jul1998 by Commarts

Lommuni~~tion Art~

Communication Arts (ISSN 001 0-3519) is published eight times a year: January/February March/April May/June July (Il lustration Annual) August (Photography Annual) September/October (includes Interactive Design Annual CD-ROM) November (Design Annual) December (Advertising Annual) by Coyne & Blanchard, Inc. 41 0 Sherman Avenue Palo Alto, California 94306 800-258-9111 650-326-1648 fa x e-mail : ca@commarts.com www.commarts.com Volume 40, Number 3 Copyright 1998 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

Subscription rates : U.S.: one year-$53 ; two years-$99 Canada : one year-$70 (U .S.); two years-$129. Includes GST #127848620 International : one year-$11 0 (U .S.); two years-$199 . Send change of address notification at least 45 days prior to effective date, include both old label and new address. 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 obtain ing the perm ission of the creators and any other person or company who may have copyright ownership .

Lommuni~~tion Art~ 1998

Illttstration Annual •

cate 25

Books

Editorial

For Sale

103

Institutional

117

Self-Promotion

128

Unpublished

July 1998 Volume 40, Number 3

Editor and Designer Patrick Coyne

Technology Feature Julie Prendiville Roux visits San Francisco/Sausalito-based MAD.

176

Design Technology Wendy Richmond speaks of another kind of language .

178

Technology Reviews Pat Soberanis tests OuarkXPress 4.02.

185

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 Production Ron Niewald

Design Issues Sean Kernan debates the importance of time to the creative process .

196

Freelance Barbara Gordon explains the monetary value of a portfolio.

198

Legal Affairs The transaction from hell by Leonard DuBoff.

203

Advertising Tom Evans discusses who is the "real" customer.

206

Opinion/Commentary Brad Holland talks about stock houses and shrinking fees.

210

Opinion/Commentary The education of an illustrator by Lisa Cyr.

Technology Director Jeff Stafford Interactive Media Designer Bonnie Smetts Interactive Media Developer Gary Wium Information Systems Manager Michael Hoyt Web Administrator Nancy Hagemann General Manager Advertising/Circulation Michael Krigel Advertising/Circulation Gloria Rosario Administrative Assistants Nina Kitching Tiffany Thayer Subscriptions Priscilla Brooks Kris Johnson Camille Leekins Controller Ronald Auger. CPA

152 156

Contributors

160

Letters to the Editor

216

Book Reviews

220

Materials, Available Literature

222

Clubs, Conferences, Seminars

224

Index and Addresses of Featured Illustrators

229

Index of Art Directors, Design Firms, Agencies and Clients

234

Directory

Assistant to the Controller David Galuppo Traffic Manager Wil Talton Founder Richard Coyne

ILLUSTRATION

ANNUAL

1998

Advertising Greg Clarke, illustrator/designer Steve Sandstrom, art director Sandstrom Design, design firm Einstein/Noah Bagel Corp., client Point-of-purchase poster. 11 X 161/z, watercolor. 2 Vivienne Flesher, illustrator Dennis Gallagher, art director John Sullivan, designer Visual Strategies, design firm San Francisco Bay Area Book Council, client Festival poster, "Open Your Eyes." 11 X 14, pastel. 3 Gerard DuBois, illustrator Cindy Troupin, art director Jazziz on Disc, client CD cover. 65/s X 61/z, acrylic. 4 Gary Wayne Golden, illustrator/designer Kandy Jones, art director Arkansas River Blues Festival, client Poster to advertise the festival sponsored by Jack Daniels. 9 X 9, digital.

5 Scott D. Mclean, illustrator/designer Kathleen Bell, art director Madcow Studio, design firm lunchbox Theatre, client Postcard promoting The Complete Works of William Shakespeare (abridged), all 37 plays in one hour. 8 X 12, oil. 6 Rich Borge, illustrator/art director/designer

Gravity Workshop, design firm Best Fight Story, client CD cover for a new band based in Minneapolis. 11 X 11, mixed media .

COMMUNICATION

ARTS

Advertising Jessie Hartland, illustrator Steve Sandstrom, art director/designer Sandstrom Design, design firm Einstein/Noah Bagel Corp ., client Point-of-purchase poster. 22 X 30, gouache. 2 Amy Butler, illustrator Angela Williams, art director Moria Design, design firm Levi Strauss & Co., client 20 X 27, ink on board. 3 Loren Long, illustrator/art director Kris Schwandner, designer American Heart Association, client Poster promoting the Cincinnati Heart Association Mini-Marathon 15K run. 15 X 26, acrylic. 4 Bob Meagher, illustrator/art director The Martin Agency, ad agency Residence Inn by Marriott, client Newspaper ad headline: Bigger is Better. 5 Bonnie Dain, illustrator/designer Michael Cory, art director Starbucks Design Group, design firm Starbucks Coffee Company, client

2 Coffee stamp for use on packaging and point-of-purchase posters. 5 X 4, acrylic.

ILLUSTRATION

ANNUAL

I998

COMMUNICATION

ARTS

Advertising Joe Sorren, illustrator Jon Jensen/Hal Jensen, art directors United States Marine Corps Reserve, Toys for Tots Program, client Poster for a fund-raising tournament . 36 X 36, acrylic on canvas. 2 Joel Nakamura, illustrator/art director Bonnie Butler, designer Brad Powell, Geo Fonica Records, client CD cover for " The First Step of a Long Journey." 14 X 14, acrylic on tooled copper. 3 Gerard DuBois, illustrator Marie-Josee Chagnon, art director/designer Gestion Son & Image, client CD cover, various artists singing oldfashioned Christmas songs. 73/s X 73/s, acrylic. 4 Rick Sealock, illustrator Elaine Prodor, art director/designer The Swinging Bovines, client CD cover. 16 X 161/z, mixed media . 5 Leigh Wells, illustrator Carie Meier, art director Carie Meier/Leigh Wells, designers

McCann-Erickson, ad agency Blue Shield of California, client Illustration featured in ads announcing the addition of alternative coverage . Headline: You don't have to be sick to get well. 13 X 10, mixed media .

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ANNUAL

1998

COMMUNICATION

ARTS

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Advertising Tim Jessell, illustrator Steven Walker, art director Amy Johnson, designer Walker Creative, design firm Love's Country Store, client Ad for Love's brand of truck motor oil. Headline: Everything you want in a truck stop . 143/4 X 17, pastel and mixed media . 2 (series) Anita Kunz, illustrator Antonella Capolillo, art director/designer The Jupiter Drawing Room, ad agency Hofbrau Brauerei, client Beer campaign , "Freud's Slip," "Theory of Relativity" and "Beethoven's Fifth." 11 X 14, watercolor.

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Advertising (series) Gillie Schattner, illustrator Marc Schattner, art director/designer McCann-Erickson, ad agency BenWear, client Consumer magazine ads for clothing company. Ben Logic, it makes sense to kids. Headlines: Plates are flat + floors are flat = The floor is a plate! ; My sister wants longer hair. I will help.; Two toys are better than one. 81/2 X 11, watercolor and acrylic. 2 (series) James Yang, illustrator Galen Bernard, art director Ken Ratcliff, writer Generation Why, ad agency Spontaneous Combustion, client Ad campaign for a special effects video company. Headlines: Kinetic, Explosive, Dangerous, Ambitious . 7 X 7 acrylic.

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Advertising Lindy Burnett, illustrator Tom Lewis, art director Creative Services, Inc., ad agency High Museum of Atlanta, client Fund-raising poster. 18 X 243/4, gouache. 2 Rene Milot, illustrator Gearon Hoffman Inc., ad agency Grolsch Beer, client Magazine ad. Headline: Brewed the same way since the days when the unplugged version was the only version . 15 X 20, oil on canvas .

3 Loren Long, illustrator Tracy Long, art director Beth Thomas, designer Beth Thomas Graphics, design firm Hamilton Stands, client Poster. 13 X 17, acrylic. 4 Kinuko Y. Craft, illustrator Kathleen Ryan, art director/designer Dallas Opera Company, advertising/client Poster for the 1997-98 opera season . 22 X 26, watercolor and oil.

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Advertising Rafal Olbinski, illustrator/designer Rafal Olbinski/Hilde McNeil, art directors McNeil Group, design firm Arizona Theatre Company, client Poster for Picasso. 20 X 30, acrylic on canvas. 2 Joel Nakamura, illustrator Robert Krell, art director Jonathan Navarro, designer Krell Advertising Inc., ad agency Merck, client Ad visual for new migraine medicine. Headline: From pain to relief. 11 X 14, acrylic on tooled tin. 3 Sonia Greteman/James Strange, illustrators Sonia Greteman, art director James Strange, designer Craig Tomson , computer production Greteman Group, ad agency Tabacos Gran Colombia, client Packaging illustration . 7 X 5, colored pencil reproduced digitally. 4 Donna lngemanson, illustrator Janece Kolon, art director Thomas Grignon, designer Thomas Grignon Design, design firm The Earth's Birthday Project/Nature Conservancy, clients

Children's poster to encourage adoption of an acre in Belize. 18 X 221/2, oil and acrylic. 5 Brad Holland, illustrator Roxy Moffit, art director Brian Dinning, designer Seattle Repertory Theatre, client Theater season poster. 20 X 29, acrylic.

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Advertising (series) Christian Clayton, illustrator Melanie Doherty, art director/designer Melanie Doherty Design, design firm Napa Valley Vintners Association, client Collateral and advertising pieces for the Napa Valley Wine Auction . 12 X 15, acrylic on paper.

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Advertising (series) Joe Morse, illustrator Erik Kessels, art director Erik Hesen, designer KesselsKramer, ad agency Nike Europe, client Summer Hoops 97 posters used in six European countries. 8 X 24, oil and acrylic. 2 Rene Milot, illustrator/art director Susan Overstreet/Hilde McNeil, designers McNeil Group, design firm Arizona Theatre Company, client Poster for Illusions Comiques. "The story is about a father, who seeks the help of a wizard, to find the son he banished. The father sees three visions of his son as a man, but each is different, which leads him to believe his son is dead. The wizard reveals that all three men are the man 's son, who is alive, living in Paris and working as an actor. The visions were roles that his son was playing ." 20112 X 22, oil and paper on canvas.

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Advertising Russ Wilson, illustrator Philippe Becker, art director Primo Angeli, Inc., design firm Seattle's Best Coffee, client Packaging . 15 X 15, pastel on paper. 2 Brad Holland, illustrator Roxy Moffit/Brad Holland, art directors Brad Holland/Jim McCune, designers Long Wharf Theatre, client Poster for Mystery School. 20 X 29, acrylic.

Books 3 Catherine Rose Crowther, illustrator Marysarah Quinn, art director Sheri G. Lee, designer joyfunstudio, design firm Clarkson Potter/Publishers, client Cover. 121/4 X 131/4, ink.

MCDSEWCDD RESTAURANT BCDK of DESSERTS

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Books Chris Gall, illustrator Crispin Prebys, art director Irwin Publishing, client Cover for Financial Guide to Investing in a Bullish Market. 8 X 10, scratchboard and dye. 2 Earl Keleny, illustrator Alan Dingman, art director/designer St. Martin's Press, client Mystery book cover about a radio talk show host who is done in, The Radio Red Killer: A Marvia Plum Mystery by Richard A. lupoff. 10 X 14, acrylic. 3 Brad Weinman, illustrator Deborah Kaplan, art director/designer Puffin Books, client Book cover for The First Two Lives of Lukas-Kasha by lloyd Alexander, a story about a teenage boy who is sent back to 15th century Persia to rule the land as the new king. 8 X 12, oil on paper. 4 Michael J . Deas, illustrator Sara Davis, art director/designer Chelsea House Publishers, client Cover art for a biography of lincoln by Thomas Bracken, Overcoming Adversity: Abraham Lincoln. 12112 X 16, oil on panel.

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9 9 8

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Books (series) Brad Holland, illustrator Roland Scotoni/Brad Holland, art directors/designers Art Directors Club of Switzerland, client Chapter headings for ADC of Switzerland. The Annual was also advertised and sold to the general public. Various sizes, pastel on handmade paper.

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Books (series) Jody Hewgill, illustrator Kate McConnell, art director/designer Time Life Books, client Covers of three classic novels: John Steinbeck's The Grapes of Wrath, Herman Melville's Moby Dick and Harper Lee's To Kill a

Mockingbird. Various sizes, acrylic. 2 (series) Kathy Osborn, illustrator Annie Barrows, Chronicle Books, editor VSA Partners, Inc., design firm Chronicle Books, client Illustrations from Wedding Pictures: A Novel by Kathy Osborn and Jacqueline Carey. Various sizes, gouache.

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9 9 8

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Books (series) Pierre Pratt, illustrator Ann Glenn, art director Tracey Cunnell, designer Macmillan Children's Books, client Illustrations for Sassy Gracie by James Sage. " Sassy Gracie, cook's energetic helper, loves to dance in her big red shoes. But on cook's day off, Sassy Gracie's enormous appetite (from all that dancing) gets the better of her. The delicious dinner she has prepared for the master of the house is soon reduced to a pile of well-picked bones and an important guest is on his way. Does the plucky pigtailed heroine find a silly sassy way out of the trouble she has created? You bet she does!" Various sizes, acrylic.

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Books Vivienne Flesher, illustrator Virginia Duncan, art director Heather Wood, designer Simon & Schuster, design/client Interior illustration, " My mama sings me a lullaby when the sun goes down," from Lullaby Raft by Naomi Shihab Nye and Virginia Duncan . 24 X 18, pastel. 2 Gerard DuBois, illustrator/art director/designer libre Expression Editor, client Book cover for Father's Vengeance. 93/4 X 143/4, acrylic. 3 leslie Wu, illustrator Madeline Budnick, art director lucy Nielson, designer Chronicle Books, client Children's book illustration about the kittens who danced in the Paris Opera House, Bijou, Bon Bon & Beau, The Kittens Who Danced for Degas. 13 X 13, pastel on paper. 4 James Marsh, illustrator/designer Sue Aldworth, art director Kingfisher Books, larousse.PlC, client Interior illustration from The Best Ever Book of Cats to explain a Thai legend about why the Siamese cat has a kink in its tail . 12 X 17, acrylic on canvas.

5 Gianni De Conno, illustrator Nadia Maestri/Gianni De Conno, art directors Cideb Editrice, client Interior illustration for Murders in the Rue Morgue by Edgar Allen Poe. 10 X 13, acrylic.

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9 9 8

Books (series) Martin Jarrie, illustrator Bernard G'Rodroux, art director laurence Moinot, designer Nathan Jeunesse, publisher After World War II, a little boy leaves london to reunite with his father in Africa on an adventure to find a mysterious tribe, /es Ouadous. Various sizes, acrylic on paper. 2 Brad Weinman, illustrator Deborah Kaplan, art director/designer Puffin Books, client Cover of The Warm Place by Nancy Farmer, a story about a boy, a giraffe, two rats and a magical chameleon who are held captive on a ship. They outwit their captors and find a way home. 9 X 13, oil on paper. 3 Cathleen Toelke, illustrator Joseph Montebello, art director Harper Collins, client Cover of Siguirya. A woman of a multi-faith family struggles to survive the 15th-century Spanish Inquisition. 13 X 19, pastel.

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Books (series) Christian Northeast, illustrator Monte Beauchamp, art director/designer Blab! Fantagraphics Books, client Anthology of fiction , humor and art. 10 X 10, mixed media. 2 (series) Luc Melanson, illustrator Stephane Jorisch, art director Andree Lauzon, designer Les 400 Coups, client Interior illustrations from Hansel & Gretel by Jakob Grimm, Wilhelm Grimm and Lisbeth Zwerger. 71/2 X 9, pastel.

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9 9 8

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9 9 8

Books (series) Michael Roberts, illustrator/author Nicholas Callaway, art director Toshiya Masuda, designer Callaway Editions, Inc., design Hyperion Books for Children, client

The Jungle ABC. 20 X 253/4, cut paper collage. 2 Greg Clarke, illustrator Ann Bobco, art director Angela Carlino, designer Simon & Schuster, client Children's book cover. 81/2 X 101/2, watercolor and ink.

3 Nicholas Wilton, illustrator Michele Wetherbee, art director/designer Doubleugee, design firm Amber-Allen Publishing, client Cover illustration of The Four Agreements. 7 X 9, acrylic on wood.

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Books Gianni De Conno, illustrator Nadia Maestri, art director Cideb Editrice, client Cover of Masters and Men, The Novel in the Industrial Age. 10 X 13, oil. 2 Harvey Chan, illustrator Michael Solomon, designer Groundwood Book/Douglas & Mcintyre, clients Illustration from the picture book Music for the Tsar of the Sea. 15 X 20, chalk pastel. 3 Gary Baseman, illustrator Monte Beauchamp, art director/designer Blab! Fantagraphics Books, client Anthology of fiction , humor and art. 18 X 18, acrylic and mixed media . 4 Jerry Lofaro, illustrator Phil Unetic, art director Lori Cohen, designer 3r1 Group, design firm Time life Books, client Cover of Mammals. 11 X 15, acrylic.

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ILLUSTRATION

ANNUAL

1998

Editorial Brian Cronin, illustrator Jane Palecek, art director Jane Palecek/Steve Powell, designers Health, client Magazine article "No Place to Heal." Everyone agrees it's risky to spend too much time in a hospital. But the new halfway houses for recovering patients may be just as dangerous-unless you're prepared.

81/2 X 11, India ink and acrylic on paper. 2 William Ersland, illustrator Christine Dunleavy, art director Inquirer, client "Moon Penitent." Magazine story about a seriously ill woman, her alienation by an insensitive husband and her subsequent seduction by a heroin-addicted handyman .

181/2 X 22, gouache. 3 Gerard DuBois, illustrator Karen Oh, art director Utne Reader, client Opening page for "The Return of Absinthe." 125/s X 83/4, acrylic. 4 Joe Sorren, illustrator

Patricia McGovern, art director Andrew Capitos, designer Z-D internet magazine, client Portrait of the Three Stooges for the last link section. 30 X 30, acrylic on canvas.

5 Eric White, illustrator Susan Langholz, art director Time, client Magazine article on aggressive driving, "Road Rage." 16 X 13, acrylic on board.

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ILLUSTRATION

ANNUAL

I998

Editorial (series) Guy Billout, illustrator Judy Garlan, art director The Atlantic Monthly, client

61/4 X 95/1&, watercolor and airbrush . 2 Harry F. Bliss, illustrator Frank Baseman/Betsy Brecht, art directors Philadelphia, client Magazine article, "Party On, Amos." Amish teens flirt with secular pleasures (and each other) as they decide whether to embrace their church and its constraints. 91/4 X 123/4, watercolor. 3 Joseph Salina, illustrator Peggy Robertson, art director American Spectator, client Magazine article about a man who seeks political favors in order to secure fund contributions for political candidates, " The Mystery of Roger Tamaraz! " 10 X 13, acrylic.

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Editorial Tim Hussey, illustrator Robin Malik, art director Musician, client Magazine article, "How to Make Money Playing the Blues." 16 X 16, mixed media. 2 Amy Guip, illustrator Mark Michealson, art director New York Magazine, client Magazine article on New York City gangs. 11 X 11, digital. 3 Tim Bower, illustrator George McCalman, art director Entertainment Weekly, client Magazine article about online interactive comedy sites, "Stand-Up and Deliver." 6 X 9, mixed media. 4 Philippe Lardy, illustrator Alan Avery, art director/designer Jane Palecek, design director Hippocrates, client "Finding Balance, If Not Now, When?" An increasing number of physicians are taking action to create harmony between professional responsibility and personal needs. 11 X 14, gouache.

5 James Yang, illustrator Elaine Anderson, art director Cycle World, design/client Magazine article on Evel Knievel, "Sum of all Eve I." 17 X 11, acrylic and ink.

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9 9 8

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Editorial (series) John Collier, illustrator Andrew Kner, art director Scenario, client Magazine illustrations for the screenplay North by Northwest. Various sizes, monotype. 2 Tim Bower, illustrator Gail Anderson, art director Rolling Stone, client P.J. O'Rourke's assessment of the current social and political climate in Tanzania. 91/2 X 11, mixed media.

3 Alain Pilon, illustrator Christine Dunleavy, art director Susan Syrnick, designer Inquirer, client Magazine article about Bumpy Johnson. He ran Harlem in style, pushing education while ruling the numbers racket, "The King and I." 11 X 123/s, acrylic.

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Editorial Tim O' Brien, illustrator Arthur Hochstein/Kenneth Smith, art directors Time, client Chronicle page illustration "Barbie at 50+," at a plastic surgeon's office. 11 X 13, oil on panel.

2 Mirko llic, illustrator Anna Kula, art director Smart Money, client Magazine article about overlooking the crash of HMOs, "Bad Medicine." Digital. 3 Gerard DuBois, illustrator Athena Vorillas, art director/designer Network Computing, client Magazine article titled, "Juggling Large Memory Systems." 81/2 X 151/4, acrylic. 4 (series)

Greg Spalenka, illustrator Jay Colton/Marti Golon, designers Time Digital, client Article about our obsession with technology, "False Profits." 8 X 8, 8 X 4, mixed media, digital. 2

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9 9 8

Editorial (series) Stephen Savage, illustrator Dirk Barnett (Notorious B.I.G.I/Catherine Mann (Pamela Anderson Lee/David Lettermani/Cindy Goldberg (Kenny G)/Keith Campbell (Oprah Winfrey), designers John Korpics, design director Entertainment Weekly, client Series of portraits for sidebar articles. Various sizes, linocut. 2 Gary Baseman, illustrator Michael Picon, art director Entertainment Weekly, client Magazine article about the 50 funniest people alive, " Who Are You Laughing At?" 16 X 18, acrylic. 3 Cynthia von Buhler, illustrator Syndi Becker, art director James Irvine, designer Money, client Magazine article, "The Trend is Your Friend." Technical analysis is often dismissed as witchcraft, but only by those ignorant of its powers to predict the movement of stocks. 20 X 28, gouache on canvas with coins.

