Street, #50 New York, NY 10021

13, 118

Phone(212) 772-3098 54 E. 81 st Street New York, NY 10028

Dufford, Vern 93 Phone(816) 753-3657 4746 Mercier Street Kansas City, MO 64112 Duffy, Ricardo 144 Phone (714)494-7185 20431 Sun Valley Drive Laguna Beach, CA 92651 Dunn, Katherine 130 Represented by Jan Collier Reps Phone(415)383-9026 1205 W. Cal ifornia Avenue Mill Valley, CA 94941

English, John 24 Phone(913)831-4830 5844 Fontana Drive Fairway, KS 66205 English, Mark 128, 143 Phone(816)781-0056 512 Lakeside Court Liberty, MO 64068

Fraser, Douglas 44, 122 Phone (403) 287-7337 3613 6th Street S.W. Calgary, Alberta T2S 2M6 Canada Frazier, Craig 115 Phone (415)389-1475 Cra ig Frazier Studio 90 Throckmorton Avenue, #28 Mill Valley, CA 94941 French, Martin 10 Phone(206)836-8870 26103 N.E. 25th Street Redmond, WA 98053 Funkhouser, Judith 94 Phone(508)369-9148 276 Main Street Concord. MA 01742

Gall, Chris A. 16 Phone(520)299-4454 4421 N. Camino del Santo Tucson , AZ 85718

Hahn, Moira 60 Phone (562) 598-9862 1732 Harbor Way Seal Beach, CA 90740

Isip, Jordin 76, 79 Phone (718)499-0985 536 5th Street, #2 Brooklyn, NY 11215

Harrington, Glenn 27 Phone (610) 294-8104 54 Twin Lear Road Pipersville, PA 18947 Haymans, Traci 139 Phone (912)897-0902 601 Walthour Road Savannah, GA 31410

Jaben, Seth 122 Phone (212)673-5631 47 E. 3rd Street, #3 New York, NY 10003

Henderson, Hayes 139 Phone(910)748-1364 315 N. Spruce Street Winston-Salem. NC 27101 Hewgill, Jody 34, 40, 104 Phone(416)924-42 00 260 Brunswick Avenue Toronto, Ontario M5S 2M7 Canada

Jarrie, Martin 38 Represented by Marlena Torzecka Phone(609) 252-9405 278 Hamilton Avenue Princeton, NJ 08540 Jetter, Frances 49, 82 Phone(212)580-3720 390 West End Avenue New York, NY 10024

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

A R T S

227

Index to Illustrators

Joudrey, Ken

6

PhoneIB1~479-2622

5706 Sprinter Lane Bonita, CA 91902

Keleny, Earl 34 Phone (608)236-0022 4202 Bagley Parkway Madison, WI 53705 Kelley, Gary

9, 16, 43, 59, 81

Phonera1~27~2330

301 1/2 Main Street Cedar Falls, IA 50613 Represented by Richard Solomon Phone(212) 683-1362 121 Madison Avenue , #5F New York, NY 10016

Kunz, Anita 69, 72, 81, 89 Phone(416)364-3846 230 Ontario Street Toronto, Ontario M5A 2V5 Canada

Lardy, Philippe 6 Phone (212)473-3057 478 W. Broadway, #5A New York, NY 10012 Le-Tan, Pierre 87 Represented by Riley Illustration Phone~1~989-8770

155 W. 15th Street, #4C New York, NY 10011

Lezinsky, Jon 54 Represented by Ch ip Caton Phone (860) 523-4562 15 Warrenton Avenue Hartford, CT 06105 Liddy, Mike 143 Phone (212) 255-5539 30 Charles Street, #42 New York, NY 10014 Long, Laurel 136 Phone (818) 222-8507 23714 Aster Tra il Calabasas, CA 91302

228

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

Lopez, Rafael 115 Phone (619) 237-8061 843 10th Avenue, Studio C San Diego, CA 92101

Nakamura, Joel 6, 106 Phone (505) 989-1404 Route 3, Box 108E Santa Fe, NM 87505

Panter, Gary 50 Phone (718) 782-5420 153 Roebl ing Street, 5th Floor Brooklyn, NY 11211

Lorusso,Joseph 69 Phone (816)756-5723 4600 J.C. Nichols Parkway, #403 Kansas City, MO 64112

Niklewicz, Adam 15 Phone(203)270-8424 44 Great Quarter Road Sandy Hook, CT 06482

Paraskevas, Michael 50 Phone (516) 287-1665 157 Tuckahoe Lane Southampton , NY 11968

Nilsson, Lisa 133 Phone (812)335-1310 406 S. Madison Bloomington, IN 47403

Payne, C.F. 47, 49, 50, 59 Phone(513)82 1- 8009 758 Springfield Pike Cincinnati, OH 45215 Represented by Richard Solomon

McMullan, James 10 Phone (212)689-5527 207 E. 32nd Street New York, NY 10016 Manchess, Gregory 54 Phone (503) 590-5447 13358 S.W. Gallop Court Beaverton, OR 97008 Manning, Garrian 13 Phone (773) 278-5387 1714 N. Darnen Avenue, Studio 200 Chicago, IL 60647 May, Anthony 136 Phone (415) 648 -2690 382 Day Street San Francisco, CA 94131 Menchin, Scott 82 Phone(212)673-5363 640 Broadway, #3E New York, NY 10012 Mericle, Charise 143 Phone(312) 243-4129 1527 W . Ch icago Avenue Chicago, IL 60622 Merola, Eric C. 116 Phone(910) 760-3340 1721 Jonestown Road Winston-Salem , NC 27103 Miller, David 82 Phone(212)206-1265 246 W. 4th Street, #3 New York, NY 10014 Milot, Rene 10 Phone(416)425-7726 49 Thorncliffe Park Drive, #1604 Toronto, Ontario M4H 1J6 Canada

A N N U A L

I

9 9 7

Northeast, Christian 13, 60, 66, 70, 72, 76,89 Phone (416) 538 -0400 336 Rusholme Road Toronto, Ontario M6H 225 Canada

O'Brien, 1im 31, 44 Phone (718) 832-1287 480 13th Street Brooklyn, NY 11215 Olbinski, Rafal 19, 108 (212) 532-4328 142 E. 35th Street New York, NY 10016 Orosz, Istvan 13, 27 Represented by Marlena Torzecka Phone (609) 252-9405 278 Hamilton Avenue Princeton , NJ 08540 Otnes,Fred 121, 125 Phone (203) 938-2829 26 Chalburn Road West Redding, CT 06896 Oxborough, Paul G. 96 Phone (612) 920-1132 P.O. Box 16222 M inneapol is, MN 55416

Pannell, Cap 146 Phone (214)343-2189 10833 Fernald Avenue Dallas, TX 75218

Phone~12)683~362

121 Madison Avenue, #5F New York, NY 10016

Pilon, Alain 127, 130 c/o Reactor Phone(800)730-8945 51 Camden Street Toronto, Ontario M5V 1V2 Canada Powell, Andrew 27 Phone (612) 349-6611 212 3rd Avenue N., #505 M inneapolis, MN 55401 Pugh,Lorena 101 Phone (401)885-9438 323 Ha rrison Street North Kingstown, RI 02852 Pyle, Liz 56 Represented by Riley Illustration Phone (212)989-8770 155 W. 15th Street, #4C New York, NY 10011

Rea, Brian 136 Phone (410) 889 -2952 3600 Elm Avenue , #C Balt imore, MD 21211 Rodriguez, Edel 16, 81 , 140 Phone (201) 983 -7776 16 Ridgewood Avenue , Box 102 Mt. Tabor, NJ 07878

Rosent hal, Marc 93 Phone(518) 766-4191 4572 Route 66 Malden Bridge, NY 12115

Schumaker, Ward 84 Phone (415)398-1060 466 Green Street San Francisco, CA 94133

Rosenwald, Laurie 24 Phone(212)966-6896 45 Lispenard Street, #7E New York, NY 10013

Schwab, Michael 99 Phone (415) 257-5792 108 Tamalpais Avenue San Anselmo, CA 94960