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9 9 8

Editorial (series) Gary Kelley, illustrator Andrew Kner, art director/designer Scenario, client Magazine article for the screenplay, All About Eve. Various sizes, pastel. 2 Janet Woolley, illustrator Lisa Wagner, art director Entertainment Weekly, client Portrait of Harvey and Bob Weinstein of Miramax Films from a special issue on independent films, "The Distributors-The Weinstein Brothers of Miramax." 16 X 22, mixed media. 3 Greg Tucker, illustrator Kinsey Caruth, art director Suzy Caruth/Leticia Montoya/Ben Snell, designers Kinsey Advertising, ad agency Envoy, client Magazine article about being good and/or bad, "Catholic is Not Enough." 81/2 X 11, pastel on paper.

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Editorial (series) Tom Steck, illustrator John Hamilton, art director Virtue, client Magazine article on how to support a grieving widow, "Lean on Me." 13 X 17, 8 X 91/z, oil. 2 Christopher Cannon, illustrator Susan Arnott, art director Boston Book Review, client A coming-of-age story set in the 1940s in Northern Ireland, "Reading in the Dark." 81/z X 111/z, acrylic and collage. 3 Joe Ciardiello, illustrator Tamotsu Ejima, art director Playboy Japan, client Nat King Cole for "After Hours" section. 8 X 111/4, pen and ink and watercolor. 4 Will Wilson, illustrator Nicholas E. Torello, art director/designer Frank De Vino, creative director Penthouse, client Magazine article, "Missions & Makeup." Are today's genderhappy G.l.s ready for prime-time warfare? 11 X 13, oil on canvas. 5 Phil Boatwright, illustrator Jay Porter, art director Yankee, client Magazine story about an older gentleman who can no longer make a living as a writer. He discovers love and a new life as he teaches Italian, "The Italian Class." 12 X 14, oil, acrylic, collage.

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Editorial Juliette Borda, illustrator John Korpics, art director Dirk Barnett, designer Entertainment Weekly, client From the book review section wh ich featured books for empowering women . 3112 X 71/2, gouache. 2 Jeffrey Decoster, illustrator Chris Curry, art director The New Yorker, client Movie review of Dead Man featuring Johnny Depp . 15 X 25, acrylic. 3 Matthew Bandsuch, illustrator Ray Stanczak, art director The Detroit News, client A young girl's stepfather and biological father come to terms with one another, " Life With Fathers." 81/2 X 7, acrylic. 4 Zohar Lazar, illustrator Owen Phillips, associate illustration editor The New Yorker, client From the movie listings section, Kiss or Kill. 141/2 X 15, acrylic on paper.

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5 Alain Pilon, illustrator Karen Simpson, art director Erika Oliveira, designer Saturday Night, client

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Magazine portrait of Doug Collins, an extremist columnist in British Columbia. 11112 X 111/4, acrylic and collage .

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Editorial Mark Ulriksen, illustrator Chris Curry, art director The New Yorker, client Portrait of Julia Child for the book review, Dishing it Out. Acrylic. 2 Tim Bower, illustrator John Boyer, art director Gentlemen's Quarterly, client Magazine article about the 1982 CIA murders, "To Catch a Killer."

61/2 X 9, mixed media. 3 C.F. Payne, illustrator Marc Smirnoff, art director The Oxford American, client Portrait of Jackie Robinson from an article, "Southern Scenes." Fifty years ago, Robinson of Cairo, Georgia, made his major league debut. 11 X 16, mixed media. 4 Ross MacDonald, illustrator Robert Kanes, art director Kate Godfrey, designer PC World, client From an article titled "Windows 95 Headaches (and how to cure them)." 12 X 18, ink on elephant wide paper. 5 Tim Jessell, illustrator Jeanne Devlin, art director Steven Walker, designer Walker Creative, design firm Oklahoma Today, client

Magazine article concerning the legends and history of finding oil in Oklahoma, "Call of the Wildcatter." 11112 X 15, pastel and mixed media . 6 Marco Ventura, illustrator Nicholas E. Torello, art director Penthouse, client Magazine article about the new Russian mafia's struggle for power.

91/4 X 12, oil on Masonite.

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Editorial Balvis Rubess, illustrator David Simpson, art director Request, client Magazine's music review of Coolio's new CD, "My Soul." 12 X 12, acrylic. 2 Mirko llii:, illustrator Steve Heller, art director The New York Times Book Review, client Book review of The Kennedy Tapes, JFK's audio tapes in the White House. Digital. 3 Roberto Parada, illustrator Rockwell Harwood, art director Esquire, client Portrait of Jim Carrey for a movie review. A Dark Bright Light. 9112 X 12, oil on board. 4 Robert Meganck, illustrator Tinker Brale, art director Communication Design, Inc., design firm The Washington Times, client Book review of The Gospel According to the Son by Norman Mailer. 61/2 X 131/2, digital. 5 Gregory Manchess, illustrator Cynthia Currie, art director Kiplinger's Personal Finance Magazine, client

Magazine article about how, thanks to technology, U.S. oil companies can make good profits without the help of OPEC, "Oil in a time of Glut." 20 X 16, oil.

ILLUSTRATION

ANNUAL

I998

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A R T S

Editorial Roberto Parada, illustrator Rockwell Harwood, art director Esquire, client Magazine article, "Cupid." 111/z X 15, oil on board. 2 Daniel Craig, illustrator Lynn Phelps, art director Utne Reader, client Magazine cover, "Spock." 16 X 22, acrylic. 3 Brent Watkinson, illustrator Amy Klee, art director Klee Design, design firm Cook's Illustrated, client Magazine cover. 12 X 14, oil on canvas.

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9 9 8

Editorial Bryan Leister, illustrator Amy Bock, art director/designer A Bock Design, design firm Cahners Publishing, client Article about the many skills of an art director, "Digital Careers: How to get Hired." 4 X 6, digital. 2 Alain Pilon, illustrator Owen Phillips, art director The New Yorker, client Portrait of actor Mathiev Kassovitz for movie review of A Self-Made Hero. 63/a X 8, acrylic and collage . 3 Jeffrey Fisher, illustrator Robin Gilmore-Barnes, art director The Atlantic Monthly, client Magazine article titled " Rails to Trails. " Acrylic. 4 (series) Gene Greif, illustrator John Korpics, art director Entertainment Weekly, client Opening spread for year-end issue, "The Entertainers," "The Year That Was" and "The Best & Worst." 7 X 93/a, mixed media collage.

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Editorial Brian Rea, illustrator Dennis Ahlgrim, art director/designer Tele.Com, client Magazine article about the growing trend toward corporate sponsorship of sports teams, players and venues, "Tackling the Sports Market." 8 X 101/2, ink, acrylic, egg tempera and shellac. 2 Douglas Fraser, illustrator Michael McClellan, art director Penthouse, client Magazine article on laundering Nazi gold in Switzerland during WWII, " Switzerland: Hitler's Most Valuable Ally." 71/2 X 93/4, alkyd colors on canvas. 3 Juliette Borda, illustrator Elizabeth A . Rodriguez, art director Robert Hold, designer Jane, client Magazine fiction piece about a romantic intrigue between two tenants of a building, " A Normal Girl." 81/2 X 111/4, gouache. 4 Douglas Chayka, illustrator Tom Dolphens, art director Kansas City Star, client Illiteracy article. 11 X 14, pastel and gouache.

5 Marco Ventura , illustrator Tom Staebler, art director Kerig Pope, designer Playboy, client Magazine article about a feminist journalist who undergoes breast enhancement surgery, " Stacked Like Me." 11 X 13, oil on paper. 6 Mike Benny, illustrator D.J . Stout, art director D.J . Stout/Nancy McMullen, designers Texas Monthly, client Last page feature, "Bonnie and Clyde. " 14 X 20, acrylic.

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

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9 9 8

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Editorial James Yang , illustrator Frankie Holt, art director Men's Fitness, design/client Magazine article on hangovers, "New Help for Morning-After Sickness." 4 X 51/2, digital. 2 Tom Curry, illustrator Greg Klee, art director Natural Health, client Magazine article titled " The Hormone Circus, Wanna Feel Young Again?" Acrylic on hardboard. 3 Juliette Borda, illustrator Frank Baseman, art director Jason Soda, designer Philadelphia, client Magazine article on the three types of single men . 73/4 X 41/4, gouache. 4 Stephen Savage, illustrator John Boyer, art director Gentlemen's Quarterly, client

Book review of The Last Word, a compilation of New York Times obituaries. 73/s X 9, linocut. 5 Josh Gosfield, illustrator Philip Bratter, art director Deanna Lowe, designer Worth, client Magazine article, " Mom is in the Details." Lists, financial statements, divorce papers, swizzle sticks, an alias-in the end a mother's estate all adds up. 24 X 30, mixed media on canvas.

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

A N N U A L

9 9 8

COMMUNICATION

ARTS

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

A N N U A L

9 9 8

Editorial Ken Joudrey, illustrator Terri Czeczko, art director Dell Magazines, client Cover of Ellery Queen Mystery magazine. 81/2 X 12, oil. 2 (series) Jack Unruh, illustrator Jill Armus, art director Saveur, client Article titled "Bites of Passage," memorable meals have marked this pilgrim's progress through gastronomy and life. 12 X 13, ink and watercolor.

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

A N N U A L

9 9 8

Editorial Tim O'Brien, illustrator Arthur Hochstein/Marti Golan, art directors Time, client Time 100, David Ben-Gurion. 9 X 12, oil on panel. 2 Juliette Borda, illustrator Rockwell Harwood, art director Robert Priest, creative director Esquire, client Magazine article on wife-guarding, "Under Your Thumb." 31/4 X 6, gouache. 3 Brad Holland, illustrator Judy Garlan, art director The Atlantic Monthly, client Magazine fiction piece about an aging man driving across the country to his brother's funeral, "The Half-Skinned Steer." 30 X 20, acrylic on Masonite board. 4 Harry F. Bliss, illustrator Fran~oise Mouly, art editor The New Yorker, client January 5, 1998 New Yorker cover. 91/2 X 13, watercolor, ink. 5 Matthew Martin, illustrator Kenneth Smith, art director Time, client Calvin Trillin essay on the new, informal Britain. 51/a X 47/a, collage, ink, colored pencil.

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

A R T S

A /f

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A N N U A L

9 9 8

Editorial (series) Dugald Stermer, illustrator Lane Gregory, art director Karen Berndt/Kit Hinrichs, designers Pentagram, design firm Coastal Living, client Coastal endangered species feature article. 14 X 20, pencil and watercolor on Arches paper. 2 Christian Northeast, illustrator Anna Kula, art director/designer Smart Money, client Magazine guide to the best investments of 1998. 8 X 10, acrylic, collage. 3 David M. Beck, illustrator Jay Porter, art director Yankee, client Magazine article about Edgar Allen Poe lecturing at the Boston Commons, "We Like Boston!" 9 X 13, mixed media on 100% rag Strathmore.

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Editorial Ken Joudrey, illustrator Terri Czeczko, art director Dell Magazines, client Cover for Ellery Queen Mystery magazine. 81/z X 12, oil. 2 Olaf Hajek, illustrator Markus Rasp, art director/designer Suddeutsche Zeitung, client Magazine fiction piece about two brothers who disguise their criminal acts by pretending to go hunting. One night they kill their stepsister's lover, "The Red.Biue Mattress." 12 X 12, acrylic. 3 Joel Peter Johnson, illustrator Nicholas E. Torello, art director/designer Frank De Vino, creative director Penthouse, client Magazine article. Organs of Chinese prisoners are harvested for cash, "Chinese Takeout." 9 X 11, oil and acrylic. 4 Joe Morse, illustrator Tom Brown, art director/designer Men's Journal, client Interview with Clint Eastwood, "The Hoarse Whisperer, Clint Eastwood in One Take." 10 X 12, oil and acrylic. 5 C.F. Payne, illustrator Judy Garlan, art director The Atlantic Monthly, client "Lincoln's Affair of Honor." 20 X 17, mixed media.

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

A N N U A L

9 9 8

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Editorial Mark Summers, illustrator Steve Heller, art director The New York Times Book Review, client Book review of Stendhal, a dilettante of consequence. 8 X 10, engraving on scratchboard. 2 Juliette Borda, illustrator Chrystal Falcioni, art director/designer Jump, client An introduction to menstruation in a magazine for teenagers, "Seeing Red, Feeling Blue?" 81/2 X 11 , gouache. 3 Gary Kelley, illustrator Deborah Clark, art director/designer Clark Design, design firm American Spectator, client Essay on the state of song writing in Nashville, "When Country Wasn't Drivel." 15 X 20, pastel. 4 Gregory Manchess, illustrator Tom Staebler, art director Kerig Pope, designer Playboy, client Magazine article about the passion of the tango, "The Madness Begins at Midnight." 16 X 22, oil.

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

A N N U A L

9 9 8

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

A R T S

ILLUSTRATION

ANNUAL

I998

Editorial Filip Pagowski, illustrator Caroline Mailhot, designer/art director Chris Curry, illustration editor The New Yorker, client

Magazine article on Ludwig Erhard, West Germany's first post WWII finance minister, credited with the creation of the strong deutsche mark, "Loving the Mark." 10 X 131/z, ink, paint, copy machine. 2 Marc Burckhardt, illustrator D.J. Stout, art director/designer Texas Monthly, client Portrait of Colonel Travis for an excerpt of an epic poem of the Alamo, "The Death of Travis." 101/z X 141/z, acrylic. 3 Rick Sealock, illustrator Joel Armstrong, art director/designer Group Magazine, client Article about an e-mail from hell titled "Hell's Youth Ministry Tips." 12 X 16, acrylic and watercolor. 4 Brent Watkinson, illustrator Cathy Copeland, art director Copeland Design, design firm Cook's Illustrated, client Cover of the August 1997 issue. 12 X 14, oil on canvas. 5 (series) Barry Blitt, illustrator Michael Lawton, art director/designer Arem K. Duplessis, deputy art director Men's Journal, design/client Magazine article by P.J . O'Rourke titled "Get Rich." 51/4 X 5, 10 X 121/z, watercolor and pen and ink.

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

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For Sale William Phillips, illustrator Terry McCaffrey, art director Phil Jordan, designer United States Postal Service, client

Commemorative postage stamp of a classic American aircraft, the Peashooter. 12 X 10, oil. 2 Burt Silverman, illustrator Terry McCaffrey, art director Howard Paine, designer United States Postal Service, client Commemorative postage stamp honoring leopold Stokowski. 6 X 4112, oil. 3 (series) Jeff Venier, illustrator/designer lynn landry, art director landry Design Associates, design firm Waterline Publishing, client Series of note cards. 5 X 5, watercolor, ink, photograph.

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

A N N U A L

9 9 8

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

A R T S

For Sale Kari Alberg, illustrator Mia Galison, art director Brenda Brown Fortunato, designer Stewart, Tabori & Chang, client " One Day at a lime, " a daily journal of thoughts and reflections. Watercolor. 2 (series) Philippe Petit-Roulet, illustrator Series of Jazz prints. Various sizes, gouache.

ILLUSTRATION

ANNUAL

1998

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

A R T S

For Sale (series) Marti Somers, illustrator Sue Cretarolo/EIIen Lehman/Paula Murray/Marti Somers, Artefact Design, design firm/client Gift cards. 12 X 12, acrylic and mixed media .

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

A N N U A L

9 9 8

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

A R T S

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

A N N U A L

9 9 8

For Sale Michael J. Deas, illustrator Carl Herrman, art director John Boyd, designer United States Postal Service, client Commemorative postage stamp honoring Stephen Vincent Benet. 8 X 41/z, oil on paper.

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2 (series) Leigh Wells, illustrator Michele Wetherbee, art director/designer Doubleugee, design firm Chronicle Giftworks, client Cover and seasonal divider pages for a gardening journal. 8 X 11, mixed media.

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

A R T S

ILLUSTRATION

ANNUAL

1998

For Sale (series) Bridget Ohlsson, illustrator/art director Reid Ohlsson Pty. ltd., design firm Still life cards. Various sizes, oil on linen . 2 Lorena Pugh, illustrator/art director/designer Limited edition print. 12 X 36, oil on linen.

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

A R T S

ILLUSTRATION

ANN UAL

199 8

For Sale (series) Cyril Cabry, illustrator Ken Newbaker, art director Frances Soo Ping Chow, designer Running Press Book Publishers, client Postcards. Various sizes, watercolor. 2 Michael J. Deas, illustrator Phil Jordan, art director United States Postal Service, client Commemorative postage stamp honoring Thornton Wilder. 9 X 45/a, oil on paper.

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

A R T S

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

A N N U A L

9 9 8

For Sale (series) Michael Schwab, illustrator/designer Jami Spittler, art director Rich Silverstein, creative director Michael Schwab Studio, design firm The Golden Gate National Parks, client Posters. 81/z X 11, pen and ink, digital. 2 Bernie Fuchs, illustrator Peaceable Kingdom Press, client Mother's Day greeting card, "Thanks for showing me how.. . " 15 X 25, oil on canvas.

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

A R T S

100

ILLUSTRATION

ANNUAL

1998

For Sale (series) David Butler, illustrator Junk puppets. 6 X 8, collage . 2 William Phillips, illustrator Terry McCaffrey, art director Phil Jordan, designer United States Postal Service, client Commemorative postage stamp of classic American aircraft, Stearman. 12 X 10, oil.

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101

1 02

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

A N N U A L

9 9 8

For Sale Michael Schwab, illustrator/designer Clare Jett, ad agency Michael Schwab Studio, design firm Festival Productions, client Poster for the Kentucky Derby. 11 X 81/2, pen and ink, digital. 2 Jaeeun Choi, illustrator Euido Huh, art director IL-MIN Museum of Art, client Crucifixion, created for exhibit sale. 15 X 25, acrylic on board.

Institutional 3 Gerard DuBois, illustrator Cynthia Friedman, art director/designer Modern Maturity, client From a magazine article titled " A Guide to Managed Care, Part 2." 93/4 X 11 , acrylic and collage. 4 Marc Rosenthal, illustrator Jamie Tait, art director Miller/Kadanoff/Huber Direct & Interactive, Inc., ad agency Levi Strauss & Co., client Illustration for a board game used by Levi 's employees. 11112 X 171/2, ink and watercolor.

5 5 Philippe Lardy, illustrator Josh Freeman, art director Free Associates, design firm lmpresa Software, client Illustration for software brochure. 14 X 17 , gouache.

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

A R T S

1 03

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

A N N U A L

9 9 8

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Institutional (series) Dugald Stermer, illustrator Jack Anderson, art director Jack Anderson/Mary Hermes/Julie Keegan, designers Hornall Anderson Design Works, Inc., design firm Food Services of America, client Calendar. 18 X 24, pencil and watercolor on Arches paper. 2 Robert Case, illustrator Chip Reay, art director HOK, ad agency John Deere, client Mural used for a retail space. 38' X 17', scratchboard with digital color.

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

A R T S

1 05

Institutional Blair Drawson, illustrator Paul Carstensen, art director Stanford Magazine, client Article about students cheating on exams, "Reviving the Honor Code."

10 X 121/4, acrylic on paper. 2 (series) Jeffrey Decoster, illustrator Bill Cahan, art director Sharrie Brooks, designer Cahan & Associates, design firm Sugen, Inc., client Illustrations for annual report. 24 X 24, acrylic.

1 06

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

A N N U A L

9 9 8

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COMMU NICATION

ARTS

107

Institutional Philippe lardy, illustrator Ronn Campisi, art director/designer Ronn Campisi Design, design firm Profiles Magazine, client Article on a computer symposium for Progress Software, " See you in Boston! " 11 X 14, gouache. 2 Jody Hewgill, illustrator Jay Johnson, art director Colorado Cyclist, client Cover of the holiday catalog . 11 X 14, acrylic. 3 (series) James Steinberg, illustrator Anita Zeppetelli, art director Gottschalk & Ash, design firm Perigee, client Capabilities brochure. 9 X 9, acrylic and gouache.

1 08

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A N N U A L

9 9 8

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1 09

110

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A N N U A L

9 9 8

Insti tu tio nal (series) Dominique Vitali, illustrator Julian Alexander/Eve Hartman/Richard Bates, art directors Julian Alexander, designer Atlantic Records, design/client Illustrations used for the MTV awards program. 33/4 X 6, mixed media . 2 Rick Sealock, illustrator Sara Tyson/James Ireland, art directors Sara Tyson, designer James Ireland Design, design firm Imperial Oil Limited, client Illustration for an Imperial Oil Review article explaining why Canada must preserve plants and animals to maintain bio-diversity, " Frozen Assets." 9 X 12, acrylic and watercolor. 3 Alex Gross, illustrator Rikki Poulos, art director Rikki Poulos Design, design firm National Academy of Recording Arts & Sciences, client

Portrait of musician R. Kelly for the Grammy Awards program . 8 X 15, oils.