Rubel , Natasha 139 Phone 073) 525-3075 3421 N. Marshfield Chicago, IL 60657

Sealock, Rick 75 Phone (403) 276-5428 112C 17th Avenue N.W. Calgary, Alberta T2M OM6 Canada

Rubess, Balvis

127

Phone(41ru927~071

260 Brunswick Avenue Toronto, Ontario M5S 2M7 Canada

Shehan, Chris 32 Phone (773) 271-2720 1807 W. Sunnyside, #1 G Chicago, IL 60640

Rubino, Cornel 116 Represented by Mendola Ltd. Phone(212)986-5680 420 Lexington Avenue New York, NY 10170

Sibthorp, Fletcher 96 Represented by Jaqueline Dedell Inc .

Phone (212) 741-2539 58 W. 15th Street New York, NY 10011

Rutkowski, John 115 Phone(417) 887-0812 820 E. Montcla ir, #229 Springfield, MO 65807

Smith, Kirk Richard 21 Phone (614)464-0928 492 Armstrong Street Columbus, OH 43215

Ryden , Mark 76 Phone (818)303-3133 541 Ramona Avenue Sierra Madre, CA 91024

Smith, Owen 54 Phone (718) 788-5528 135 Prospect Park S.W., #A-9 Brooklyn, NY 11218

Sadowski, Wiktor 24 Represented by Marlena Torzecka Phone(609) 252-9405 278 Hamilton Avenue Princeton , NJ 08540 Sano, Kazuhiko 104 Phone(415)381-6377 105 Stad ium Avenue Mill Valley, CA 94941 Saraiva, Jose Manuel 116, 122 Phone (351) 2-609-3779 Street Miguel Bombarda 50 4050 Porto Portuga l

Soltis, Linda DeVito 96 Phone (203)263-4019 137 Barn Hill Road Woodbury, CT 06798 Sorel, Edward 69 Phone (212)966-3949 156 Franklin Street New York, NY 10013 Sorensen, Marcos 75 Phone (415) 282-5796 3531 25th Street San Francisco, CA 94110

Sorren, Joe 59, 66, 84, 110, 139 Phone(520)214-9980 Represented by Joanie Bernstein Represents Phone (612)374-3169 817 S. Westwood Drive Minneapolis, MN 55416 Spalenka, Greg 102 Phone (818) 992-5828 21303 San Miguel Street Woodland Hills, CA 91364

Ventura, Andrea 53, 75, 87 Phone (212) 865-2173 Represented by Richard Solomon Phone (212) 683-1362 121 Madison Avenue. #5F New York, NY 10016

Steinberg, James 113 Phone (413) 549-1932 115 Montague Road Amherst, MA 01002 Summers, Mark 13, 87, 104 Phone (905) 689-6219 12 Milverton Close Waterdown, Ontario LOR 2H3 Canada Represented by Richard Solomon Phone (212) 683-1362 121 Madison Avenue, #5F New York, NY 10016

Toelke, Cathleen 16, 72 Phone (914)876-8776 P.O. Box 487 Rhinebeck, NY 12572 Tucker, Greg 128 Phone (505)873-3727 1915 Lakeview S.W. Albuquerque, NM 87105

Unruh, Jack 40,90,113,125 Phone (214)871-0187 2706 Fairmount Dallas. TX 75201

Vecchio, Riccardo 66, 79 Phone (212)647-9390 1 Christopher Street, 12G New York, NY 10014

Steadman, Ralph 87 Phone (212)420-8585 Represented by Sobel Webber 146 E. 19th Street New York, NY 10009

Synarski, Susan 125 Phone (510) 594-1242 565 57th Street Oakland, CA 94609

Ulriksen, Mark 15, 44, 53 Phone(415)387-0170 841 Shrader Street San Francisco, CA 94117

von Buhler, Cynthia 10 Phone (617)783-2421 16 Ashford Street Boston, MA 02134

Watkinson, Brent 93 Phone (913)677-0062 6849 Mastin Drive Merriam, KS 66203 Weinman, Brad 31, 106 Phone (818)342-9984 5268 Lindley Avenue Encino, CA 91316 Weisbecker, Philippe 54, 65 Represented by Riley Illustration Phone ( 21 2) 989-8770 155 W. 15th Street, #4C New York, NY 10011 Wells, Leigh 66 Phone (212)366-1735 250 W. 22nd Street, #4D New York, NY 10011