COMMUNICATION

ARTS

111

112

ILLUSTRATION

ANNUAL

1998

Institutional Chris A. Gall, illustrator Stephen Starr, art director Shadow Design, design firm Shell Oil, client Illustration used in a brochure depicting Shell's wartime years. 10 X 15, scratchboard and dyes. 2 Tim Jessell, illustrator Nina Lowry-Miszkiel, art director/designer Britton Advertising, ad agency Washington Regional, client Illustration from an article on the importance of sleep and its function in our lives, "Sieep ... An Alive, Active and Essential Part of Our Lives." 145/s X 183/4, pastel and mixed media. 3 Philippe Lardy, illustrator Paul Carstensen, art director Stanford Magazine, client " Crossing to Motherhood," article about a woman obsessed with the desire of having a child. 14 X 17, gouache. 4 Marc Burckhardt, illustrator Ellen Elshlepp, art director/designer Doubleday Books, client Cover for D magazine, a collection of excerpts from upcoming Doubleday authors. 10 X 13, acrylic. 5 (series) Vicky Rabinowicz, illustrator Mary McGonagle, designer Conde Nast Corporate Creative, design firm Conde Nast/Volunteers of America, clients Illustrations used on shopping bags as part of a drive to collect business clothing for job interviews for the homeless. 8 X 14 and 9 X 13, linoleum cut collage .

COMMUNICATION

ARTS

113

Institutional Jim Tsinganos, illustrator Alison Roberts, art director Integrated Options, ad agency Westpac Bank, client Brochure sent to top investors. 16 X 16, chalk pastel. 2 Gerard DuBois, illustrator Laura Lathan, art director/designer France Magazine, client Opening illustration for " From the Revolution," rethinking corporate governance in France. Acrylic. 3 Chris A. Gall, illustrator Stephen Starr, art director Shadow Design, design firm Shell Oil, client Brochure illustration depicting Shell's early years. 10 X 15, scratchboard and dyes.

114

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A N N U A L

9 9 8

COMMU NICATION

ARTS

115

116

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A N N U A L

9 9 8

Self-Promotion (series) Joelle Nelson, illustrator/art director/client Postcard mailers. Various sizes, acrylic and collage. 2 David E. Lesh, illustrator/art director/designer/client T-shirt. 8 X 16, mixed media.

C O MMUNICATION

A R TS

117

Self- Promotion Robert Crawford, illustrator/art director/client Postcard mailer. 12 X 20, acrylic on Masonite. 2 Luc Melanson, illustrator/client Illustration used in sourcebook ad. 81/z X 13, pastel. 3 (series) Michael Mabry, illustrator/designer Keizo Matsui, art director Michael Mabry Design, design firm DOD Gallery, client Posters for a commemorative exhibition. 24 X 39, mixed media . 4 Patrick D. Milbourn, illustrator Promotional mailer. 20 X 34, gouache. 5 Michelle Chang, illustrator Promotional card .

118

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A N N U A L

9 9 8

C 0 M M UN I CAT I 0 N

ARTS

119

Self- Promotion Kathy Petrauskas, illustrator/art director/designer/client Sourcebook ad. 10 X 15, pastel. 2 Rafal Olbinski, illustrator/art director/designer Olbinski Studio, design firm National Arts Club, client Poster promoting the artist's exhibition. 20 X 30, acrylic on canvas. 3 John S. Dykes, illustrator/art director/designer Promotional card . 11 X 81/2, acrylic on paper. 4 Zohar Lazar, illustrator Postcard . 19 X 143/4, acrylic on paper.

120

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9 9 8

NO 006-S •

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121

122

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9 9 8

Self-Promotion Brian Behnke, illustrator Sara Love, designer Lisa Freeman Inc., client Mailer. 5 X 8, mixed media. 2 (series) M .C. Selfridge, illustrator Promotional mailers. Various sizes, mixed media .

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123

124

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A N N U A L

9 9 8

Self-Promotion Chris A. Gall, illustrator Bill Healey, art director Naylor, DeDonato & Wolf, ad agency Zanders Paper, client Paper promotion. 15 X 7, scratch board and dyes. 2 Leon Zernitsky, illustrator/art director/designer/client Promotional mailer. 25 X 211/2, pastel on paper. 3 Jeanne Berg, illustrator/client Promotional piece. 101/4 X 141/4, watercolor. 4 Michelle Chang, illustrator Promotional card.

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125

Self-Promotion Jeffrey Decoster, illustrator Mailer. 2 Mike Benny, illustrator Bob Beyn, art director Seraphein Beyn, ad agency/client Poster. 18 X 26, acrylic. 3 (series) Trisha Krauss, illustrator Promotional mailers. 11 X 15, acrylic on wood.

126

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9 9 8

COMMUNICATION

ARTS

127

Self-Promotion Mwaura Kirore, illustrator/art director/designer/client Booklet/mailer. 83/4 X 123/4, Prismacolor, acrylic.

Unpublished 2 John Rush, illustrator Dr. Maria Hibbs, art director For a proposed poster series. 22 X 28, oil on canvas. ©John Rush 1998

3 Amy Crehore, illustrator

Twin Sisters. 20 X 24, oil on linen. © Amy Crehore 1998

4 Eric Hanson, illustrator/art director/client

Mimosa. 31/z X 7, watercolor. © Eric Hanson 1998

5 Mark Garro, illustrator/art director/designer Sublime Design, design firm/client Self-portrait. 20 X 10, acrylic on canvas. © Mark Garro 1998

128

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I 9 9 8

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129

Unpublished (series) Julie Delton, illustrator/art director/client Illustrations from a trip to Greece. Various sizes, watercolor and ink on photocopied text. © Julie Delton 1998

2 Norm Lanting, illustrator The New Economy. 9 X 12, acrylic. © Norm Lanting 1998

3 John Ford, illustrator David Mocarski, art director Illustration for book cover competition . 111/z X 19, plaster, wax. ©John Ford 1998

130

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9 9 8

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131

132

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A N N U A L

9 9 8

Unpublished Neal Armstrong, illustrator Sol Lang/Mary Bogdan, art directors Crayon Design & Communication, Inc., design firm

Pluto Plutonium. 18 X 24, acrylic and oil. © Neal Armstrong 1998

2 Kathy Osborn, illustrator

The Long Nap. Gouache. © Kathy Osborn 1998

3 Rob Day, illustrator

Red Cap. 10 X 14, oil on Masonite. © Rob Day 1998

4 Laura Beingessner, illustrator 11 X 14, gouache and pencil. © Laura Beingessner 1998

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133

Unpublished (series) John Robinette, illustrator/art director/designer/client Paintings inspired by trips through the Mississippi Delta region. Various sizes, mixed media. ©John Robinette 1998

134

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9 9 8

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

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135

Unpublished (series) Dane M . Howard, illustrator/art director Personal work inspired by emergency response situations seen through the eyes of children . 16 X 16, oil on Masonite. ©Dane M . Howard 1998

2 Grace DeVito, illustrator

12 X 13, oil. © Grace DeVito 1998

3 Mi Lo, illustrator/designer John English/Mark English, art directors

12 X 12, acrylic and collage on film and white board with transparent gel medium . ©M i Lo 1998

4 John Jude Palencar, illustrator/art director/designer

Between Thoughts of Faith. 57 X 291/4, acrylic on joined panels. © John Jude Palencar 1998

136

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A N N U A L

9 9 8

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

A R T S

137

Unpublished Mike Murray, illustrator

Raven. 24 X 18, printer's ink and charcoal on vellum . © Mike Murray 1998

2 Steven J . Levin, illustrator ©Steven J . Levin 1998

3 (series) Paul Rogers, illustrator First five letters of a book project, Jazz ABC. 12112 X 12112, acrylic. © Paul Rogers 1998

138

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I 9 9 8

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139

140

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A N N U A L

9 9 8

Unpublished Mi lo, illustrator/designer Gary Kelley, art director

Summer Fiction. 15 X 20, acrylic and collage on film and white board with transparent gel medium . ©MiLo 1998

2 Marco Ventura, illustrator laura Filippucci, art director Unpublished cover for Si magazine. 13 X 13, oil on Masonite. © Marco Ventura 1998

3 Robert Crawford, illustrator Kirsten Feldman, client Commissioned painting of Springhill Farm. 48 X 43, acrylic on Masonite. © Robert Crawford 1998

4 Monique Passicot, illustrator

The Apple. 10 X 14, oil on canvas. © Monique Passicot 1998

5 Olaf Hajek, illustrator 9 X 12, acrylic. © Olaf Hajek 1998

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141

Unpublished Ned Gannon, illustrator/designer Marshall Arisman/Carl Titolo, art directors 16 X 20, oil on canvas. © Ned Gannon 1998

2 (series) Andy Rash, illustrator Various sizes, gouache and ink. ©An dy Rash 1998

142

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COMMUN I CATION

ARTS

143

Unpublished (series) H.B. Lewis, illustrator Book project, Winnie Mae. Various sizes. © H.B. Lewis 1998

144

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9 9 8

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145

Unpublished (series) Sandra Hendler, illustrator/art director/designer Book project. Various sizes, oil on canvas. © Sandra Hendler 1998

146

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9 9 8

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Editor's Column BY PATRICK CoYNE

his issue showcases the results of the largest illustration competition we've ever held. Out of the

6,425 entries submitted our jury chose 237 projects by 165 artists. Although the strong economy is probably the main reason we saw a record number of entries, I am still

very concerned about the future of illustration. Several of the challenges illustrators face are addressed in two Opinion/Commentary columns in this issue. Unlike design, advertising art direction and, to a lesser extent, photography, computer technology has done little to accelerate the illustrator's technique. Illustration is still very much

Tenne

connected to its traditional roots of composition, form and rendering-time-intensive processes that are increasingly at odds with today's tighter budgets and shorter deadlines. One of our jurors, Kinuko Y. Craft, who is well known for her richly-rendered images, commented that lower fees have reduced her hourly rate to not much better than the typical fast-food worker. As for creativity, the proliferation of new artists looking to establish their own voice and a salable style continues to challenge any definition of what constitutes creative excellence. This increasing spectrum of visual solutions has also

Rubenstein

resulted in increased criticism by many who see this new primitivism as a lowering of standards-not unlike the criticisms aimed at the Impressionists and Post-Impressionists who chose to take painting into new directions. This year's jurying began on a rainy Sunday morning (typical of 1998's El Nino weather) on April 5th, 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. 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

Kraft

half of the entries submitted. The judges alternated between viewing a carousel of slides and then a set-up of print entries. Any juror could place an illustration in the finals by handing a printed piece to a member of theCA 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 152

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

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9 9 8

Besser

Twomey

talent within 915 Broadway 14th Floor NYC 10010 212 673 6600 www. showcase .c om

·i I s h 0 w c a s e I

Editor's Column

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. I would like to thank our jurors for their conscientious efforts in selecting our 39th Illustration Annual.

Rik Besser is the principal and owner of the Santa Monica, California-based Besser Design Group, a communications organization that deals in corporate communications, annual reports, marketing and promotional materials, identity systems and package design. Mter graduation with honors from the Art Center College of Design, Besser spent six years as a senior designer with Robert Miles Runyan & Associates and then moved on to co-found Besser Joseph Partners, Inc. Mter ten years as a principal of BJP, he formed his present firm. Over the past eighteen years, Rik's work has been cited for excellence by numerous professional design, communications and financial organizations. He was also a member of the faculty at the Art Center College of Design for ten years. Rik is currently a member of the board of creative advisors for the Santa Fe College of Design.

Kinuko V. Craft is a freelance illustrator in Norfolk, Connecticut. Born in Japan, she first took an interest in drawing and painting as a small child. Mter graduating with a BFA from the Kanazawa Municipal College of Fine and Industrial Art, Ms. Craft came to the United States where she studied at the School of Art Institute of Chicago. She devoted her-

Rhonda Rubenstein is the creative director of San Francisco-based Mother jones magazine. Previously, she was the principal of R Company in New York, an editorial design studio, with clients such as Time, Doubleday and Disney. Prior to that, Rubenstein was the art director of Esquire where she won various design awards, many for the magazine's innovative covers. She has served on the Board of Directors of the Society of Publication Designers for the past six years and is in the process of establishing the first chapter west of the Hudson River. Rhonda has taught at Parsons School of Design and New York University. She holds a Bachelor of Design in Visual Communication from the Nova Scotia College of Art and Design.

George Tenne is senior vice president of creative services at BBDO Chicago. Tenne was the senior vice president of creative services at St. Louis-based DMB&B from 19891996. He first joined DMB&B in 1977 as a senior art director and was named a senior vice president group creative director in 1985. He provided creative leadership on such accounts as Kal Kan Pet Foods, Michelob, Banquet Foods and Southwestern Bell Telephone. George has been active in creative competitions at the local, regional and national level and has been a judge for Addy, Obie and Andy competitions.

Anne Twomey has been an executive art director at St.

in 1987 she was awarded the prestigious Hamilton King Award

Martin's Press in New York City since 1991. Prior to that she was a book cover designer and art director for Warner Books and Pocketbooks. Her work has garnered numerous awards from The New York Art Directors Club, The Society of Illustrators, Print magazine, The New York Book Awards and Ad

from the Society of Illustrators. Ms. Craft now devotes much

Age's Creativity. •

Slide finals

Print finals

self to illustration full-time on a freelance basis beginning in 1969. Craft's work has been recognized repeatedly by professional art and design publications and competitions and

154

of her time to illustrating children's picture books for Morrow Junior Books . She is currently working on her fifth book, King Midas and the Golden Touch, written by her daughter Marie Craft.

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Contributors

Features Julie Prendiville Roux is a

freelance writer based in Los

Pat Soberanis is a San Fran-

all from Allworth Press. He

lishers. She holds a BS from

cisco-based writer and editor.

wrote the Legal Affairs column,

New Hampshire College, a BFA

Her Web site, The Publishing

edited by Tad Crawford.

from The Massachusetts College

Resource, is at www.soberanis.

Angeles. She has contributed to

Communication Arts magazine

com. She put QuarkXPress 4.02

to the test for the Technology

since 1987. She recently complet-

Reviews column.

creative director based in Minneapolis. His career has taken him through a number of adver-

ed a stint in the world of carSam McMillan is a San Fran-

rising agencies, from small ad

tor of creative services for Hanna

cisco-based writer and producer

boutiques to large marketing

Barbera Cartoons, Inc. and

of interactive multimedia pro-

behemoths, wherein he has man-

Warner Bros. Animation. Julie

jects for a number of Bay Area

aged to consistently win awards

began her career in advertising in

production houses. In addition

and create excitement for a

1980, working at agencies includ-

to teaching "Real World Writ-

variety of clients who generally

ing Ketchum Communications,

ing for Interactive Multimedia"

don't dress or act or think the

Chiar/Day and Foote, Cone and

at San Francisco State Uni-

way he does. He wrote the

Belding and she also spent three

versity's Department of Multi-

Advertising column, edited by

media Studies, McMillan writes

Tom Monahan.

toons, serving as executive direc-

years as staff writer at Dick Orkin's Radio Ranch. She visired the San Francisco Bay Area to profile M.A.D. (McShane Adigard Design) as the Tech-

frequently about topics concerning the interactive multimedia

Brad Holland is self-taught,

design industry. He wrote the

and has been a professional artist

Technology Resources column.

since the age of seventeen. His ink drawings in the under-

nology Feature for this issue.

Columns

Sean Kernan is a photogra-

ground press brought him to

pher and an occasional writer

the attention of the editors of

who enjoys wrestling with questions about art and creativity.

Wendy Richmond is recog-

He keeps an unfinished novel as

nized internationally as an inno-

a pet. He wrote the Design Issues

vator and commentator on

column, edited by DK Holland.

visual communication and tech-

the New York Times, where, in 1971, he became one of the

founding artists on the Op-Ed page. Holland's paintings have appeared in nearly every major

nology. She has been involved

Barbara Gordon, an artist

U.S. and many international

with computer-based media since

and photographer representative

publications and he has received

1977, beginning with research

more gold medals from the

in design at Massachusetts Insti-

since 1969, is a past president of the Society of Photographers and

Society of Illustrators than any

tute ofTechnology. She has par-

Artists Representatives and a

other artist in that organiza-

member of the Society oflllus-

tion's history. Brad Holland

ticipated in the formation of software companies to develop new communication media and tools and co-founded the Design Lab at WGBH TV. Wendy is an NEA grant recipient and has served on numerous advisory boards and currently teaches at

156

of Art and an MA from Syracuse Tom Evans is a copywriter and

at The Boston Museum School and The North London Polytechnic, London, England. Cyr is an artist member of the Society of Illustrators and she teaches and gives lectures on illustration, design and creative self promotion in the New York City area. Her work is in the permanent collection of the Museum of American Illusrration. She wrote the Opinion/ Commentary column about the future of illustration.

Books Byron Ferris has written for

CA for over 30 years. As a former college design instructor and creative director at McCann Erickson, his interests are in design, advertising, letterform and typography. 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.

trators and the Graphic Artists

lectures widely to universities,

Guild and is also the author of

organizations and corporations

Ruth Hagopian is a freelance

two books. She heads her own

in the United States and abroad

designer and writer who special-

firm, Barbara Gordon Associ-

and has written articles for The

izes in digital art. She cofounded

ares, in New York City. She has

a San Francisco design firm,

written on freelance issues for

Atlantic Monthly and Texas Monthly. He wrote an Opinion/

CA since 1982.

Commentary column on the issue of stock illustration.

Harvard University. Her column

Leonard DuBoff is the author

has appeared in Communication

of The Art Business Encyclopedia,

Lisa L. Cyr is an illustrator,

Arts since 1984 and her book is titled Design & Technology: Erasing the Boundaries.

The Law (in Plain English®) for Photographers and The Performing Arts Business Encyclopedia-

designer and marketing consul-

ILLUSTRATIO N

University. She has also studied

AN NUAL

I 9 9 8

Visual Strategies and was a contributing editor of Online Design, a publication for electronic art and graphics.

tant working with advertising agencies, corporations and pub-

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Letters to the Editor

Keeping Promises: The Impact of Brands on Society, Part One Wow, DK Holland and Tibor Kalman sure give a lot of credit/blame to brands for the ills in our society. [March/April Design Issues column.] They make it sound as if people are nothing but puppets on a string being controlled by advertising. Advertising/branding may get people to notice a product, store or service, but if it doesn't perform the way it is supposed to, eventually it will fail. Perhaps the success of brands has to do more with their ability to produce products that work as advertised. A couple of thoughts about other premises stated in the article: "Before mass production, there was less choice because manufacturing methods were very limited." Didn't there used to be dozens of auto manufacturers? Before mass advertising and expedient delivery systems, didn't every community have unique products and services? I think so. "Remember when there used to be peer pressure to maintain a solid financial profile as a citizen?" Remember when there used to be peer pressure not to have children out of wedlock? Remember when swearing in public or on the airwaves was considered wrong? We live in a society that wants to live consequence free. That has little to do with brands and more with the moral ambiguity we've embraced because that leaves us guilt-free. "When the brand is overtly creating a climate that urges consumers to purchase overpriced goods that they can't afford and don't really need, the brand 160

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

A N N U A L

has gone too far. " What a bunch of crap! When that scenario exists, a competitor will produce a comparable product for less money! Take an economics class!

people and producing products and services that fill a need in society? It's good PR in our age of "feel goodism," but I know first-hand of how companies are being held hostage by special-

"The brand is a mark of a group you belong to. Microsoft and Apple are actually competing clubs . You're either a Coke person or a Pepsi person. You wear either Nike or Reebok. The products are essentially identical; brand identity is the only distinction. " Really!? Funny, I used to use DOS until Apple came along, which was much easier to use. I've owned Reebok and Nike shoes-and you know what-the Nike shoes held up better and now I just own Nike.

interest groups, demanding their "fair-share" of corporate giving. It's ridiculous that anyone has a "right"

"For instance, do you know if the company is fair to its workers? Is the company manufacturing in the United States? Is the company 'giving back' to the community in any way that relates to its profits? Is the company creating and promoting a better world? "

to profits they did not produce. 4) Creating a better world? Just what is

that? And who is going to be the arbiter of what is better? The only "better" world I can dream of is a free world. And the only freedom is economic freedom to pursue one's personal happiness. And guess what-to achieve that freedom means being an employee of a company, or owning a company providing products or services distinctive to the marketplace that people are willing to purchase. And to make sure they will return for more, that company will have a name (an identity) and eventually become a brand. I could continue with Holland's lop-

I) Employees can, and often do, leave a

company when they are mistreated. That is their responsibility to themselves-good employers know the value of good employees and will provide accordingly.