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

A R T S

229

Index to Illustrators

Wertz, Michael

44

Wilson, Emil

Woolley, Janet

128

Phone (415)824-5542

Phone (415) 552-9350

385 1/2 Jersey Street San Francisco, CA 94114

3757 17th Street San Francisco, CA 94114

White, Eric

Wilson, Will

139

130

Phone (41 5) 821-3839

Phone~1ru455-0715

1142 Castro Street San Francisco, CA 94114

5511 Knollview Court Baltimore, MD 21228

Willey, Bee

Wilton, Nicholas

29

Phone (44) 171-375-0323 35 Fournier Street London E1 60T United Kingdom

37, 106

Phone(415)488-4710 Studio Zocolo 330 Sir Francis Drake Boulevard, #C San Anselmo, CA 94960

65, 84

Represented by Alan Lynch Alan Lynch Artists Phone (908)813-8718 11 Kings Ridge Road Long Valley, NJ 07853

Yang, James

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

60

Phone(202)987-5917 225 E. 95th Street, #25J New York, NY 10128

Index of Art Directors, Design Firms, Agencies and Clients Abitare 82 Accordino, Michael 34 76 Allen, Dave Altman, Shane 15 The American Benefactor 47 American Museum of Natural History 11 O American Spectator 65 American Way 63 Anchorage Daily News 69 Anderson, Gail 50, 54, 69, 72, 76, 82, 89 22, 27 Anderson, Keith Arizona Theatre Company 24 Armario, David 50, 72, 76 Art of the Midwest 118 Artefact 27 Asheville 40 The Association des lllustrateurs du Quebec 115 The Atlantic Monthly 44, 87 Au Juice 75 Australian Penthouse 60 Avedon, Elizabeth 65

230

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

Bachleda, Florian 49 The Backsliders 13 Bag of Tricks 125 Bailey Lauerman & Associates, Inc. 24 Ballantine Books Barnes, Michelle

29, 37 102

Baseman, Frank 82 Bearson, Lee 87 Beaugrand, Stephanie 104 29 Beltran, Carlos Berry, Pamela 56 Besom, Don 75 Bicycling 76 Birdsong, Stephanie K. 54 Roger Black Studio 72 Blackbird Creative 40 Bloomberg 75, 82, 89 Boreal Editor 40 Boyer, John 54 Branham, Jim 16 Bratter, Phil 69 Braverman, Al 54 Brecht, Betsy 82 Brown, Tom Fille 81

A N N U A L

I

Brzon, Carrie 93 Buchanan, Nigel 60 Budney, DeeAnn 22 Business Wee k 75 Butler, Amy 104, 118

9 9 7

Caccia, Gianni 40 Caldey Abbey 104 Campbell, Mike 69 Campisi, Ronn 106 Ronn Campisi Design 106 Carson, David 56 Carter, Daniel 82 Cefalu, Rose 59 Chateau Sainte Michele 6 Child 84 Child Advocates 16 Christiansen, Erika 136 Cimitini, Peter 139 Citron Haligman Bedecarre 22 Clark, Deborah 65 Cole-Haan Shoes 15

Colombo, Jorge 84 Conde Nast Traveler 90 21 Coxe, Christy Craig, Katie 47 Cravit, David 110 David Cravit and Associates Creation Gallery G8 118 Creative Editions 43 Creative Education 32 Culbert, Jennifer 93 Cunningham, Patrick 143 Currie, Cynthia L. 84 Curry, Chris 53, 81, 87 C-Wave 110

110

Dana Communications 16 Davis, Jack E. 121 deCesare, John 121, 125 Decipher, Inc. 9 Deeney, Bethanie 133 Delessert & Marshall 118, 121, 127

DeMay Jr., Tom Detour

113

Gelardi, Karen 94 Genentech, Inc. 106

59

Detzn er Design & Illustration

139

Gilmore-Barnes, Robin 87 Girodrou x, Bernard 38 Glaser, Milton 27 , 128

75 Dodsworth , Fred Doe, Kelly 63, 79 139 Doherty, Melan ie Donnellan, Tim 60 Dubois, Gerard

54

Gentlemen's Quarterly

M ilton Glaser, Inc.