2) Why should I care if something is made in the U.S.A.? Perhaps the person making the product overseas is not making a livable wage by U.S. standards-but it doesn't take much research to find out that these thirdtier-wage economies grow and prosper eventually, raising the standard of living in their countries. 3) Why is it that we now think companies need to "give back" to their communities above paying taxes , employing I 9 9 8

sided assessment of negative images in advertising and pop culture. (When is the last time you saw a TV spot with a woman getting kicked in the crotch for laughs?) Men are the victims of most of the crime in the world (and, yes, the perpetrators as well), but that's a whole different letter. Yes, we in the advertising/design community have a responsibility to present "ethical" images and steer our clients clear of "bad" campaigns. But to claim that advertising and design is a core cause of our societal decline gives way too much credit/blame to the profession. NORMAN FLETCHER CHICAGO , ILLINOIS

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Letters to the Editor

DK Holland Replies

Coincidentally, as I was reading Mr.

and other communication professionals

Brands reflect the aspirational values (or

Fletcher's letter, a news report came on the

are stupid frustrated punk rockers? Are

moral ambiguity) oftheir target audiences:

radio stating that sales ofautomobiles were

we now to think that after 40 years of

We rely on brands but brands' survival

down and that something had to be done

showcasing the best and brightest minds

depends on the will and the whim ofthe

to boost sales. "The economy depends on it!"

in the business that CA really believes

audiences. And one ofthe main points of

The better world that L for one, dream of

that maybe it was all just a fluke? That

depends on less conspicuous consumption,

great ideas just come out of nowhere?

do) collectively affect the brands we sup-

not more. And yes, Mr. Fletcher, adver-

Maybe it's time to look at the message

port. That's why it's so important to apply

tising and design affects the way we think

that is on the media pages. I think

our intelligence when we make choices

about consumption, for the good or for

these ads should have been rejected

as consumers.

the bad.

from the word go. They are not only

'Keeping Promises " is that we can (and

Philip Knight, the head ofNike, just

well. Let Extensis keep their money.

Nike 's Southeast Asian factories to the

When I took my first advertising class

Communication Arts need not be party

level the US. government requires state-

in 1971, the required text was a sub-

to these degrading stereotypes.

announced he will raise the standards of

162

ill-conceived, but poorly crafted as

CA: The Good and the Bad

side. Knight added that the American

scription to Communication Arts. I have

people clearly don 't want to buy product

been a fan ever since. You are the

that has been created under abusive con-

keepers of the flame in the visual arts

ditions. I think this decision was clearly

world. It is not an exaggeration that

the result ofaware, responsive consumers

CA is the most influential publication

telling the brand what they will support

in our field .

and not support with their dollars.

The ethics of our business have been

Errata

JoHN GIBBY ART DIRECTOR BROWNING MoRGAN, UTAH

There are also addictive products out there

discussed in many articles over the

that are clearly trying to keep an audience

years. I enjoyed DK Holland's excel-

On page 85 of the I998 January/ February issue, in the Hill, Holliday,

captive, particularly the youth market,

lent thoughts on branding in the

Connors, Cosmopulos article, the

in particular through advertising and

March/April I998 issue. To quote the

photography credits for the Rolling

design. Cigarette smoking is an expensive

article: "Each client we work with is a

Rock ad should have listed Henderson/

habit and unnecessary for most people.

reflection of our integrity ... " Clearly

Cartledge as well as Charles Gold.

Awarded 6. 6 billion dollars recently by the

advertising professionals have a respon-

court, to be paid by the tobacco giants,

sibility not to promote products and

the state ofMinnesota can attest to the

ideas they do not believe in.

On page 202 of the May/June issue, in RitaSue Siegel's article "In Search

power ofadvertising and design. One

What are we to think of the Extensis

of Trends," Deskey Associates was

of the non-monetary awards was the lim-

ad in the same issue with the headline:

incorrectly listed.

itation ofadvertising.

"Math Even Designers Can Under-

Mass production started in the I8oos in the

stand."? Why would CA run an ad

Address correspondence to: Letters to the

US. It wasn 't until the early I900s that

that insults their own subscribers? But

Editor, 4IO Sherman Avenue, Palo Alto,

mass production ofcars started in Detroit.

this is not the first time. Remember

California 94306 or direct e-mail to

In the I950s there were only three major

the ''An Organized Artist?" ad also from

letters@commarts. com. We reserve the

automobile manufacturers in the United

Extensis. The ad used a dingy blonde

right to publish letters and to edit for

States, not dozens. The explosion of brand-

with a nose ring to represent our indus-

clarity and length. Please include a

ing to which I referred in my article

try. Are we to assume that Communi-

signature, address and phone number.

started in the '6os.

cation Arts really thinks that designers

Anonymous letters will not be published.

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M.A.D. BY JuLIE PRENDIVILLE Roux

t's not surprising that Patricia McShane and Erik Adigard refer to themselves as cultural nomads. Adigard spent his childhood in Africa listening to street bands playing on all variety of media-most notably, tin cans. McShane came of age in Northern California watching "The Twilight Zone" and quirky British imports like "The Prisoner" and "The Avengers."

And yet the two found a profoundly common ground while attending the California College of Arts and Crafts in Oakland/San Francisco where they both earned B.F.A. degrees in graphic design. Adigard came to the school by way of Montpellier, France, where he had studied at the Academie des Beaux Arts. But it wouldn't have mattered whether they'd grown up next door to each other or a continent away. The fact was, they both had a facility and a talent for soaking up what was around them and expressing it with any and all tools. At the time, in 1987, they were both working in photocopying, layering and collage. Adigard was creating video art as well. Two years later, they formed M.A.D., a graphic design and illustration firm located in the Multimedia Gulch area of San Francisco. In 1994, they moved the studio into a white clapboard bungalow in the hills of nearby Sausalito. McShane remembers, "The studio we formed was a forum for our shared visual expression. We were using the digital tools early on. In the beginning, our style of work wasn't understood by the corporate world of advertising. We stayed busy with a small group of clients who caught on immediately to our work-namely, Adobe, Apple and MacWorld." McShane was hired by Adobe to explore emerging software, the theory being that advertising her work would encourage the design community to use the tools. As a result, she became proficient in Photoshop during its infancy. In fact, she was given a first issue of Apple's Macintosh as a gift. "In 1984, my boyfriend gave me a Mac, just about the time I became interested in the world of graphic design. I returned to college and my work during that time, much of which was done with layers of transparent film on the color copier, was very graphic and contextual. It utilized my prior skills in photography, drawing and object making. By the late '8os I was able to compose this work entirely on the Mac." Having layered by hand for years, the new capabilities Photoshop and other tools offered her were exciting.

"Our of the computer comes something you can't know until you explore it," she says. McShane and Adigard found themselves in a pioneering position thanks to their early experience with the digital world. In the early '9os, less than three months before Wired magazine was launched, M.A.D. contacted art director John Plunkett. He assigned the studio the intro spread of the first edition. "Originally it was an illustration assignment," Adigard says. "But immediately John allowed us to integrate typography into the imagery." So the charter edition launched with a three-spread introduction. Its sensibility-with its layered, neon colors and shadowed typebecame a signature of the Wired "look," and the six-page intro became the format. The first three years of the magazine's intros, a good portion of which were designed by M.A. D., became Mind Grenades, a book published by HardWired. That first collaboration led to a long-term relationship between Wired and M.A.D. The studio became involved in the original Wired online division, HotWired. Among others, M.A.D. designed the logo and Web site graphics for HotBor. Since 1996, Adigard has been mostly occupied with the design of Live Wired as well as with the launch of channels on Pointcast, Marimba, Netscape and IE 4.0 and sites such as WiredNews and NewsBot. While M .A.D. remains headquartered in Sausalito with McShane at the helm, working with interactive designer Dave Granvold and sound designer Charles Uzzell Edwards, Adigard is ensconced at the Wired offices in downtown San Francisco. Here, the familiar neon colors pop our at you at

Above: Portrait of Erik Adigard and Patricia McShane. This page and next, bottom : "Icons: Magnets of Meaning," sevenminute-long animation inspired by liveWired, exhibited at the San Francisco Museum of Modern Art, 1997.

•..i

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once. Laid out like a warehouse, the main WiredDigital floor is a sea of desks. Adigard notes , "It looks like we are camping, and we are. We are on the move. " He gestures to a corner where his desk used to be. The designers, writers and producers go where their projects take them.

Also on display at M.A.D. are her wrapping projects.

At the moment, Adigard is immersed in experimenting with

shelf or a bookcase.

new kinds of publishing for the desktop. And he's working

She shows a project she did for fashion designer Trussardi

with creative director Barbara Kuhr and senior designer

of Milan . "He contacted us to design a line of silk scarves

Her boxes are fanciful , covered with layered papers and whatever strikes her fancy-like jacks from a ch ild's game. Many of the images she uses in her work are toys or scraps of paper or photographs still in evidence on a

Eric Eaton on the redesign of the artillery ofWiredDigital

for a 'distressed TV' line he was creating," she says. The

tools. "There's a lot of machine talk in our world ," he

scarves as a square mimicked the design of a television , bur

explains. ''I'm trying to turn on the emotion." He remembers

in the field where the screen would be were whimsical pat-

the experience of growing up in Africa and the rousing,

terns. One had a repeating stamp of red toy soldiers

metal thump of the street music. "Back then , I

over a striking robin's egg blue background. The very

knew to listen to the language of music rather

soldier she used was poised on top of the monitor

than the tools . I knew there was a difference. "

on which she was displaying the work. "I got

McShane and Adigard share that talent. To come

tllllllll;:ir-~C~..

up with design solutions, they p ull from anywhere and everywhere. While Patricia folds ' 6os and '7os sensibilities into her work, Erik draws from his

him at the flea market," McShane says. "I think he's a Swiss soldier. " McShane and Adigard have so seamlessly

introduced the rest of their lives-points of refer-

international roots. "I think th ere have been two important

ences and even political leanings-into the digital world

influences on design in this century, " he says. "Bauhaus and

that it's also no surprise that they redesigned the tradi-

the American ' 6os experience, which influenced the whole

tional Web site when inventing their own. Patricia says,

world. Patricia was born right into it-the popular art, the

"The www.madxs.com site functions not just as a portfolio

design, the TV. "

of our work. It is also about designing for the Web. We

McShane is the kind of person you wouldn't mind being

wanted to create a dynamic user experience where the

trapped with on a desert island because she'd craft a way

standard has been a vertical scrolling page much like a

out. She's the Martha Stewart of kitsch, a Margaret Mead of the art set. Using found objects, her own cultural icons,

Recently, she visited her parents' house to find that her

This page: Ringmaster logo from a corporate identity campa ig n for lkonic. A character, who hopped and pointed his arms back and forth in 3-D on the Web site, branded this Web management softwa re product intended for small to medium Web masters and content providers. The system included logo, advertising, packaging, Web site and co llateral materials . Patricia McShane, designer; Beth Koelker / Rob in Raj , creative directors.

mother had stretched a tube top from the '7os over a lamp

Right (top six frames) : M .A .D.'s Shockwave site [www.funne l. com],

shade to diffuse the light. Patricia seized that inspiration to

is one of the first art Web sites to be included in t he collecti o n of th e San Francisco Museum of Modern Art. Created in 1996, Funnel cou nts down to the year 2000 i n days, minutes, seconds. This edition explores the theme of Virus in the '90s; from health, to techno logy, t o th oug ht. Erik Adigard/Patricia McShane, designers/ illustrators; Erik Adi gard / Patricia McShane/Dave Granvold, interactive p rog r ammers; Lau rence Arcadias/Ken Coupland/ Lindsay Gravette, contributors.

she almost obsessively creates. When traveling, she confessed, she would cut up postcards to fashion new ones and send them home to her friends.

fashion a series of towering lamps made from recycled wire, stand-up card racks over which she stretched various gauzy fabrics. One lamp, currently on display in the living room of her studio, is lit with Christmas bulbs. "I think these racks have been replaced by wall racks ," she says. "I got these outside some store that had just discarded them and left them on the street. I think this kind is considered pretty tacky. " But resurrected as her lamps, they are elegant.

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One in a series of seven ads created for a national advertising campaig n aimed to give Cirrus, a manufacturer of audio, modem and 3-D graphics chips, a presence in the consumer marketplace. Patrici a McSh an e, desi gner; Erik Adigard/Patricia McShane, illustr ators; J oh n M iwa, art director; Poppe Tyson , client.

www.funnel.com

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print piece. We tried to utilize the potential of the monitor as the TV does-a window instead of a page." The site fills up the entire screen, moving and flowing whether the user selects a command or not. It offers an automated slide show of saturated, blown-up cross-sections of M.A.D. portfolio pieces, and layered imagery allows animated sections to be displayed on top of static shots. A horizontal, scrolling billboard along the bottom edge allows you to select any image and go deeper into a project or subject. In the end, you've seen a comprehensive presentation of M.A.D. along with a computer art show uncluttered by the usual desktop icons. M.A.D. has also instituted a countdown to the millennium since 1990, starting with a New Year's card. In 1996, they created a millennium countdown Web site (www.funnel. com), using a funnel as an icon. The funnel, signifying images and ideas moving through a channel, is a symbol the pair often used. McShane and Adigard's studio is a fluid, evolving proposition. Erik says, "Business and imagination have not always mixed. " Here, they seem to. •

This page: While at WiredDigital, Adigard, along with writer Gary Wolf, developed and designed LiveWired, an evolving experiment in desktop communication, including research on streaming content such as news, factoids and images. It led to the creation of the Wired Channel on Pointcast, to more vivid screensaver concepts and to advanced Web channels such as the Netcaster and the Internet Explorer 4.0 Wired channels. "Our vision is that the computer desktop should be an open communication space that is inspiring and always on," says designer/ illustrator Erik Adigard . Barbara Kuhr, creative director; Gary Wolf, executive producer. LiveWired 1.0 launched 7/14/97: Version using complex DHTML code and thumbnails as navigation. It includes a news screen. LiveWired "Lite" launched after 2/98: Version designed to run on low-end browsers. HotBot search engine logo and original Web site graphics. Erik Adigard/ Patricia McShane, designers; Barbara Kuhr, creative director; Jonathan Louie, design director; Wired, client. Right: Wired April1993; "The Mediasaurus: what we now understand as mass media will be gone in ten years." Erik Adigard, designer/illustrator; John Plunkett, creative director.

Wired March 1997; "Push: the future of media beyond the Web." This intro started on the cover of the magazine and continued with a series of six spreads. Erik Adigard, designer/illustrator; Thomas Schneider, designer/design director; John Plunkett, creative director.

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Left: "This 8/ad cover was part of a feature story on the studio. The character was going to buy his newspaper. In an age of over-digitazation we wanted to communicate the physical nature of magazines, so we showed it as a log, " says Adigard . Hans Wolf, art director; Erik Adigard, illustrator. According to Adigard, "The upsidedown funnel signifying madness was originally rejected by Absolut. It was eventually run, but it was changed from Absolut M.A.D. to Absolut Adigard without our knowledge. " Erik Adigard/Patricia McShane, illustrators; John Plunkett, creative director. Omnis poster was created in nine different languages as part of an international campaign for a Web software company. Patricia McShane, designer/illustrator. This page: OStations poster and invitation for a Limn Gallery exhibition, a room-size installation which included multiple projections, sensors and a monitor. Erik Adigard, designer/ illustrator. Patricia McShane illustrated this silk scarf line, based on the theme of distressed TV, for Trussardi of Milan .

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For our new Digital Papers swatchbook, call your local merchant, or Mohawk at 1-800-The Mill.

Another Kind of Language BY WENDY RICHMOND

really shouldn't be writing this column. I should be

Each episode was enormously inspiring, but for me, one

singing it. Or drawing it. Or dancing it. Earlier this

stands above the others: his collaboration with the chore-

year I attended the exhibit "Drawing is Another Kind

ographer Mark Morris. In an early conversation, we see Yo-

of Language" at the Sadder Museum in Cambridge, Massa-

Yo Ma and Mark Morris discussing the process they are

chusetts. I enjoyed the collection, but the most powerful aspect for me was the idea of the exhibit. The words of the

about to begin. Ma wants to know: could he understand the choreography and actually be influenced by the action on

title came from the artist Richard Serra: "Often, when you

the stage? In other words, could the way that he knows and

want to understand something, you have to take it apart or

plays this music be changed by his being part of this new

apply another kind of language to it. Drawing is another

action, by his playing in concert, so to speak, with Morris's choreography? Morris grins and answers, "Well, that's the

kind of language." The students in my courses at Harvard's Graduate School of Education are extremely articulate and comfortable with

The next scene shows Ma playing for the dancers as they

the spoken and written word. This is their primary means

rehearse. Ma watches and begins to smile. He is looking

of expression as well as learning. One of the goals in our

intently, clearly responding to their movement. He comments

class is to explore the expressive power of different media

later about their effect on his playing, how he plays by

by comparing print, photography, video, sound, multimedia

using the dancers as his music. As I watched Ma play and

and so on. We do not have required readings or papers; we

the dancers perform the full piece, I not only heard Yo-Yo

have "doings." Our projects attempt to achieve a deeper

Ma's music differently, I began to see it. I saw the music as a

understanding of each medium, by, as Serra said, applying a

layered structure, as a narration, as a conversation. I began

different kind of language. For example, one assignment is

to understand the music through the language of dance.

to compose and perform music using the medium of print.

Towards the end of the episode Ma and Morris continue

There is one restriction: do not use standard musical nota-

their discussions, but the words they exchange are minimal;

tion. The results have been wonderful, sometimes very

the real communication and meaning are carried by gestures

John Cage-like. One group reenacted a library setting and

and music. What began as a somewhat stiff but respectful

developed a symphony of page turning, book dropping,

exchange of spoken language has evolved into a friendship

date stamping, newspaper ripping and paper crumpling.

that shows, mostly through body language, warmth, humor

The students had previously thought of print in terms of

and delight.

content; now they are aware of its weight, sound, texture, age, value, fragility; in a word, its form.

The spoken and written word is our most respected form of communication. It is the one we judge and are judged by.

Last month there was a six-part series on PBS television titled "Yo-Yo Ma Inspired by Bach." It is one of the best

are trying to understand. But sometimes words can hinder

examples I have ever seen of this concept, that is, applying another kind of language in order to deepen one's under-

understanding. Mark Rothko once said that the reason he didn't give titles to his mature paintings was because he was

standing. Yo-Yo Ma has been playing the "Bach Cello

afraid that words would paralyze the viewer's imagination.

Suites" since he was four-years-old, and the suites have always been an important part of his life. He invited artists from other disciplines (figure skaters, a choreographer, a film maker, an artist/architect, a landscape designer and a kabuki actor) to collaborate with him and interpret the Bach Suites in their own mediums. Yes, he wanted to share

It's the way we explain ourselves, as well as that which we

I have just thrown approximately a thousand words at you to explain the importance of another kind of language, but I feel very comfortable knowing that an annual of spectacular illustrations surrounds this page. They will tell you things that will make you understand my words more deeply. •

of something he dearly loves by not only seeing it, but also

Editor's Note: 'To-Yo Ma Inspired by Bach" videotapes are available. Contact WNET at (Boo) 336-I9I7.

performing it through the eyes of another medium.

this life-long source of inspiration with others. But there was something more: he could deepen his own understanding

176

point. I think it's a good idea."

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QuarkXPress 4.02 BY PAT SoBERANIS

t first glance, the QuarkXPress 4.02 interface and menus appear the same as those in earlier versions. But a closer look reveals more than 75 new features

such as blends; powerful Bezier text-path, text-box and picture-box tools; clipping-path creation; and style sheet synchronization and other long-document capabilities. Clearly, Quark is aiming at Adobe Illustrator, Adobe Photoshop, and even Adobe FrameMaker along with its usual target, Adobe PageMaker. QuarkXPress 4.02 can indeed reduce your reliance on Illustrator and Photoshop, but for most designers it's not the all-in-one package Quark may be hoping for. Page designers will cheer QuarkXPress 4.02's new Merge command and Bezier tools, most borrowed from Illustrator,

which vastly expand their creative options. In Figure I, for example, the title started out as text, which I converted to an editable Bezier picture box using the Text to Box com-

178

Figure 1. Among the most convenient of the 75 new features in QuarkXPress 4.02 are Bezier picture boxes, text-to-picture box es,

mand. Then I com bined it with several noncontiguous

merging picture boxes, text paths, Runaround All Sides and cha racterlevel Style Sheets.

picture boxes using the Merge feature . The result is a single, masklike picture box, with the same imported image show-

scale Bezier boxes in QuarkXPress 4.02, and you can't create

ing through each section.

blends with more than two colors or apply them to frames.

Version 4.02's Bezier tools are strong and comprehensive .

Bezier clipping paths, the newest Photoshop-like attribute,

Line and text-path tools come in several flavors: orthogonal

are another convenient feature, allowing you to silhouette

(horizontal/vertical), diagonal, Bezier curve and freehand.

an object right in QuarkXPress. The Clipping dialog box

And text and picture boxes now have identical options: rec-

in version 4.02 recognizes both alpha channels (masks) and

tangle, rounded corner, concave corner, beveled corner, oval

embedded clipping paths created in image editing programs

and freehand. All of these elements remain editable, includ-

such as Photoshop, or it will create one for you based on a

ing corner points. The picture-box type can be changed at

Bezier path you've drawn or on an object with a white back-

any time (from rectangle to freehand, for example), and a

ground (see Figure 2). Once created, you can edit clipping

text box can be converted to a picture box and vice versa, though the box's content is lost.

paths point-by-Bezier-point using a separate command. For critical work, though, you might leave clipping paths to

Some features even surpass Illustrator's. You can resize a

the prepress and image editing experts. According to Brian

Bezier text box without resizing the type inside it, for example, and link multiple text boxes, Bezier or not. The

Lorentz, account representative of Prepress Assembly, Inc., in San Francisco, the clipping paths that QuarkXPress creates

superior typographic capabilities of QuarkXPress 4.02 also

might work well for rough outlines, but sophisticated designs

give it an edge in creating text paths. You can do most of

will likely require greater precision. Check with your pre-

the things allowed in Illustrator, but you have more control

press vendor before taking on this task in QuarkXPress 4.02.

over tracking, vertical and horizontal alignment, and other

Quark also made several improvements for text. The Run-

formatting specs. If you're unfamiliar with Illustrator or

around All Sides option, as the name implies, allows you to

Bezier curves, Quark provides an excellent tutorial along

run text around both sides of a graphic placed within a

with its thorough user guide.

column, and inside it if the graphic has a clipping path.