40, 115

Dudzin ski, Andrzej 13 Dudzin ski Illustrations 13

27

Goodby, Silverstein & Partners

Duffy, Ricardo

144

27, 99 Grapheme Communication-Design

59

133

The Greenwich Workshop 93 Gregg & Associates

Elliott. Judith 29 Eng, M imie 31 Enterta inment Wee kly

49, 50, 53,

Grunberg, Tevy

122

Gustafson, Scott

99

99

21

Eselgroth, Ch ri s 13 Evans, Robert 116 Harcourt Brace & Co. Hargett, Chuck 21

Fahey, Mary Jane

72

Fa lkenstern, Gary

79

Farmer, M ichael 31 Federal Rese rve Ba nk of Boston 106 Federova, lvetta Fe hrs , Rick 27

34

Fez at Time Cafe

24

Filancia, Cam illa Filmar 108

31

Fiore, M ichae l C. 106 Fisher, Jesse 21 Flesher, Vivienne

143

Fol ey, Heide 76 Foundation Health 113 Fraser, Douglas 122 Frazier, Cra ig

115

Free Press 34 Freeman, Li nda Freundin

Gakken, Co.

104 96

Harrington Studio Harris, Nancy

44 10, 15, 29

Garlan, Judy

44

Garrison, Ken ny

122

Geerinck, Manuel

56

13

37

Mayhew, David

84

Klein, Richard

106

Kner, Andrew

59

The Mednick Group

Koga, Da isuke Korpics , John

104 50, 53, 59, 70, 89

Men's Health

27

128 84

6

Krueger, Chris

11 0

The Miami Herald 66 Migliaccio, Rina 59, 65

54

Lasky Press Layton, Carol

34 89

Leff, Barbara

37

1o

122 113

108

Mitchell, Michael M izukam i, Yutaka

34, 40 118

Mondo Publish ing

37

Mondo 2000

56

76

Moreno, David 63 Morse, Bob 6

24

Lithographix, Inc.

13

Protection, Natural Resources & Forestry

69

Let's Live 54 Levine, Howard

16

65

Ministry of Environmental

113

Le Nouvel Observateur

Live

47

Internet Underground

Larsen, Heidi

Liddy, Mike 143 Lim, Randy 6 Linco ln Cente r Theater

Hirschfeld , Al 69 Hochstein, Arthur 60 Hoef ig, Nancy 113 47

72

Krell Advertising Krell , Robert 6

Lekander, Lance

High School of Music & Art

House Beautiful

65 10

6 Merck & Co. Merola, Eric C. 116 Meyer, Jackie Merri 96

Landor Associates

110

16

24

Medical Life Publishing

Milot, Rene

Holland, Karen

136

May, Louise

44

Henschel , Eberhard 72 Herrman, Carl 94, 104

Impress Inc.

16 May, Anthony

M iller, Brent A.

Heller, Steven 47, 75 Henneman , Linda 27

Hinrichs, Kit Hippocrates

127

Millennium Broadway

Hartmann, Dalia 29 Harvill Press 34, 40 Heller-Financial

50

53 32, 43, 118, 121 ,

Martens, Judith 116 Marymount Manhattan College

27

Ignition Screenworks

Gallo, Gudrun Garguilo, Sal

118

Harper Coll ins 10, 93 27 Harrington, Glenn

States 106 Hungarian Opera House

72

Gallery 39 16

31

Humane Society of the United

60

Margolis, Rick Marshall, Rita

Kimberling, Joe 49, 53 Kiplinger's Personal Finance Magazine

59, 65, 70, 89 Epitaph Reco rds

Marcus, Kathleen M .