Still, these new drawing capabilities are a far cry from Illus-

The new character-level style sheets, which used to require

trator's when it comes to creating complex, precise infograph-

an XTension, are a real blessing. Whether you want to

ics and illustrations. For starters, you can reshape but not

change the font, color and point size of key words , or just

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

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with your film. Your mother never understood what you do for a living anyway.

1 800 . T I B IMAGES

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need to convert certain words from Roman to italic font, you need only highlight a word and click the appropriate

Do you need somebody1 Temporary or long term. On stte or off. We're there.

style in the Style Sheets palette (see Figurer). You'll still need a specialized XTension for heavy-duty table layouts, however; Quark hasn't improved on its elementary tabbased approach. The company also virtually ignored its inadequate spelling checker. Quark has wisely combined multiple commands in the Item menu, and for Preferences and Page Setup/Print, in neat tabbed dialog boxes, and the new Bezier tools are packed into pop-out menus in the toolbar. The tabbed Item Modify dialog box now incorporates Runaround and Frames commands, and it's context-sensitive, so other tabs change with the type of box you're working with. The long-document features in QuarkXPress 4.02 are enough to keep up with PageMaker's, but they fall short of the powerful tools, such as automatic cross-references, found in FrameMaker. As with style sheets, you need to adapt your workflow to take advantage of version 4.02's long-document functions. If you are rigorous about using templates and style sheets as you create chapters, yo u'll get the best results

ATt Dtredors and Destgners

when QuarkXPress synchronizes the style sheets, colors, hyphenation and justification and other features across all chapters. And if everyone working on the book over a network is careful to open chapter files via the Book palette, you'll all benefit when the program automatically updates

Dtgttal ATttsts

everyone's palettes to indicate changes in chapter order, whether a chapter has been modified and similar information. Tables of contents are handled via the new Lists feaPro)ed Managers

ture-which can be used for alphabetical lists as well-and you no longer need to pay for an XTension to build indexes, since Quark has included one with this version.

Version 4.0 initially had a lot of bugs, as detailed in the long

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180

list of "Known Problems in QuarkXPress 4.0" on the company's Web site. But Quark's list indicates that most of the

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

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Box T Picturo

T Fram• T Runaround rCHpping ]L___ _ _ _ _ _ _ ____,

Preview: Typ e:

l it em ....

Bottom:

patible with Windows. Version 4.02 also supports the current stan-

Right:

dard for cross-platform

Outset: left::

Rescan

I I Crop To Box

QuarkXPress 4.02 will convert any PICT images to WMF images com-

Information:

0 Invert 0 Outside Edges Only L - - - - - - - - - - - - ' 0 RestrictTo Box Alpha Channols : Emboddod P•ths : Points :

color management systems, based on International Color Consortium (ICC) specs, and Quark has significantly beefed up the long-neglected trapping function. So is QuarkXPress 4.02 the Adobe killer? Not

Figure 2. The clipping paths feature in QuarkXPress 4.02 allows you to silhouette an object with a Bezier path around it, or with a white background, or with an embedded alpha channel or clipping path.

likely. Its clipping paths aren't as precise as Photoshop's and its Illustrator-like capabilities, though powerful, aren't extensive enough for creating intricate illustrations. Then again, version 4.o2's robust Bezier tools provide a lot of flexibility-and a lot of fun-and it catches up with PageMaker's, if not FrameMaker's, long-document functions. They may not be Adobe killers, but QuarkXPress 4.02's new features are more than enough to keep the winner's trophy firmly entrenched in Quark's showcase. •

QuarkXPress 4.02

You need to find that awardwinning location photographer now ...

Quark Inc . P.O. Box 480790 Denver, Colorado 80248 (307) 772-71 00 cservice@quark .com www.quark.com Minimum system requirements : 680x0-based Macintosh : 68020based Mac OS-compatible computer, 5MB of RAM , 13MB of hard disk space , Mac OS 7.1. LaserWriter 7.0 driver and CD-ROM and 3.5-inch high-density floppy drive for installation . Power Macintosh : PowerPC-based Mac OS-compat ible co mputer, 8MB of RAM , 14MB of hard disk space , Mac OS 7.1.2, LaserWriter 7.0 driver and CD-ROM and 3.5-inch high-density floppy drive for installation . Windows 95/NT: 80486-based PC, 12MB of RAM , 12MB of hard disk space, Windows 95 or Windows NT 3.51 or 4.0, CD-ROM and 3.5-inch high-dens ity floppy drive for instal lat ion , VGA disp lay adapter and monitor supported by W indows 95 or NT and W indowscompatible mouse or pointing device . Suggested reta il: $995 .

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

A R T S

187

A Few Reasons We're All Doing Worse Work BY SEAN KERNAN

he place where business and a~t meet is a chronically

and is good, but we can't say beforehand just when it will

sore joint where the two coll1de as they pursue a

do so. Good commercial art, just like good fine art, is done when it's done.

common goal. From my point of view-that of the creative-the demands that business makes at this juncture

thing, say a brochure, one has to commit to a deadline.

again I find myself chasing weak ideas for perfectly sound

There's no other way. The timeline is put into the plan at

business reasons. I have to say it bothers me more and more

the beginning.

when clients seem genuinely pleased with the results.

So imagine a project manager's face when one of the "creative

I suppose that after all this I should just shrug and say,

suppliers" turns up empty-handed at deadline and explains,

''Listen, they got what they want, they're happy, they paid the bil~ let it go." But no , off I go, muttering under my breath that

"I dunno, man, this just isn't happening for me yet." No, the

the work could be better and clients so much happier if they'd just let me and the art director call the shots. When business looks at itself it wants measurements. People

reality is that when the deadline hits, the project is as done as it's going to be. The trouble is that time, so crucial for the out-of-time creative aspects of this work, has been nibbled away so severely

who run businesses tend to believe that only what can be

in recent years that the quality of that work is getting harder

measured is useful, and that what can't be is too woolly to

and harder to uphold. Efficiency and cost-cutting have become a near-religion in business. If you want to be a cor-

mean much of anything. And the unit of measurement that works best for them is, of course, time, with money as an

porate hero, a sure way is to hammer costs down and make

alternate expression.

sure you're seen doing it. It's as though prehistoric hunters

In my experience, the chief reason work goes wrong at the

were told to maintain their mastodon quota while cutting

business/creative confluence is that so much creative activ-

spear use by twenty percent.

ity takes place outside time, while current management prac-

Now of course there are lots of good reasons for management

tice measures a job in terms of time-time spent producing, and the value of that time. And these days most managers

In a business such as ours, where immeasurable qualities

to cut costs, but there are also reasons to know when to stop.

see it as a duty to stuff more work into whatever time is

really count, you can cut to the bone and into it before you

available in order to get more value out.

know it. I think a lot of our clients don't understand where

There's no question that time/money works very well as a

bone lies, at least not in the area of creativity.

measure of a lot of things, but it works best after the fact,

The creative work that we do for business is done through

when the results are in and the numbers can be used for eval-

the processes of art and gets its particular magic from them,

uation and projection. It measures what has happened and uses that to project an expectation for a similar process. But

188

But let's be realistic. When one undertakes to produce some-

too often lead to work that is not creative at all. Time and

so it's worth our looking at those processes closely to get some idea of how art does what it does. Basically, art uses

while one can measure the effectiveness of an ad after it has

illogical, idiosyncratic, arcane approaches to manifest what

run, one can't really measure why it is effective, not in units

can't be arrived at any other way. As this year's Pulitzer Prize-

of time or money. The creative aspects of commercial work

winning poet Charles Wright once put it, "I write to find

are ultimately only gauged by things as imprecise as a feel-

out what it is I have to say." Artists start each session of

ing in the gut, a glow, a sense that things just ... look right.

work with an impulse and an idea of what they'd like to have

In short, creative work is really done when its makers-the

happen, but with no idea of exactly what will happen, or

designers , illustrators, writers, directors, editors, account

when. They can plan, make notes and sketches, they can

people-know it is. And that completion tends not to hap-

previsualize, but when they begin, the big question in their

pen on any schedule-by the end of the day of shooting, or

minds is, "How will this play out, where will it go?" At its best

by the investors' meeting, the media deadline or any other

the work that they do will take them beyond whatever they

time. We can recognize that something has come together

had in mind. At its worst it will go nowhere.

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

A N N U A L

9 9 8

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Suddenly, you're unforgettable.

So artists slide around the paint or the words, they make a

arts. It's central to all the creative work that we do in busi-

string of notes just to see where the string will go. They follow someone on the street and slip into his head, becom-

ness. When it is followed and allowed to happen, the work that comes from it tends to be what we call good.

ing him long enough to steal his consciousness for a character.

A question that pops up here is, does commercial work have

Or they gaze into blank air and hope something will materialize. The writer Annie Proulx says she visualizes a landscape and then waits to see who will walk out of it and follows him. And in this great realm of imagination there is no time. It ceases to move.

to be good? Let's face it, if one looks outside the design magazines and awards shows, it becomes clear that good commercial work is rare. There are other ways to do business and they work fine. I heard of a manager who began a meeting about a new project by writing on a board the phrase, "Great

So at last, something begins to happen, either in a hot burst

is the enemy of good." What he meant was , let's get this

or a slow incremental laying down of a line. And when

one out the door quickly, it only has to go so far, and any

enough of the line is laid down, the work of revision com-

effort beyond that will slow us down and not pay us back.

mences. Many say that this is where the real work is done, that the heart of writing, for example, is rewriting. One listens to the words, looks at the lines, at the colors, looks at the way the design jumps page to page, screen to screen, how fast, what is revealed, in what order. The work is manifested, reviewed, refined, until it is brought to its finish. This is not a labor of technique or of facts. This is a labor of finding the images and the rhythm-musical/visual/verbalthat picks the audience up and carries it along. As Wallace Stevens said, "Music is feeling, not sound. " That is, art is not technique, it is what the technique expresses. (I think about this whenever I look at commercial art and see mere technique disguising emptiness. And I do, often.) In art that has meaning, the creative person takes what he is working on, breathes it down into his own being, and then pours it out again in what is known as the heuristic process. Heuristic is a wonderful word. I first encountered it in a

poetry class, and although the teacher didn't explain it, I knew it was important by the way she rolled it around in her mouth. So I ran off after class and looked it up. It comes from the same Greek root as the word eureka (I have found it), and it means finding the truth of a thing within one's self. The heuristic process lets one convey the beauty of a sunset with deep feeling. Without this process one merely describes the obvious, the way a picture postcard does. With

In the terms of this paradigm someone gazzng out a window is someone wasting time. Thats perfectly rational, but it denies a place to timeless, thoughtless-butmindful creative work. You can measure time, but you can 't measure good.

Surely he was right. But his definition of good was one that was entirely measured in time and in money. What a contrast with a statement I read recently by the writer James Salter, who said, "The secret of making art is simple: eliminate anything that is good enough. " Still, I know what the man at the meeting meant, and I sometimes think this way myself, as does anyone in our business. But I fear the way that the time squeeze of the Great Productivity Obsession has insinuated itself into every corner of my work, into its heart. Still, I always try to

achieve what a scientist might call an elegant solution in all my projects. I do things that I know most people don't notice, particularly with light and the energy of the frame. I think of it as quality, and I want it always to be part of my work, not an option if there's time.

it, one's thoughts may become moving and true. Of course, some businesses go after customers in ways that So creativity is a complex process, and it takes place mostly out of sight. One thing that any artist will tell you is that there is absolutely no way to predict how long it might take to complete it. And anyone who has worked in an agency

190

have nothing to do with quality. I know a printer who set up a photography studio and operates it at a loss simply to channel work to his printing presses. Can I compete with that? If they're there, why should someone come to me?

or design firm knows that it would be pure insanity to say

Well, they come if they want "good, " if they want someone

so at a client meeting.

who cares enough to go through this artistic process with

Because-that's right-the process we use in the commercial

their projects. Those of us who long ago caught a case of

arts is this same miraculous and inexact one used in the fine

the Arts are compelled to find the life in things and express

I L L U S T RAT I 0 N

A N N U A L

9 9 8

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it, to put things through the heuristic process. We operate in the matrix of balances that is called ;esthetics. So yes, doing good work is important. It's certainly the kind of work I want to do. And there are enough clients who want it and enough of us who want to do it to exert a defining influence on the field of communications. But a serious problem arises when I commit to doing good work, then find there is nothing like enough time to do it right, to take in and really understand and restate the ideas

in the layout, just do it again. The computer makes things look too good too soon. But we're not always so constricted by this kind of constipated rigidity. Let's say that we really are expected to do a certain amount of exploration during the course of our

that are the heart of the project. Or perhaps I may find I am working in tandem with someone who simply has no concept of the need for this process. As a photographer I spend increasing amounts of time these days executing in real space layouts that have been Photoshop®-ed together in hyperspace from elements gathered from everywhere. I don't mean I recreate the collages, I mean I have to unite in a single plausible image exactly the elements that someone pasted together to show a client what he might expect in the final execution. In this comped layout there's no need to deal with how they might actually go together. Elements-say a pocket compass and a globe-are clipped from various sources and shown same size. It's useless to argue in the studio that globes are always vastly bigger than compasses, in the comped collage they aren't. And now I just have to spend my time getting as close as I can to that illusion because that's what was seen and approved-no new element allowed, no material changes. Being able to do this is a skill I guess, but what I should be doing with my client's time is to make a careful, balanced, thought-out piece of work based on whatever my talents are and using the revelations that are the soul of the artistic process on the project. I should be able to say, "Let's make the compass smaller" or "Why does it have to be a compass? " But at this point I can't change a thing. It may have been decided that the direction of the company (the compass) is equally important to the international corporate message (the globe), so it can't be smaller in the picture. (This is not a far-fetched example.)

192

Is this kind of thing entirely new? Of course it's not. But this heavy hand on the creative process has been made more intrusive by technology. A tight comp looks so finished, so smooth, that anyone who doesn't understand the process would see no problem reproducing it. After all , there it is

work. We can do real exploration that makes that work as good as it can be. Or we can do a kind of phony exploration that produces a variety of versions in the blind hope that whoever is making the final selection will like at least one of them. This happens a lot. I recently did a project in which I had a few hours in a computer facility to come up with an image that suggested an ability to safeguard large amounts of crucial data. The facility was cramped and not very visual, but I knew that with some lighting work I could come up with a strong, dynamic image. And I did. But rather than consider that a beginning and then working to take the shot further, I had to make two other completely different images. The reason was that we were in that common position of not having a good insight into the mind of our corporate client. The solution was to make several different images in the hope that he'd like one. If we had come back with a single image, and if he just didn't like it at all, we would have failed , no matter how well we had refined the image. But if we had a few cards to deal him, even if he didn't like any of them all that much, he might still like one more than the others, and we'd be home free. So we shot several setups, with multiple versions of eachone with this person, one with that person, one with both. It worked out fine, in the sense that there was one that the client liked. Still, on the plane flying home I mentally ran through possibilities for the first shot that we hadn't had time to try, that I hadn't even had the time to think of. T here was the time dilemma again, and I wished we'd just been

One mad day I spent six hours trying to match the colors of a color copy of a marker comp simply because the representative of the client knew she couldn't go back to her office with anything that was different in any way from what the boss had seen. It was an insane pursuit. The result in the

able to let the creative process run and take us to a single stronger image instead of dividing up what time we had to

end seemed a stunning accomplishment to me, not because it was any good at all but because the match was so exact.

emerge. But eventually one needs to commit to an approach

But the piece itself was so bland I couldn't possibly show it to anyone. A color copy ofa marker comp!

through, to manifesting and exploring its subtleties. I'm con-

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

A N N U A L

9 9 8

make multiple solutions. Of course it is true that at an early stage of any project one should try various things for a while, just to see what m ight that seems promising and give one's energy to working it vinced that the very act of focusing on something actually

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draws energy to it and makes things happen. One works, then stands back to look, and suddenly one sees just what the next step is. Why can't one just see it in the first place? I don't know. I just know that the hard work and the standing back are necessary to reveal it. But the time! Where is the time for this? The productivity paradigm so beloved of management has come to overshadow the way we work in creative fields, and it doesn't allow time for the percolation that is so crucial. In the terms of this paradigm someone gazing out a window is someone wasting time. That's perfectly rational, but it denies a place to timeless, thoughtless-but-mindful creative work. You can measure time, but you can't measure good. Some people blame the computer for this problem, but I think computers are just great tools. The problem is that clients know we have them. That secret is out. If you recall, the early promise of the computer in design was that it would shorten some tasks and leave more time for creative speculation. But we all know how that has worked out. I recently watched as an agency created four different layouts, fully comped with clip art and kerned type, and then made color outputs to present to a client for what was really a very preliminary discussion of a project. They weren't even trying to sell the client, just determining some general directions for a campaign. I mean, fussing the type on a preliminary comp! And where did the time come from? I fear it was subtracted from the time spent later on in the process where it could have done some good.

Brenna Garratt, managing director of corporate marketing and branding at Belk Mignona in New York, whose experience extends across the computer transition, says that only for a brief period did computers buy creative time. "Clients found out how fast it was , and then they started demanding variations and revisions at 4 o'clock meetings and expecting them the next morning, or over the weekend. The practical effect is that you have to think much faster, think on your feet , do concept work on the phone. It's not at all contemplative, and in the end no one thinking too quickly thinks as well as they should. "Maybe advertising is different. My image is of someone getting that brilliant headline idea in a taxi and scribbling it down. But at my office we do complex corporate projects, and evolving one of those isn't a matter of a quick Bash. An annual report is highly strategic and it takes lots and lots of time to get it right. And time is what's disappearing. "Listen, there's even this new FedEx Sunday service. Sunday is the last big chunk of time left to raid. When are we supposed to think? Or not think? " (Author's note: I'm writing this on a Sunday. The editor is e-mailing me comments on a Sunday!) I don't want to make the mistake of letting this discussion become a damn-the-computers rant-I'm kind of tired of those, and I use and like computers. The real issue is this compression of work to fit into less time. I don't know of anyone who says it's not a growing problem. And the question is, is there a solution? Well, there's no magic bullet, that's for sure. As I said earlier,

One might argue that some tasks had been shifted forward in this case, and that the chosen layout had a shorter path to production because of the work done up front. But I'd say that work on the comps was done to come up with something/ anything for an approval. It was not the real focused , purposeful work that makes things really good. I think that in this case the productivity model ate the contemplation time that the computer freed up. It cut people off from the time to explore the complexity and feel of life and led to work which referred chiefly to other ads- all kind of incestuous. It occurs to me that, although it takes time to make tight computer comps, it is in fact easier than doing the real creative spade work. I mean, you start playing around on a screen, and almost at once a dull headline looks finished and pretty good. And then you can throw in some art work from somewhere, and then, wow, you can make it really bright in Photoshop, and then do some weird texture thing with Painter~ And hey! Looks like an ad! 194

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our work is done when the time's up. We're not, after all, wild and woolly or irresponsible. We will deliver, and on time; if we have to work Sundays we do it. But we really need to lobby for more time. And to do that we have to understand and respect our process, knowing that if we don't respect it no one else will either. Perhaps part of what we need to do is state the problem in forums like this that are read by that segment of management that works in communications. On my worst days , when I see something of mine that I know could be better than it is, I am tempted to throw up my hands and go see if the Muse would still have me. But the fact is that when I'm not kvetching about it I love/ hate what I do. Having deadlines and the restrictions has taught me to do things I don't think I'd have learned any other way. It has taught me discipline. Paradoxically, it has bought me time to pursue some purely artistic work. I mean, the point is that I wasn't kidnapped.

In rrurh, we're hybrids, and our real work is ro balance and reconcile our own artistic impulses with rhe needs of our business clients and make ir work, for them and for us. Understanding rhar and embracing iris another parr of rhe solution, maybe rhe biggest parr, and ar least rhe parr rhar is most in our control. Even if ir is hard sometimes, rhar's rhe deal. And occasionally, against all odds, rhe artistic process finds

frustrating way, insisted on irs right ro be treated as an arrisric undertaking. I'm sure ir will come our berrer and more satisfying than any of rhe projects rhar kept displacing ir. So we can simply ask for the rime we know we need ro do something well, demand ir if need be. And if it's nor forthcoming ... well, we can always decline the project. I know this seems drastic to some. I mentioned doing this to a designer friend. She said rhar she wasn't far enough along ro turn

rhe room ro breathe. I initiated a project with an agency, a

things down, and I knew what she meant. But if you are

kind of self-assigned promotion for them and for me. We

ambitious for your work, sooner or later rhe question will

began a few years ago, bur ir kept gerring stalled. The design

come up. And saying no ro one kind of work could just be

firm would get a big project and our work would go straight

a big step toward another berrer kind. •

ro rhe back burner. Then when rime allowed we'd pull ir our and work on ir some more. Bur then we ran into annual report season and everything ground ro a halt again.