Kamekura , Yusaku

34, 40

75, 82 Macrini, Carol Malik, Robin 66 Mammoth Records 13

6

118 Kass, Francine 16 Kats in/Loeb Advertising Inc.

Graphique de France 93 Greenstein , Minna 37 31

115

MacLehose, Ch ristopher McM illen, Nancy 72 McMullan, James 10 24 McNeil Group

Yusaku Kamekura Design Office

Graphic Artists Guild

Edit ions

Macintyre, Susan

13

22,

104

130

24

Janssen, Ken

99

93

Dun n, Katherine

90, 94, 104

Joudrey, Ken

Dufford , Vern

Du nl eavy, Christine

McCaffrey, Terry Mccarter Theatre

Jaskierny, Isabel 84 Jazziz 10 Jean, Christopher 66 Jeunesse, Nathan 38 Johnson, Brian 66

Globe & Mail 44 The Golden Gate National Parks Association

122 Jaben, Seth Janerka, Andrzej 47

Mouly, Fran<;:oise

53, 65, 69, 81 ,

89, 90 Muehlhausen, Jaimie Murphy, Ann 19

10

115

Musician Magazine

66

84 66

Lopez, Candice 115 Lopez, Rafael 115 Rafael Lopez Illustration

115

Louey, Robert Louey Rubino

115 115

6, 106 Nakamura , Joel 10, 15, 19, Nappi Eliran Murphy

Lowe, Deanna Lowe, Woody

60, 66 113

29 National Academy of Recording Arts

Lundbeck

104

Lupi , ltalo

82

& Sciences

106

Nature Conservancy Navarro, Jonathan Nelson, Mike

116

New Choices

54

New York

113 6

49

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

A R T S

231

Index of Art Directors, Design Firms, Agencies and Clients

New York City Opera 10, 15, 19, 29 New York Magazine 60, 66 The New York Times Book Review 47, 75 The New York Times Magazine The New York Youth Symphony 21

Newsweek

49, 60, 66

Ralston Purina Random House

6 29, 37

Razgaitis, Audrey

90

121, 125

Assoc. Inc .

Ohio

Orosz, Istvan

13, 27

Ortwein, GiG i

43

Outside 76 Overstreet, Susy

94

128 Rodriguez, Edel Rogowski, Slaw

Panter, Gary

16, 140 108 49, 50, 54, 69, 72,

24

Tan, John 96

139 127

96

San Francisco Opera Company San Francisco Society for the 27

56, 60, 66, 75, 81

Saraiva, Jose Manuel

56

Sarasota Magazine 43 Saturday Night 69 Say Entertainment Scenario 59 Schneider, Sandra

13

Scholastic

Porteous, Rebecca Posen, Melissa

Thacker, Lucy

9

Think Design

27

34, 40

110

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

16 70

31

Schrader, Julie 59 Schwab, Michael 99

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I

9 9 7

Yale-New Haven Health System 13

106 104

106 Zehrapushu

60

Tower Records, Pulse Trabon, Tim 128

10, 93

Travel & Leisure

81

Editor's Note Every effort has been made

56

to ensure that the credits

Troupin, Cindy 10 Tucker, Greg 128

comply with information 136

supplied to us. If, for any reason, a misspelling, omission or other error has occured,

116, 122

104

Playboy 44, 63 Polish Fi lm Festival

106

72

Two Guys and a Girl Design

Sandstrom Design 13 Santelices, Janet 66

Piccinetti, Harry

63

22

Prevention of Cruelty to Animals

13

13

Times 3 116 Timm, James 19

94

St. Martins Press 34 San Francisco Focus 84

Phillips, Owen

Plastic Factory

69

Wyeth-Ayerst Laboratories

30 West Advertising Thornton, Tom 10 The Thurber Center

10

Saurus Design

49, 50, 69, 82,

Woon, Kay 16 21 Word Records

125

Tessenyi, Christi

Time

Pillsbury 27 Pilon, Alain 127, 130

102

113

Texas Creative Sourcebook 115 Texas Monthly 49, 50, 72, 79

Sagoma Design Group, Inc.