Editor's Note:

So ir went, more off than on. Bur each rime we resumed work

Creativity can't be called on at will. Sean Kernan makes this point well and, with luck, some clients are reading this article and getting the message. The dilemma is convincing clients that slowing the process down is really for the best.

we did so with new eyes for what we had done ro rhar point, and we were able ro give up some things rhar weren't really working and ro come up with some new things rhar did. As

-DK HoLLAND

of rhis writing it is about ro go on press, and ir has, in irs

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@' The Value of a Portfolio ('[) ~

::l

BY BARBARA GoRDON

ave you ever thought about the value of your portfolio? I don't mean just as a selling tool, but about the actual dollar value of your freelance portfolio.

workhistory, range of skills and techniques, is effectively out of business until, somehow, a new portfolio can be duplicated or regenerated.

I was recently called in as an expert witness to testify as to

Start with this point in your assessment. How long would

the monetary value of an artist's portfolio. This was not

the freelancer be without income while either duplicating

the first time I have testified in court as an expert witness

or generating a working portfolio-one year, two years?

when a portfolio was lost through fire, flood, negligence or some other mishap. This last time, an illustrator's entire

What if the new portfolio was not the same caliber as the lost portfolio? How long would it take to generate a port-

portfolio, including original artwork was lost during a

folio of the same quality and effectiveness of the first.

mortgage foreclosure where the portfolio, all records and original artwork were illegally taken during the foreclo-

Answers to these questions will give you some idea of the

sure procedure.

dollar value involved in the loss. Now about portfolio content. They are often a mix of trans-

While appearing before judges and juries, it has become

parencies, prints and tearsheets; the average person on a

apparent to me that, with the exception of people in our business (and sometimes even then), the general population has no idea of the damage that can result from the loss of a

jury takes the position that these are almost valueless. Their

portfolio nor do they have any idea of the monetary losses involved. There are a lot of misconceptions out there and

thinking is, get the pieces re-shot and simply get additional copies of the publications that the pieces appeared in, and replace the missing ones. It's not a big financial loss. That is the general public's perception.

I'd like to share with you some of the factors that affect the Fact: If one does not have the originals or materials to dupe

monetary value of a freelancer's portfolio. Let me start by saying that the portfolio is the equivalent of a business's inventory. A freelancer without a portfolio to show is like a business without an inventory. Let me make a comparison: Let's say that when you went to buy an automobile the dealer didn't have any inventory on the floor to show you, so instead he described the automobile he was trying to sell, i.e., "Imagine a four-wheel-drive, four-door, red vehicle with a hatch-back, adjustable seats, air-conditioning, automatic windows, etc. Now just try to picture it in your mind's eye. Imaging driving it." How much business

cies. With regard to tearsheets, most freelancers use engraver's proofs. As we all know, if a piece runs double-page in a publication there will be a split down the middle. Proofs are one piece and better quality than what appears in a publication. It is difficult enough to get proofs at the exact time that the piece is published; it is virtually impossible to get them a year or more after the publication has been released. It can also be difficult to get past issues of a publication if too much time has elapsed. So, even though the prints, transparencies and tearsheets in a portfolio may

do you think the dealer would get? Now imagine the freelancer, without benefit of a portfolio, trying to explain his or her work to a prospective client. "Mr. Client, imagine a portrait of Elvis Presley, done in oils

196

from, there is no way to reproduce lost prints and transparen-

not look like something of substantial value to the average person, the fact is, they are often irreplaceable and almost priceless.

or shot on location ... Visualize my line drawings of the tech-

One possible approach to getting a dollar value on these

nical aspects of computers ... my fashion drawings are done

items is to figure out the time and expense it would take

in pastels .. .I always use special effects on my stilllifes .. .let

the freelancer to duplicate the work, plus model, prop and

me tell you about the recent campaign I did for a Fortune

location fees, remembering that some situations cannot be

500 company. I really wish I could show you something. "

duplicated. This would be an initial indication of how

Like the car dealer, or any other business that has no inventory, the freelancer without a portfolio to illustrate past

much the physical pieces might be worth. Again, one has

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to consider the life span of the lost pieces and how many

assignments might have been generated on them. This can

Loss of income from the inability to generate business because of the lack of presentation inventory.

Replacement value of transparencies, prints and tearsheets, including time and money to reproduce as well as the value of any that are irreplaceable.

be a complex process, even for an expert witness. One of the big areas that people outside of our business are unaware of, is the stock value inherent in any freelance portfolio. The general public believes rhar if a freelancer does a piece for a magazine or a book and gets paid for rhe piece, rhar's rhe end of ir. "You got paid, what's the

3· Loss of stock income from the portfolio, i.e., the ability to resell the rights to the freelancer's images over and over. 4· Loss of the original art or photography and the value it would have had as a work of art on its own.

problem rhar rhe original piece is now missing?" What the general public does nor realize is rhar it is very common in our line of work to sell only a right to the work-often a one-rime right-and rhe creator keeps additional rights and the original art. Anyone who has been in this business for any length of rime knows rhar often the stock rights to a piece can far exceed the fees rhar were paid for first-rime rights. Every freelancer has portfolio pieces rhar are classics

I hope no one reading this has to use this information. The pain and suffering involved in this type of loss are incalculable. I strongly suggest that freelancers keep a second record of all materials, including copies of originals, in a separate place. In today's world of floods, fires, tornadoes, earthquakes and the negligence of others, the loss of a portfolio could happen to anyone. •

rhar can be resold, sometimes for decades. Nor every piece falls into this category. Some pieces dare themselves or have a product or personality in them rhar the freelancer does nor have the right to resell, bur a large portion of any portfolio has pieces rhar have an almost indeterminate stock life. These rights can survive the lifespan of the artist and continue ro benefit that person's estate. Depending on rhe range and number of pieces available for stock uses, rhe dollar value of the loss can be staggering. What about originals that are lost? The average person on a jury will rake the position, "Well, it wasn't a Picasso rhar was lost." Well there was a rime when original Rockwells, Parrishes, Sreichens and Horsts weren't worth a great deal of money either, bur have you been to an art or photography auction lately? This whole area has become recognized as a major art marker to international collectors. In some cases rhe freelancer in question has already established a marker price for his/her originals and this makes rhe assessment process easier, bur there are also many young freelancers working today whose originals will be rhe collectible art of the future. The loss of an original has another marker value and this value must also be taken into the total assessment. What is your portfolio worth? Let me reiterate the areas rhar must be considered in getting a dollar assessment of a portfolio. C 0 M M U N I C AT I 0 N

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The Transaction from Hell BY LEONARD D . DuBoFF

ecently, my firm was hired to assist a graphic design-

second thought, on having the British version of those words

er with a collection dispute that had gotten out of

appear in the material.

hand. Regrettably, so many of the events and cir-

After approximately one year of almost full-time work by the graphic designer and her staff, the developer's projects were completed and a final bill presented. But the developer refused to pay the bill, indicating that he had only agreed to pay the initial amount set forth in the first proposal and nothing more.

cumstances of this case are far more common than they should be. As a result, many graphic designers unnecessarily wind up in a legal quagmire, which is usually both inordinately stressful and financially devastating. Sometime ago, our client, the graphic designer, was hired by a real estate developer to produce a promotional mailer for the developer's new project. At that time, a proposal was prepared, and the parties shook hands. When the graphic designer began work, she was informed that the developer did not have any idea of what he wanted. Instead, he asked her to conceptualize the mailer and present him with a layout, and he would then, supposedly, help finalize this project. The conceptualization went back and forth numerous times, and the developer was so distracted by his multimillion-dollar real estate project that he would often sign off on drafts that he would later repudiate. While work proceeded on the mailer, the developer decided that he really needed additional material. He proceeded to request a layout for business cards, stationery, envelopes, other mailers and a slick multipage booklet. Photography was added, and the graphic designer was even asked to assist with the production of an expensive compact disc. The photographer was not paid, but the photographer made it clear that the designer would be responsible for the expense. Each time a change occurred, the graphic designer would send a memorandum reminding the developer that there would be an additional charge. One would think that a developer, accustomed to receiving "change orders" from construction contractors and subcontractors, would understand the import of such notices from his graphic designer. Unfortunately, there was no listing of the actual cost of the changes in the designer's memoranda, and the developer never sent her any confirmation of those memoranda. The developer continued to assure the graphic designer that her work was needed and cost was no object. The developer continued to approve drafts and later change his mind. On at least three occasions, completed projects had to be completely reprinted since the developer did not like the American spelling for many words and insisted, on 198

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Needless to say, the graphic designer was shocked. She pointed out that the initial proposal was for a single mailer and that the project now involved mailers, a booklet, stationery, business cards, a CD-ROM, invitations and several other pieces of literature describing the developer's multimillion-dollar project. Her explanations fell on the developer's deaf ears. He was firm that he would pay nothing more than the initial price specified in the original proposal. The developer also insisted on having all the graphic material immediately released to him since it was essential for a presentation he was about to make. The graphic designer made it clear that nothing would be released from the printer until all her bills were paid. The parties had reached an impasse. The developer then attempted to bypass the graphic designer by contacting the printer directly and agreeing to pay the printing bill in exchange for the material. The printer was initially reluctant to do this but, since the graphic designer was responsible for the bill and had not yet paid him , he agreed, with the understanding that his bill would be paid in full before any printed material would be released. Then, on the day set for the exchange, the developer alleged that he had forgotten his checkbook but that he would have a check for the full printing bill delivered to the printer the following morning. In light of this, only a portion of the material was released at this point since the developer was adamant that he needed a portion of the material for a presentation that very day. No payment was ever made. We can at least say that it seems that this developer is consistent in his dealings with suppliers. All of the parties-artists, printer and developer-at length resolved to submit this dispute to mediation in an attempt to work out a compromise. Unfortunately, the developer was not willing to pay the graphic designer or printer anything close to the actual amounts billed. The mediation was , therefore, unsuccessful, and the parties were once again in a stalemate.

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The developer then swung into action. It appeared that he

is just that and that the actual cost of a project may differ if

would rather pay lawyers than graphic designers, printers,

additional work is necessary. On a regular basis and when

photographers or any of the other creative talent involved

additional work is projected, you should meet with your

in producing his project material. His attorney filed a law-

client and present a status report. It would also be very help-

suit in state court requesting that the judge declare him to be entitled to all of his material and rule that he should have to pay only the amount of the initial proposal.

ful to summarize the then-current charges and insist on a payment schedule. Had the graphic designer in this case

Rather than answer the complaint filed in state court, the

as such a shock when it was finally presented to the client.

insisted on periodic payments, the bill would not have come

graphic designer hastily registered the copyright in her work

If you are to use the services of others, such as photographers,

and had the case removed to federal court. The printer joined

printers or the like, it would be advisable to obtain a pro-

with her in this litigation, and the case proceeded.

posal from them and present this to the client before mov-

It was the graphic designer's position that she retained a

ing ahead. In this way, the client can determine whether or

not the additional creative elements are important enough

the developer nor given the developer a license to use the

to the project to warrant the additional cost. If the devel-

material for which he had not paid her. Since the infringe-

oper had been made aware of the additional charges, then

ment occurred prior to the time when copyright in the work

perhaps a more frugal project would have been approved

was registered and, as well, when the work was unpublished,

instead. You may also wish to arrange to have outside ser-

the designer would not be entitled to recover attorney's fees

vices paid directly by the client and have the supplier pay

or statutory damages; however, the court could award the

you an override.

prevailing party attorney's fees in a willful "trade dress"

Even the most prudent business person can wind up in a

infringement case. Since the graphic designer's work was

collection dispute. Despite the precautions outlined above,

distinctive, she alleged that her "trade dress" had also been

there are situations when it will become difficult to collect

infringed. (Trade dress is the look and feel of a work or the

for your work. For this reason, it is a good idea to have all

dressing up of a product for trade.)

of the professionals on your team present a unified front.

A settlement was eventually reached among the parties. The

For instance, it would be wise to have an arrangement with

terms of that settlement are required to be kept confidential.

your printer whereby none of your jobs are to be released to anyone without your written permission.

As you can see, things got out of control and, while this developer is by no means a model citizen, he is by no means unique. Situations like this can and do occur on a far-too-

Similarly, it would be a good idea to register the copyright in your work, if the work is copyrightable, before the work

regular basis. What, therefore, can you do to avoid becom-

is released. You may then assign that copyright or grant

ing embroiled in this kind of plot line?

a license to use the work if and when you are full y paid, although the additional cost of registering a copyright should

To begin with, your proposal should state that it is limited to the one project and that if any additional work is required or if the project expands, there will be additional charges. As additional items are added to the project, it is essential to make the client aware of the fact that there will be additional charges. A revised proposal would be appropriate,

certainly be evaluated in light of the size of the job involved, as well as your time and effort in producing that work. These matters should be covered in your agreement with the client. In fact, care should be taken in drafting any form of agreement since agreements are enforced in accordance with their terms.

and you should, of course, have the client sign off on that proposal. It is also a good idea to set forth an estimate of the number of hours to be spent on any single project so the client will have some idea of the hourly charges to be racked up while work is being continuously revised, changed and redone.

It is also essential for you to make it clear that a "proposal" 2 00

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If You're Talking To Yourself, You're Insane BY ToM EvANs

think I've come to a conclusion about why, with all the discussion in advertising about getting to know the customer better, most of us would just prefer to assume the customer is no different from us.

their likes, their dislikes and their opinions, it's nearly unfathomable to an art director or copywriter even to imagine being them.

For one thing, it's easier to create an ad aimed at ourselves.

I offer an exhibit. A book called Painting by Numbers: Komar and Me/amid's Scientific Guide to Art (Farrar Straus &

Bur a second and more frightening truth is, compared to us , real customers are just plain out of touch.

Americans prefer in art. Paintings, to be exact.

I'm not talking about snowboarders, here. I'm talking about the millions and millions of people who live in dull little neighborhoods and buy presweetened cereal and turquoiseblue American cars and fish for bass.

Giroux) , in which some artists set out to understand what

No, I'm not forgetting that millions of dollars have been spent over the years in research departments and universities to assess what people prefer in advertising. It's just that those results don't surprise me anymore.

(If you're a bass fisherman, please understand I don't actually think you are less of a human being. I'm just pointing out that a very real percentage of professional inventors of advertising, especially in creative departments, are a lot different than you.)

Maybe you've already heard of Painting by Numbers. I hadn't,

Real customers often seem so foreign to us in their actions,

the hell out of you . It was hard for me to take, and I'm a

although I later discovered there's been some controversy in art circles about it. I just stumbled across it. In any case, go get a copy. But before you open it, steel yourself. It's going to depress

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copywriter. If you're an art director, hide all your knives. For one thing, you will immediately understand how those weekend art sale extravaganzas staged in local gymnasiums stay in business with their landscapy, blue-skied, trite, bland, uninspired paintings stacked in rows and rows across the basketball floor. That is precisely the kind of art the book says Americans like. Research proves it. Forget Picasso. Forget Warhol. Forget Pollock. What Americans almost unanimously want to see in art can be described accurately as flowery cover illustrations for

If you've been paying any attention at all as a marketer, you know stock car racing is now America's most popular spectator sport. And you're pretty sure snowboarding is one of America's fastest-growing participant sports. So let's be honest. How much excitement are we prepared to bring to getting inside the head of the former target over the latter? I hear a lot of copywriters and art directors sound off knowingly about what makes an ad work. Invariably, they talk as though every single consumer in America is 22 years old, wears Skechers and is ga-ga over Churnbawurnba. I've been guilty of it, too.

romance paperbacks. Only bigger. To make certain we appreciate just how bad things are, the authors of Painting by Numbers did us the favor of synthesizing their findings into two paintings, one representing America's favorite and the other America's least favorite. I promise you the "least favorite painting" you will find fairly intriguing-you may even like it. The "most favorite painting" you wouldn't hang in your Kansas tornado shelter for fear that staring at it would drive you back out into the tempest to be plucked from the ground and tossed to your certain death, flying like that cow in Twister. My conclusion? We might ignore Yankelovich, but we can't ignore this. The general taste level of the typical recipient of our advertising messages cannot be assumed to be anywhere near the typical art director's or copywriter's.

Ironically, when I was 22 years old, I wrote on the Winnebago account at a then-great agency, now-stellar agency, called Carmichael Lynch. I remember how just saying the word Winnebago could make me laugh so hard my stomach muscles hurt, imagining those old fogies playing shuffleboard and gin rummy or watching "The Price is Right" in their giant rolling tin cans in the desert. Twelve years later, when I was 34 years old, the agency in which I worked pitched the Winnebago account and won it. (Carmichael Lynch and Winnebago had parted ways a few years before.) To prepare for the presentation, I spent three days roaming the concrete campgrounds of Arizona talking to 75-year-old snowbirds. I had to prove I actually could get a handle on what it would be like to be twice as old as I was at the time. Spending a few days face-to-face with RVers taught me to respect them. That's the secret, I think. I no longer laugh about motor homes. And I don't laugh at their owners.

So what are we to do? I'm not sure. But I do know that as practitioners of this black art called creative advertising, we need to redouble our efforts to connect with our target. I'm not advocating we lower our standards to their taste level. I am saying we should strive to create better ads by understanding how to leverage the way they actually see things. The sad truth is too often what makes us laugh makes them squirm. What reveals its brilliance to us befuddles them. What is clever to us is a riddle to them.

As so often happens, having won the account, we handed it over to-you guessed it-a 22-year-old writer. She handled it well. After concepting a few hundred ads aimed at herself, she started to figure some things out.

These consumers aren't stupid. They see formulaic advertis-

For one thing, the typical motor horner doesn't have a clue

ing corning from miles away. And because they do, we strive

what you mean by Churnbawurnba unless yo u're talking about the sound his inside rear dually makes when it suddenly goes flat on the interstate.

to make our ads different, inventive and unexpected. Unfortunately, we often look within ourselves, not our targets, for the inspiration behind our creative departures. And we

204

Fifteen years after I first sat at a keyboard on a motor horne account, I respect where RVers are at. They seem kind of interesting. Weird, maybe. Different, for certain. Quirky, to my way of thinking. But not laughable.

rationalize our approach by pointing out that freshness is

And for another, once you get to know him, he's not so out of touch.

the only way to break through the customer's defenses.

After all, he's not the one who's been talking to himself.

I do it. You know you do it, too.

You are. •

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The Stockman Cometh BY BRAD HoLLAND

volume sales and sky-high commissions, the stock house will

dent strategy for the stock house because they

thrive. To them, that's the real meaning of "critical mass. "

depend on the goodwill of illustrators to give them free work. But as artists, it's time we realize that these stock houses are our competitors. And it's time we stop giving them the work

Stock houses imply that many artists enjoy huge incomes through multiple stock sales. Perhaps some do. But since I

they need to undersell us.

began speaking about this subject a year ago, I've been contacted by many stock artists who paint a very different pic-

There's nothing wrong with selling stock. Artists have been

ture. I've heard of fees for $55, $25 and $12.50.

doing it for twenty years. But stock houses are something new on the scene. They represent the movement into illustration of businessmen who are amassing large inventories of art to sell to clients at discounted prices. Although they promote themselves to artists as an easy outlet for making a "little extra money," they promote their inventory to clients as a cheap alternative to dealing directly with artists. Some stock houses are more benign than others. But even the best take more from us than they give. One prominent company, a self-advertised leader in the field, is a perfect example. When you sign a contract with them, you lose all rights to your work for five years. During that time they can sell your pictures to whomever they want, for whatever price they can get. They take half of the profits on domestic

Naturally, stock entrepreneurs are not eager for news of these cheesy prices to leak out. They admit them, but characterize them as low-end sales. Still, that only begs the big question: How can anyone with a stake in the future of our business justify selling pictures for two-bit prices? And the answer is they can't. In a recent newsletter one stock house boasted that it took "less than sixty sales to generate $r8 ,ooo in income. " No doubt they hoped to impress artists with a five-figure sum. But it's the sales count we should notice. Do your math. Here's a leading stock house telling us that their average sale is $300. Stock means, "Honey, I shrunk the fees. " It means "Less is

sales, 75% overseas. You must track the expiration date of

more, if you happen to own a stock house. " Because if 6o

each contract. At the end of 5 years, you have a 6o-day win-

average stock sales represent 6o lost commissions , and if

dow to retrieve your rights. You must do this in writing, and you must do it for each picture. If you fail, an automatic

each of those had been worth even $I,ooo , then at least $6o,ooo of potential income has been condensed to $I8,ooo.

rollover clause locks in your work for another five years.

Of which, a few businessmen will take half. We can only

With terms like this, you might expect to be paid at least an advance against royalties. But, in stock, you pay the stock house. You pay a "production fee" of $125 for each image. And if they give you advice, you may pay a "consultation fee" as well. Many stock houses now retail tens of thousands of pictures to clients. One company, with an inventory of over 14,000 pictures, boasts that their "critical mass" makes them a magnet for clients. This may be true. But any stock merchant who amasses this kind of inventory does so knowing that

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indeed, after fees, you could even lose money. But with

any artists think of stock houses as agencies and many stock houses encourage them to. It's a pru-

imagine how much money that once went to artists to make a living is being boiled down like this to profit these entrepreneurs. But since the residue of this condensation is being passed along to artists as "a little extra money," we're supposed to welcome it. Stock promoters give you many reasons why it's good to give them your art. But look closely and you'll see that those reasons are good for them , not for you. 1. Stock houses claim that they're expanding the market for illustration. I'm sure they make some virgin

volume will insulate the stock house from dependency on individual artists.

sales. But otherwise, what would we expect them to say?

Since they pay nothing for the work they catalog, the sale

"Give us your work, so we can steal your clients"?

of one person's work is as good as another to them. You

2. They claim that stock sales generate new com-

may or may not profit from your investment in stock-

missions. There's probably some truth here, too. But

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How dumb would they have to be to hustle us by saying,

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the number of commissions generated by stock can't possibly

Unlike stock retailers, we're craftsmen. Many of us rake pride

make up for the huge number lost to stock in the first place. 3. They claim that stock serves clients who need

in the work we do. I know very few artists who define excellence as multiple sales at discounted prices.

rush art on short deadlines. Yes , but in every other

Compared with juried competitions, much of the work in

business I can think of, rush service means premium pricing. If I want an overnight courier or rush transparencies, I

stock catalogs is mediocre and derivative. Some is plagiarized. Srock houses glut the market with cliches . They explicitly advise artis ts not to think that their best work will be their biggest sellers . This observation will hardly come as news to any artist who has ever sent five sketches to a client and

have to pay extra. Only in stock illustration do they say, "If you need it in a hurry, you can have it cheap." 4. They claim that stock serves clients on low budgets. Yes, but Wal-Mart prices create a buyer's market.

They enable art directors to play "how low can you go" with assignment fees. They tempt designers to buy stock cheap and profit from marking it up. In the past, we could use short deadlines to bargain for more money; tight budgets to get more creative freedom. Ready-made pictures at cheap

We should nor let these marketing people lower the bar for us. We should be careful that their standards nor become the standard that clients demand from the rest of us and to

prices undermine that leverage.

which younger artists aspire.

5. To downplay the bad news about low prices, stock houses hype multiple sales. But if it's bad busi-

ness to undersell a picture once, how does selling it twenty times for the same low price make it better? Every time a client leaves a stock house with cheap art, he's more likely to come back to them, not you, for more.

What can we do to stop losing valuable commissions to these retailers? 1. Stop giving them pictures. Would Sony give

stereos to Mitsubishi? Of course not. Only artists think it's a smart move to give inventory to the competition.

Stock houses welcome entry-level artists, and many young artists see stock houses as a door into the illustration busi-

2. If you think you need to be in stock, pick a

ness. But, in fact, as stock houses gobble up low-budget jobs,

work in their catalog, bur they won't own your work, and

the young artist who could once count on a couple of $400

you can get out whenever you want. You'll be in charge. You

direct stock service. They'll charge you to pur your

assignments each month may now have to settle for splitting

can set your own prices, negotiate your own terms and keep

some $50 stock fees. I've been in this business a quarter-century and nothing that I've seen disgusts me as much as watch-

your own profits.

ing these stock merchants hustle free work and "production

persuade art directors and clients that if "stock is here to stay, " then it's a service they can use for a price. "You can

fees" from the very same young artists whose freelance assignments are most vulnerable to their lowball prices.

3. Don't lowball your own stock prices. We must

get it fast, but you can't get it cheap, " should be the new motto for stock artists.

Stock merchants claim the "feedback" they give these artists helps them create "great stock imagery." But if this means

4. Don't glut the market. Remember that in general

that artists are creating "stock imagery" on spec, as I know some are, then the practice threatens the professional nature of illustration itself. It threatens to turn our busi-

you're better off selling a picture once for $2 , ooo , than 20 times for $!00. You make the same amount of money and you don't overexpose your work.

ness into a kind of lottery where artists gamble their time and money on a shot at multiple sales with no guarantees of return, and businessmen can acquire art risk-free to sell as they please.

Artists and reps should stop seeing stock as an easy way to make "a little extra money. " We are not hobbyists. Every time one artist makes "a little extra money" in stock, another

I believe there's a great deal of money yet to be made in illus-

artist somewhere loses a commission. Sooner or later we are all that other artist. The more we trade the higher fees of

tration. The proof is that these entrepreneurs, who have no

commissioned work for the chump change of stock, the

motive other than profit, want in to our business and they want as much of our work as they can get. Bur their business

more we speed the day when professional illustration is degraded to a part-time activity. •

practices threaten our ability to compete on the terms that made most of us want to become artists in the first place. 208

watched him pick the least challenging. But it should remind us why the interplay of artist and client can often lead to innovative work.

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SITE MAP

The Education Of An Illustrator BY LISA CYR

he education of an illustrator has indeed changed

art. All students should be trained to draw. But, the best

tremendously from years past. At one time, if you

drawer in a drawing class does not make a great illustrator,

had skills and a unique style or technique, that was

communication does. What makes you a great illustrator is

enough for a lasting career. But, is that enough today? Most

the knowledge and the background you bring to an image. "

art institutions say not. Today's marketplace presents grad-

Arisman further comments, "I try to get students to develop

uates with many obstacles and distractions. Institutions

their own voice by communicating their ideas through

feel a need to not only expose their students to a variety

visual essay. Our students write about a subject then they

of options but to arm them with the skills necessary to

create a series of paintings based upon what they have

intelligently pursue the future. Today's students need to

discovered and vice versa. The idea is to get students really

be more responsible for their careers and that sometimes

involved with a subject matter

means learning to be self initiators. Marshall Arisman, chair of the Graduate Program at The School of Visual Arts, reflects, "I grew up in a generation where it was possible to have a career that went on for many years. I don't know if that is possible anymore. Illustration has traditionally had this drawing and painting base. If you drew and painted you became an illustrator. That is beginning to move in the classic sense. About five years ago, the computer changed things tremendously. We are in a curious time. Selling has become much more crucial and much more complex. Students should be equipped enough to go out there and initiate their own projects and not simply rely on the market as it is changing so quickly that no one knows where it is going. Illustrators must take on more responsibility for what they do. The future is in the ability to deliver a complete package." In preparing students to become entrepreneurs of their own ideas, educators also see a need to develop effective writing skills. Murray Tinkelman, professor of illustration and chair

210

Today sstudents must also be computer literate and design savvy. Knowledge of graphic design and typography avails them to create a complete package yielding a competitive edge in the marketplace.

that is important to them. Many times students write about something that is more personal than any picture that they have ever made. If you are working on something that you know and care about then the pictures you create from that knowledge and insight are going to be much more interesting. "I think that the more you define yourself as an illustrator the easier it is for an art director to use you in the correct way and not as just a service that goes out there and says 'here is my sample case, I

can do anything, give me anything.' There is this illusion

of the ISDP (Independent Study Degree Program) Graduate

that you must put this sample case together to please 'them .'

Program at Syracuse University, adds, "My feeling has been for many years that students must be literate in the use of

Well, you will spend the rest of your life putting new pieces in a portfolio for 'them' and go nowhere. But on the other

language written and spoken and have the capability to

hand, if you can find out what is driving you to make pic-

initiate their own projects editorially." In writing, students

tures then you are going to find an outlet. It is the difference

exercise their abilities to read, conduct research and syn-

between seeing yourself as an illustrator and seeing illustra-

thesize gained knowledge into concepts from which imagery

tion as a total profession where you are an artist looking for

may derive. Illustrator, photographer, sculptor and educator

outlets and illustration is one of them.

David Passalacqua notes, "I believe that every illustrator

"If you can't make a living totally in one area you should

should have a multicultural knowledge base. You must go

consider other outlets and be flexible enough to utilize what

to places like the Met, the Museum of Natural History, the

it is that you have already defined. Then whatever happens ,

Botanical Gardens, Ellis Island and so on. If you do you

the work keeps growing and you don't spend your life with

will start to understand that they are the places that stimulate

regrets on what you've done. I've watched too many people

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go through that yo-yo process for many years and end up with no voice in the end. You must have a history of making your pictures. " Passalacqua interjects, "Nobody tells you what books to read. Nobody tells you what artists to look at. Your selection, good, bad or indifferent is yours. People hire you for what you do personally. Teachers have to have faith in that. The worst teachers are the ones that teach you to be them. " Other programs take the writing component a step further by requiring their students to write and present proposals and creative briefs. Dietmar Winkler, chair of the

FIND YOUR NEXT JOB ON THE CA WEB SITE WWW.COMMARTS.COM

Department of Design and Illustration at the Center for the Studies of Form, Image and Text at the Kansas City Art Institute, notes: "Our students are taught to conduct research, organize that information, make a proposal and finally implement that proposal. We want to make sure that the students establish a relationship between observation, construction and knowledge. We are trying to make them self-sufficient. We are training them to respond to their own criteria. The students are learning to bring material to the table rather than waiting to be given the resources. We are trying to make them much more responsible. " Today's students must also be computer literate and design savvy. Knowledge of graphic design and typography avails them to create a complete package yielding a competitive edge in the marketplace. Most art institutions on both the graduate and undergraduate levels have introduced the computer into their programs ranging from a few electives to a requirement for all four years of the program. Winkler observes, "Since the text environment is immediate, the illustrator can now, for the first time, create the whole project rather than be isolated. Now that everything is manufactured through the digital process we cannot stand back and say it doesn't touch us. Some interesting things are happening. For instance, the whole process between drawing, scanning, manipulating and printing back to drawing is something that one could not have done before . So there are all kinds of wonderful advantages. What we are trying to figure out is how to maintain the balance of skills and the original centering experience of a visual artist, designer or illustrator. I encourage the students to be as open-minded towards technology as possible because it C 0 M M U N I C AT I 0 N

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will change at a moment's notice in their career to come.

in the field. In an article I read, Milton Glaser mentions

If they are frozen right now, then the chances for them to

the ease in which the computer allows virtually anyone to

survive will be most likely nil. They must be flexible. They

create a passable image short-cutting the creative process

must listen and become involved in the total art."

that occurs with the sketch and rough. I think that is very

Barbara Nessim, chair at Parson's School of Design, adds, "We are in a very big state of flux and the field is changing

insightful. It doesn't seem at this point to have affected the high-end brilliant work that simply can't be generated on the

and will continue to change. We are in the midst of a revolu-

computer. But it has enabled some people with very modest

tion and no one wanted to notice it until they could not

talent to create pieces that seem on the surface to be passable.

help but notice it anymore, because their nose was flat

"I think the big problem is not the illustration end but the art

against that window and they had nowhere else to go.

direction and taste end. At this point, there is a computer

Suddenly they were on the outside looking in. " Many institutions are incorporating technology into their programs. Tinkelman notes, "We have recently introduced the computer in the Syracuse ISDP Graduate Program with tremendous success. The magic comes because the faculty is not just mouse jockeys. They are sensitive and committed artists who bring a spirit to the classroom. A Web site was created and the students corresponded online. The undergraduate program is offering more and more computer electives and during the advising process we strongly recommend them." Nessim, further comments, "At Parsons, all of the departments feed into our digital design department. The computer is there and the students know that it is important to learn so they try and integrate it in a way that is comfortable for them. I have always stressed that the computer should be integrated into the work, yet only in a very organic way. It is not something that students should rely on one-hundred percent. They need to know the traditional skills as well and most of them love working traditionally. "

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look but I think that will sort

"What is happening now is that a young illustrators competition is not necessarily another illustrator. It could be a secretary with a software program. I think that technology has knocked the hell out ofthe lower branches ofthe field"

itself out. We have not yet seen the first generation of 'pure' computer artists. Everybody that is working on the computer is a retread. I'm waiting for some important things to be done by some really great people. " The role of an art director has shifted as well. Arisman remembers, "In years past, an art director read a manuscript and then picked an illustrator who was perfect for the job and left him alone. What is happening more and more today is that the printed page is being styled by the designer and the illustration has become a decorative element in that

Today's marketplace is very competitive. Art directors have

- M U RRAY TrNKLEMAN

many choices. There is not as much high profile work as there was in the past. There is much more spot work and

page. Then there is stock illustration. The idea that everyone panics and dumps all their

less page work being given to illustrators. Students have to

work in a copyright free situation is absolutely crazy to me.

be taught how to be competitive. Tinkelman remembers,

It takes out the step of saying that it is important for some-

"When I started in illustration in the ' 50s, my competition

one to actually read and respond when creating an image.

to do spot illustrations was other talented new illustrators.

With an increase in competition ofboth bad and good art,

What is happening now is that a young illustrator's compe-

the marketplace seems to be jumping on and off trends look-

tition is not necessarily another illustrator. It could be a

ing for something to hold onto. " Winkler offers another per-

secretary with a software program. I think that technology

spective, "If you go back to the ' 50s, the illustrator was very

has knocked the hell out of the lower branches of the field. It has literally eliminated the minor leagues where a lot of

heavily art directed. We feel that the new art director is not

young illustrators were fed, nurtured and nourished. I think

director is a person who is not really quite clear about what

the computer has made the single most dramatic difference

needs to be done and therefore the illustrator cannot rely on

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really an art director as much as an art buyer. Today's art

them for direction. The illustrator must be able to offer the

certain nervousness when you change the nomenclature.

image from scratch."

Students feel sometimes that they would still prefer to stay

With the onset of the computer, new markets for publishing

with illustration."

have opened up. Rather than print, more time-based imagery

Whether it's a masters program or an undergraduate program,

will be seen as we move into the next millennium. However,

challenges are faced every semester by educators. Decisions on direction, curriculum, equipment investment and so on

print will always be around. According to Robert Milnes, former president of The National Association of Schools of

become an everyday issue. It is truly a balancing act between

Art and Design and The National Council of Art Adminis-

how much is too much and how much is just not enough.

trators, "Print will not go away but it will change. The things

Arisman remarks, "When trying to do it all, something is

that I see being really challenged with time-based imagery

going to suffer and it is usually the drawing and painting in

are mass-produced print media like advertisements, maga-

terms of required time. In terms of education, what I am

zines, circulars and the like. Yet, I see new avenues being

trying to do is not to panic or try and be a catch-all. When

created for imagery rather than the elimination of old ones.

you take people and say, 'OK you can do a little of this but

All forms of change require understanding and new skills. I

you have to do a lot more of that to make yourself employ-

think with computers there is a belief that it is a tool like a

able,' I don't think the resulting work will be that good. I

pencil. There is a part of that which is true. But, the com-

think that there will be a lot of half-baked illustrators and

puter is also a different way of connecting with the world

designers out there. That is just a personal philosophy. We

and that's probably a bigger influence on illustrators than

are dealing here with a basic idea of what people love to do

what it does on the screen. It has changed the manner in which things are presented and seen. Things will really radically change once we can figure out how to make money from the Internet like with paid TV." At the Kansas City Art Institute, they have seen it necessary to redefine illustration and link it with other commercial art disciplines. Winkler explains, "We have done away with the word illustration and have changed the name to imaging.

It is a title that allows for any kind of imaging from electronic to traditional means. Currently, our program offers more than we did in the past. We are seriously restructuring the attitude of the illustrator. We have repositioned everything and have given illustration a much stronger purpose. I have a feeling that it is time to challenge the narrowness of the last one-hundred years of illustration. What I would like to see is students challenge traditions a little bit more to see if one couldn't argue for a new kind of language and a more open-minded kind of development. That kind of expansion you cannot hide away from. You are going to be asked to do everything and you are going to have to be willing to participate in that. I think that is one of the changes that has to happen from a curriculum viewpoint. You cannot allow students just to narrowly concentrate on a style. Everybody is struggling to redefine illustration, to be on the

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cutting edge." When asked about the students' reaction to such changes, Winkler replies "I think that there is a C 0 M M U N I C AT I 0 N

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and are going to do it whether it pays or not. What I see as

Distance learning programs have also been created to work

not changing is this initial struggle of what do I want to

with professionals in industry. Bunny Carter, chair of the

make a picture about and how do I make it."

illustration department at San Jose State University (Cali-

Passalacqua continues, "A swimmer, unlike any other athlete, swims for time against himself. He doesn't swim against anyone else because he can't really see them. The best illus-

fornia), has made amazing strides with distance and commu-

tration programs are the ones that make people learn that

and the students wear voice-activated microphones to inter-

education is not for finish but for the training of artists within themselves. How you teach students psychologically to deal with themselves as they learn to draw and perform as illustrators is very important. I do it by teaching one-onone. I don't know every student, but I always go out on a limb to learn. I do a lot by instinct and I can tell a lot by

act. In addition to the distance learning, SJSU conducts

the way a kid sits and by his body language. You have to build confidence. If a kid is insecure, how is he going to illustrate? The secret to success is having confidence. " Art institutions feel great pressure from industry to develop training programs that meet industry-specific needs. Tinkelman comments, "The so-called ' real world' pressures from industry can exert enormous amounts of influence onto curriculums and some departments may tailor their curriculum to existing job needs. I don't think that is as solid a process as it seems on the surface. It's a short-term fix. On the other hand, there are excesses on the so-called 'blue sky' and 'art for art's sake' philosophies. I think the answer really lies somewhere in between. It is an ongoing battle. We are communication artists and have to be aware of media but we can't just succumb to business pressures and train people for existing positions that may very much be obsolete in a couple of years. We would be short-changing our students educationally and <esthetically. The most important thing is to retain their enthusiasm about making art and making it personal, and yet somehow with clarity. And to realize that the communication arts doesn't exclude being a 'fine' artist. "

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nity learning. Carter explains, "The students work with instructors from Warner Brothers through a large TV screen

sessions called community learning where they work with guest instructors. San Jose State also works cooperatively with two high schools and three other universities. We also do a lot of sponsored projects with our advanced students. We just finished a

Today's marketplace is very competitive. Art directors have many choices. There is not as much high profile work as there was in the past. There is much more spot work and less page work being given to illustrators.

project with Hallmark and our students just went to Dream Works last year. You will not hear of a program quite like ours. Everybody is excited. We are really treading new ground and having great results. " San Jose State has taken into great consideration the geographic marketplace in which its future graduates will work. With a locale in the midst of Silicon Valley, SJSU is right in the heart of the entertainment and specialeffects industry. Carter says, "A freelance career for someone coming out of school in our area is not really a viable

option. You cannot buy a house in this area for less than $450,000. The idea that a young person is going to survive

a couple of years freelancing around here is not a reality. So

Many educators have found innovative ways in which to educate tomorrow's illustrator. Institutions are bringing in seasoned professionals as guest lecturers and visiting faculty.

we can't do what other institutions do. Our goal is to get

Symposiums and special presentations are being conducted to address specific topics and issues. According to Winkler,

in the heart of what is happening and our students have

"I am also bringing in people that are not necessarily illustrators or graphic designers but choreographers, musicians and the like to talk about the narrative in a very different way. " To expand their creative base, institutions encourage their students to take classes outside their major.