Philadelphia Inquirer 59 Philadelphia Magazine 82

60

Wong, Patty

Wurster, Lane

50

Pentagram Design 115, 128 Petoff Theater 27

Wolfe, Ezra

Woodward, Fred 87, 89

125 59

Tilton , Theodora

60

130

Worth

146

Pennsylvania Gazette

128

Wilson, Will Wired 82

121, 125

50

130

Wilson, Emil

24

Russek, Jim

81

Ted Williams Design Willis, Len 44

34

Synarski, Susan Syrnick, Susan

53

Rosenwald, Laurie

10, 93 Russek Advertising 10

Patrick, Ken 93 The John Pence Gallery

Pope, Kerig

Stvan, Tom Swing 65

44

White, Eric 139 Williams, Ted 113

Stout. D.J . 49, 50, 72, 79 Studio M .D. 6

Rueffe~ Hans

Paraskevas, Michael Parisi, Elizabeth 31 Parker, Nick

44, 63

Wenstrup, Brooke Wheaton Quarterly

76, 82, 87, 89 Rosenwald Gallery

Rudd, Sue Palumbo, Ken 76 Pannell, Cap 146 Pannell St. George

Staebler, Tom

22 87

Royal Shakespeare Company

84

99

Starbucks Coffee Steadman, Ralph

Rubel, Natasha Rubess, Balvis Palladini, Doug

102

Spittler, Jami

93

Weingarten, Sally 110 Weitz, Carter 24

Rockport Rhythm & Blues Festival

Rosenworld

Oxborough, Paul G. 96

121

50, 72, 76

Rolling Stone

24

Solomon, Richard

63, 70, 79 Watkinson, Brent

113

The Norman Rockwell Museum

Open Studio Picture Resource Orion Children's Books 29

122, 128

108

Warner Books 96 The Washington Post Magazine

69

Stanford Medicine Stanton, Jan 96

10 10

Okamoto, Sharon 60 Olbinski, Rafal 19

232

15 16, 113

Risk Management Solutions RKD 106

44

Ohye, Jan

Wajda, Marek

Simpson Paper Co. Snowboarder 84 Spalenka, Greg

122

The Richards Group Hal Riney & Partners 99 16

24

Speak 56 Spiritos 102

Richards , Brock, Miller, Mitchell &

90

Oakes, Jennifer Ogilvy & Mather

Simpson, Karen

Renon, Delphine 38 Fr. Richard of Caldey 104 16

Visualingo 13 Vogt, George 13

Short, Patrick 40 Silverstein, Rich 99 Simpson, Christine 13

Reece Inc .

79

Nilsson, Lisa 133 W.W. Norton Publish ing Noyes, Derry

Michael Schwab Studio 99 54 Shape Sheldon Memorial Art Gallery Sherburne, Virginia 102

106

44

The New Yorker 53, 56, 60, 65, 66, 69, 75, 81, 87, 89, 90 Newman, Robert

106 Poulos, Rikki Rikki Poulos Design Powell, Steve 84 Pugh , Lorena 101

6 Unger Zitelli Sletten United States Postal Service 94, 104 Unruh & Forbes 125 Unruh, Jack 125 Usher, David

99

notify us within thirty days and we will be able to issue 90,

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234

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Index to Advertisers

Page

Academy of Art 176 Adobe Illustrator 150 Adobe Systems ACE Program 221 American Showcase 209 Apple PowerMac 206 189 Artville Champion Preference 157 Champion Pageantry 171 Clients & Profits 185 Consolidated Papers, Inc. 183 Creative Sourcebook/Creative Sourceweb 177 Design Management Institute 21 2 Encad 172 175, 211 Extensis Georgia Pacific 147 Graphic Artists Guild 192 Hammermill Paper 191 Havana Street 199 Hewlett Packard 178 Image Bank 194 Macromedia Freehand 187 219 MacWorld/Boston Marlena Agency 193 Miami Ad School 188 Mita Copystar 197 Photo Disc 153 Portfolio 181 Portfolio Center 174 Recourses 182 Ricoh 213 Screen Actors Guild 217 Serbin Communications 215 Sharpshooters 155 Stock Market 169 Strathmore 164 Transfer Print Foils 165 Wausau Papers 201 Workbook 205