Silicon Graphics workstations, traditional animation and

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our students employed and we are very successful at that. In the U.S. , the number-one export is entertainment. We are many options from traditional illustration to special effects, backgrounds. It is a very big, lucrative and exciting field and it requires narrative illustrative skills. About three years ago, we had a very traditional program and now it is just completely different. The challenge for us is keeping ahead

of the technology. It is extremely hard for us to know what to do next. We constantly have to keep up. What has helped us greatly is our strong tie to industry. " On the graduate level, the Masters ISDP program at Syracuse-an independent study degree program for professional illustrators-students work independently and communicate with faculty by phone, fax , mail and online. According to Tinkelman, chair of the ISDP illustration program, "The students are experienced, highly motivated and very mature. They are truly the dream class and come from literally all over the world. The faculty is the best from coast to coast and every stop in between. We meet in the New York City, San Francisco and the Dallas Fort Worth areas. But the magic is truly with the students. " Art institutions are also pooling their resources and working collaboratively on projects. According to Carter, "We enjoy getting other schools involved whether they are older students, traditional college students or high school students. They all applaud each other's successes. The teachers at each site get together and keep in touch by e-mail discussing how things are going. We also utilize a form of distance education called learning community sessions that the students organize themselves with the support of the faculty. These students really learn to think and develop critical thinking skills. They become very good over distance as well as on TV and at meetings. They gain in maturity and confidence and that helps them in their work. " Milnes , of The National Council of Art Administrators agrees , "When institutions connect to other institutions, industry sources or other fields they are using more than just the references within their own institution and program. I think that is critical. When you combine faculty and student

Arisman adds, "There is no question that things have changed in the last twenty years. A certain amount of this stuff is about fashion. About five years ago, very tight work was in and now it is not. These preference shifts and moves go on and have been going on as long as I can remember. I actually think that we are going to see a backswing. I think that there is only a certain amount that you can do in Photoshop and you end up with a kind of collage-looking thing that starts to look too familiar. My basic belief is that the ability to draw and paint will become more important as time goes on as opposed to less important. I think that we are looking at an immediate response here and not a longterm idea. People are just going to rediscover drawing again. " Passalacqua agrees and states "Going back ten years ago, I used to get these phone calls from advertising agencies and I got about ten of them a month. They called to ask if any of my illustration students knew Quark, Workshop or Photoshop because they wanted to hire them. At the time, I didn't know what the hell they were talking about. I know now but at that time I thought they were speaking Greek. Over the last couple of years, I am getting people asking me 'Dave do you have anybody here that knows how to draw? ' Then I say, 'Eight years ago they asked me if I had anyone that could do Quark.' They reply, 'We can always teach them the computer but we can't teach them to draw. ' Illustration in my opinion is moving that way. Right now, I just finished a major project for Coca-Cola and I'm working on it digitally but I made the drawings first. It was the drawings that sold it-they sold the idea. No one is going to pay you because you can describe the idea. They want to see it. In the next millennium, those who can draw are going to be the given few. I really believe that and I know I'm right, too. The structure now has reverted itself back to drawing even more. "

body in different ways it ends up being as valuable or more valuable than any of the technological innovations that have come out. " It is truly an exciting time and not a time of panic and despair for illustration. Tinkelman remembers, "When I

The impulse to illustrate is not going away no matter how much rhetoric people screen on top. When it comes to enrollment, students are still choosing to be illustrators and most of them choose to illustrate traditionally. Illus-

that didn't happen. Then, a couple of years later, photog-

trators are not a dying breed but are alive and well in the hands of a new generation of artists who will ride the technology wave while still maintaining their integrity as artists. As long as illustrators continue to create work that they are truly passionate about, the 'illustrative' aspect of illustration

raphy was supposed to be dead because of video. That didn't

will remain alive. •

entered the illustration business in the '5os people looked at me like I was crazy and said 'don't you know illustration is dead? It has been replaced by photography.' Obviously

happen. Today, we still have illustration, we still have photography, we still have video and now we have the computer. " C 0 M M UN I CAT I 0 N

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Book Reviews By Karal An n Marl ing 159 pages, hardcover, $45 Ha rry N. Abrams 100 Fifth Ave nue New York, New York 10011

cover in 1926 to continue a massive body of paintings that earned him the title, "the Lawrence Welk of American art. "

For a period of time, Norman Rockwell was without a doubt America's favorite artist. The Saturday Evening Post, which began life as Benjamin Franklin's

Pennsylvania Gazette in 1730, was Rockwell's gallery. From his first magazine cover illustrations in 1916 through 324 more Saturday Evening Post covers, his audience grew to over four-million viewers an issue. His paintings of kids and characters in ordinary situations pictured an idealized America, each illustration telling a story, each signed large so that Norman Rockwell became a popular star of pre-digital America. He was a masterful painter in technique and draftsmanship. He could paint silk brocade as well as Gainsborough and detail the American cowboy as well as N.C. Wyeth. His mastery of photographic realism gave his subjects credibility though he painted them with gently exaggerated expressions and extended body language that turned his illustrations into glorified cartoons. Today we would recognize his cover illustrations as sitcom tableaus. Born in 1894, Rockwell grew up during the Golden Age of Illustrators, a time when magazine, advertising and calendar art recognized illustrators as popular stars of the day: Frederic Remington, Charles Dana Gibson, James Montgomery Flagg, Howard Pyle and J.C. Leyendecker. This was before practical color film was available and an illustration could fit on the camera's object board and be separated with color filters. As a student at New York's Art Students League, Rockwell found that anatomy instructor George Bridgman used the work of famous illustrators in his teaching and the work of medievalist Howard Pyle, who painted such subjects as knights in shining armor, became Rockwell's favorite study. As a boy growing up in turn-of-the-century New York, Rockwell felt the city was a cruel place with its teeming crush of new immigrants and its frantic commerce. He most enjoyed his family summers in rural upstate New York. Perhaps this combining of rural summertime decency and Howard Pyle's romantic fantasies caused Rockwell to create his illustrator's world of an imagined better America. Out of school, the talented artist got a job as art director for

Boy's Life Magazine where he developed the image of the "typical" American boy: tow-headed, gap-toothed and barefoot with a bandage on a toe. His 1916 first cover for the Saturday 216

magazine's simple red-and-black color palette. His cast of characters expanded with scenes from colonial America and rural America and he was assigned the magazine's first full-color

Norman Rockwell

onnan Rockwell

Evening Post also pictured kids though it was painted for the

I L L U S T RAT I 0 N

A N N U A L

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This new book records Rockwell's career and reproduces 100 of his paintings. The author, Karal Ann Marling, a professor of art history at the University of Minnesota, ponders the question of why so enduring and popular an American artist is still a non-person to the "Art" world of museums and art galleries. Rockwell's series of paintings depicting the American "Four Freedoms" and his patriotic subjects during World War II certainly show his great craft as a painter and earned the highest of popular acceptance, so Rockwell himself wondered "What is art?" His painting Connoisseur, which is reproduced here , began with his dribbling a fake Jackson Pollock canvas on his studio floor with the help of a house painter who dropped a bucket of white paint on it to finish it off. Rockwell then painted an expensively dressed "banker" studying the pseudo-Pollock on a gallery wall. The expertly painted figure of the man contrasts in its realism with the active drips and splashes of the painting-a crafted illustration against the random chaos. It is an illustration of the story of a divergence in the paths of art. Rockwell was seventeen when the Armory Show opened in New York City, an exhibit of avant-garde gallery pieces from Europe that presaged abstract and non-representational art, a show which shocked the city's intellectuals. Rockwell was busy learning to fit into the business of commercial illustration, however, and ignored such sophistry. From his studio in the town of Stockbridge, Massachusetts, he invented his own school of visual story telling in his own individual way, and that's what this book is about. It is a library-quali ty book about a singular American artist who went his own , corny way and became an American hero. -BYRON FERRIS

Art Past/Art Present, Third Edition By David G. W ilkins, Bernard Schultz and Katheryn M . Linduff 628 pa ges, hardcover, $55 Published by Harry N. Ab rams, Inc . 100 Fifth Avenue New York, New York 100 11

From prehistoric cave paintings to Nam June Paik video installations,

Art Past/Art Present presents a brisk but comprehensive journey into the global history of art. Anyone with a general interest in art or art history, as well as students in a single-semester art history course, would value this information.

Major art movements and a variety of mediums including video, performance and installation work are represented in this third edition, to which the authors have added new images, color maps and schematic diagrams. Timescopes begin each chapter that chart significant historical events and works of art of that period. Art Past/Art Present is a broad overview. While only one or two artists represent an entire art movement, the selected art vocabulary provides a deeper analysis than is usually seen in a text of this scope. For example, a 15th century Renaissance painting of Christ by Pietro Perugino is contrasted with an abstract 2oth century work by Piet Mondrian for a discussion of medium, perspective, color and style.

and a smaller, medium weight typeface that would allow a contrast for the many key terms used throughout the text. -RUTH HAGOPIAN

Stone and Steel Painted and edited by Bascove with an introduction by Mary Gordon 96 pages, hardcover, $30 Publ ished by David R. Godine, Publisher, Inc . 9 Hamilton Place Boston, Massachusetts 02108

With a subtitle of "Paintings & Writings Celebrating the Bridges of New York City," it becomes clearer why we would include

Art content is continually examined, as in work by Morimura

this book in our book review

Yasumasa, a contemporary artist who places himself in the roles of figures in famous paintings or entertainment. The reader is guided beyond the curiosity of seeing a Japanese man posing as both Maner's nude Olympia and her black servant to a multilevel social commentary about the

column. Bascove (whose work appeared in "The Women's Room" article and on the cover

light type in long, justified columns is not easy on the eyes .

of the January/February 1995 issue of Communication Arts) is a wonderfully fluid painter whose lines are reminiscent of the elegant yet muscular paintings of the Works Progress Administration muralists. Here, she has combined an interesting array of poetry and prose-ranging in mood and style from John Dos Passos's "Steamroller," and Gay Talese's "Build-

The book would have benefited from a wider line length

ing a Bridge Is Like Combat . .. " to Joyce Carol Oates's

appropriation of Western culture and issues of identity, race and gender. On a minor note, the three-column page design of large,

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C 0 M M UN I CAT I 0 N

ARTS

217

Book Reviews mournful and reflective "Last Exit Before Bridge" and the wonderful Galway Kinnell poem, "The River That Is East'~

Life, Heidi Rickabaugh; Crown Zellerbach, Vance Jonson;

with her spare yet evocative paintings.

accredited to Bergstrom Paper). I hate to see such genius in

Her palette of steel gray, burnished yellow and ocher red, offset by a deep blue that represents both sky and water is perfectly suited to her monumental subject matter. These paintings evoke the strength and majesty of New York's many remarkable bridges, built in the 19th century and now representing a time of industry and hope, a joining of <esthetics and function not seen in this century's bridge construction.

design history forgotten.

The myriad angles she employs convey a sense of transport and respect making her paintings the visual equal of these gathered writings.

I can't quite fathom the reason for this historic compilation of the work of these decades except as a vehicle to express the author's ideas about the atmosphere of the two periods and the flavor of their commercial surround. Little mention seems to be made of the influence of television on the form of trademarks during those years. One of graphic design's most noted historians, Philip B. Meggs ofVirginia Commonwealth University, contributes a page-and-a-quarter of excellent general commentary about

Bascove started painting bridges in the late 1970s when she lived in Paris a few streets from the Seine, and continued when she returned to her apartment near the Queensboro Bridge. Her paintings have been exhibited regularly in New York and in Paris and they can be found in the collections of the Museum of the City of New York, Time Warner and the Musee de Cherbourg. Stone and Steel is elegantly and clearly a reflection of an artist's style and personal interests and a beautiful addition to any library. -ANNE TELFORD

trademarks and gives some focus to the social measure of the '6os and '7os. I wonder if Phil saw the pre-publication flats before he did his piece.

-B.F.

Making People Respond The Work of Primo Angeli Inc. Edited by Dan Imhoff 144 pages, hardcover, $34.95 Watson-Guptill Publications 1515 Broadway New York, New York 10036

Trademarks of the '60s & '70s

Primo Angeli is a legend in his

By Tyler Blik 132 pages, paperback, $16.98 Chronicle Books 85 Second Street San Francisco, California 941 05

own time, a San Francisco legend. In his 30 years as a graphic designer, his studio group has put its own cultural stamp on the work of I've always thought it would be

California's most characterful city.

the easiest thing in the world

San Francisco is noted for its

to compile a survey of trademarks by getting a bunch of

great restaurants and its history of fine foods. It's in the field of fine packaging for fine foods

phone books and picking up a

that Primo Angeli first came to attention, creating rich and

pair of scissors.

fulsome designs that made customers respond. Typical is his

The problem of such an effort would be selection and accreditation. Which are the important trademarks and who designed them? Tyler Blik faced these problems in producing this book. He does thank the San

218

International Paper, Lester Beall (though his trademark is

bread wrapper for San Francisco's oldest French baker. Boudin Sourdough French Bread is bagged in so rich and appetizing a cover that you might want to eat the wrapper itself. Angeli writes passionately about design for marketing and

Diego Library for helping with research and I think the book is correct on the dates that denote the decades it covers. There

and perceptions evoked by package design must match the

is no accrediting of designers, however. Perhaps most readers

product within. He suggests that one find the marketable

wouldn't care who designed the hundreds of poor trademarks during the '6os and '7os-best unnamed and forgotten.

characteristics of the product and mold the package image

For those of us who do trademarks, there is a creative magic

tion. " Then follows page after delicious page of design

about the durable ones and it is a pleasure to see them pre-

examples and the design analysis that made for good market-

served in books and magazines as examples of the designer's

ing response. It is an amazing display of food and beverage

communication and expresses his experience that emotions

to that character. "There is no advantage to visual decep-

art. I know who designed some of the examples in this small

packaging, signage, posters, digital product packages, Web

book: Westinghouse, Paul Rand; Lawry's, Saul Bass; Met

site planning and the design thinking behind the group's

I L L U S T RAT I 0 N

A N N U A L

9 9 8

contribution to the look of the 1996 Atlanta Olympiad. The work can be richly ornate but is always organized for clarity and targeted toward its purpose. In spite of a powerful use of color and an elaborate combining of seals, crests, borders and backgrounds, the needs of

can live three days without food," Baudelaire wrote. "Without poetry, never." Artist Bill Beckley along with poet and art historian, David Shapiro, decided it's time to reevaluate this subject and have collected writings by 29 critics, poets, art historians, artists and philosophers to position beauty in cur-

of some 50 years ago. One of design's great men, Jo Sinel, was asked to design the milk carton for Golden State Dairies. He was taken with the romantic picture of placid cows brows-

rent <Esthetics. Their ideas are diverse and expansive. For writer Peter Schjeldahl, beauty posesses the element of belief and the awe that announces it. Dave Hickey, editor and professor of art criticism, says that detractors of beauty in art voice the simple complaint "beautiful art sells." Included is a lively and contentious 1985 dialogue about a 1984 Museum of Modern Art exhibit, "Primitivism in the 2oth Century" where primi-

ing on a meadow of green grass and purple flowers and used the colors as the package theme. But green and purple on

tive art was exhibited alongside contemporary Western art. Writer and critic Thomas McEvilley attacks the bias and con-

a carton of milk created the customer perception of sour milk, and Neil Sampson had to redesign the package in warm red and soft cream colors to regain store sales. I would think that such a miscue about human response is some-

noisseurship of William Rubin and Kirk Varnedoe of the MoMA in letters originally published in Artforum and Art in America magazines. Their debate speaks to the ideas of the attraction ofWestern artists with primitive work and the universality of beauty. The anthology includes many examples of spirited writing for readers who appreciate passion and reflective theories on everyone from Caravaggio to Mapplethorpe. As sculptor Louise Bourgeois said, "Beauty is a set of experiences. It is not a noun." -R.H.

marketing factors stay clearly met, though some fine Italianate designing promotes good emotions and response. Lost in San Francisco design history is a packaging disaster

thing that Primo Angeli would never allow. One of the great values of Making People Respond is the foreword written by Hal Riney, head of San Francisco-based Hal Riney and Partners, one of the nation's hottest creative ad agencies. Hal writes knowingly of art, design and advertising, and describes the value of being in design so well that I will reread his pages many times and use his reasoning to explain the joy of design to my art gallery friends. In writing about art and excellence in the marketplace, Primo Angeli suggests that some humanity is in danger of being lost as design moves into the computer age. "For me-an animal still firmly planted in the realm of the senses, the

Advertise in CA

emotions, the handshake, and the handmade-moving toward the use of the computer can be done well if the dedication is to communication rather than technique."

and reach the 83% of subscribers who use Macintosh computers

As an animal still firmly planted in design emotions, I certainly responded to Making People Respond by thoroughly enjoying the Angeli work and the design thinking that created it.

-B.F.

Briefly Noted· Uncontrollable Beauty: Toward a New Aesthetics

(Published by Allworth Press, roE. 23rd Street, New York, New York rooro, 423 pages, hardcover, $24.95), edited by Bill Beckley and David Shapiro. The subject of beauty in visual art has been much neglected in the 2oth century and seldom used in today's <Esthetics. Art movements like pop art, minimalism and conceptual art excluded beauty from their subject matter. Beauty was a term discussed primarily in the 19th century by poets like Charles Baudelaire or art critic John Ruskin. "You

For information on advertising in Communication Arts contact: Michael Krigel General Manager (650) 326-6040 x26 advertising@commarts.com

~ommunication C 0 M M U N I C AT I 0 N

A R T S

219

Materials

Notecards/Postcards

two, relatively small surfaces for

Museum of Art, among others.

another level of organization:

The Art Box by Phaidon Press, is

writing, surely just enough space

Subtitled "For art lovers who

color coding. I plan on using

an offshoot of their revolutionary

to communicate sentiment and

travel, and travelers who love

them to collate the many versions

The Art Book, which presented

inspiration, without taxing the

art ... " this paperback is an invalu-

each article goes through before

fine art in an A-Z format making

limited time everyone seems to

able resource, and an inspirational

publication. They are currently

this sometimes lofty topic a bit

have to pursue such genteel prac-

one as well. You might find list-

sold at all OfficeMax stores for

more user-friendly. Now they

tices . The Art Box(es) are avail-

ings of museums you didn't know

$1.99· For further information on

have published notecards and

able in the U.S., exclusively

existed or discover that by switch-

this, or other OfficePro products ,

postcards of the "top 100 best

from Chronicle Books. Check

ing the dates of vacation or busi-

contact OfficePro, Inc. , 104-70

images" that appeared in The Art

your local booksellers; if you can't

ness travel by a day or two that

Queens Boulevard, Suite 300,

Book. Each box of blank note-

find them, call Chronicle Books

you could catch a major exhibition

Forest Hills, New York II375;

cards contains 25 different images,

at (8oo) 722-6657 to order.

of personal interest. Published by

phone (718) 997-66oo; fax (718)

for only $11.95· To differentiate

Harry N. Abrams, Inc., 100 Fifth

275-3956.

which images are contained in

The 1998 Traveler's Guide to Art Museum Exhibitions

Avenue, New York, New York

images contained therein are rep-

The tenth anniversary edition of

call the publisher for more infor-

resented in thumbnail form on

this handy 272-page reference

mation, (212) 206-7715.

the back of the box. The fifth, or

book-which lists nearly 300

A request on your Letterhead to the

"brown box" contains 100 post-

museums worldwide-includes

following companies will bring you

cards for the same price (quite a

Web site addresses for museums

value considering most stores

as well as programs for children,

charge 75 cents or one dollar per

detailed information on facilities

"art" postcard). As with the book

for the disabled and descriptions

each box, the boxes are color banded for identification and the

-ANNE TELFORD

won; you can find the Traveler 's Guide in bookstores for $12.95 or

OfficeProMCorner Clip™

Literature for Your Files the Literature described . . .free unless

Having trouble keeping batches of papers together? Or perhaps

otherwise noted. Whenever possible, fax numbers, e-mail addresses and

you don't like using staples, paper

URLs have been included for

clips or other fasteners that snag

convenience.

itself, the same concise but thor-

of distinctive museum gift shops.

ough information found in the

Author Susan Rappaport, editor

captions here appears on the back

and publisher of Museum Guide

of each card. Art lovers will

Publications, conceived the idea

appreciate the succinct and infor-

when she headed press and infor-

CornerClip TM solves those prob-

mative text about each artist and

mation departments at museums

lems. Easy-to-use, the clips swivel

the specific painting depicted.

in Philadelphia and Washington,

open and firmly bind together up

new tricks) but I guess that's

The reproduction quality is high

DC. Mter recognizing that there

to 50 pages. And unlike other fas-

because I'm never in a rush for an

and envelopes are lined with the

was no national resource provid-

teners, papers stay neatly aligned

image. Lifestyles is a specialty cat-

color represented on the box add-

ing information about museum

and secure, even when you turn

alog of people: "Men, " "Women,"

ing a nice luxe touch. The box is

and exhibition schedules she set

pages. They come in small ,

"Generations," you get the idea.

designed so that the top slides off

out to create a means by which art

medium and large and are pack-

Although there are two pages of

revealing the cards inside, accessi-

lovers who traveled could discover

aged with labels to keep everything

"gay couples," not exactly repre-

ble with a satin ribbon pull. (The

what was showing, and where .

even more organized. Since they

sentative of the proportionate

your fingers or come off when placed in mountainous piles (speaking from an editorial standpoint, this is important). The

FPG .. . has a couple of new books

that people should know about. In this age of stock photo Web sites and CD-ROMS I still like the catalogs (can't teach an old dog

cover is a cool collage of letter

This year's guide also has expanded

are reusable, it seems like they

number of gay and lesbian cou-

shapes spelling out the title: The

its listings of museums in England,

might be a boon to environmen-

ples in society, but a starr. Also in

Art Box, just right to brighten up

France, Spain and Germany and

tally-minded people who deal with

the "couples" section , a few of

those white laminate surfaces.)

added to its domestic list, includ-

lots of paper and are neatniks.

these photogenic couples look,

These boxes would make a lovely

ing such new art venues as the

They come six clips to a pack,

well, not unhappy, but at least real. Face it, if you've been with your

gift for an artful colleague. Per-

Georgia O 'Keeffe Museum in

including two each in black, blue

haps such offerings will tempt

Santa Fe, the Dia Center for the

and maroon-something to suit

partner for a long time, you're not

more people to revive the lost art

Arts and El Museo Del Barrio in

nearly everyone's color sensibili-

always gonna be smiling. Selects

of letter writing-these cards offer

New York and the San Antonio

ties and allowing one to add even

(Volume 8) has standard stock

220

A N N U A L

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

9 9 8

• fare divided into sections tided, "Concepts," "Travel," "Nature, " etc. (" Concepts," in particular some of Chip Simons's humorous and inventive shots, is a great section and functions a bit outside

J ,,

• !!!

variety of text and cover

~ weights but a limited

!Qi palette. For a copy of 3 Medium or a sample pack

the normal stock categories.) I

and board for the folding carton and printing industries must make every holographic paper product known to man; they even designed a holographic origination machine that produces 30 X 40 holograms.

ment at (8oo) 556-4454.

Flipping through samples from

VupoTM.. . is a paper company I

staring at a spinning disco ball.

this 26-year-old company is like

like the way that the state of "Adulthood" is divided into the categories "Early," "Prime" and

mall photo booths, sketchbooks,

mentioned in a column not too

The company stocks five holo-

"M ature. " I'm a little confused,

metaphors and sunshine; and

long ago. I am writing about it

graphic patterns (Prismatic

even though I fit into the middle

quotes by innovative thinkers,

again because they have released a

Illusions) , but the metalized

category, all those people seemed

including one I really appreciate by

swatchbook; their PR firm sent

paper is actually available in more

to be relaxing and on vacation.

Albert Einstein, "Things should

me a copy and I have fallen in

than 200 patterns and they'll also

What's wrong with that picture?

be as simple as possible. But no

love with this paper all over again.

do custom work. The substrate is

I didn't see any of those couples

simpler. " Medium unequivocally

In case you don't remember or (say

compatible with all conventional

with children, and I certainly do

shows that Mohawk is dedicated

it isn't so) didn't read my earlier

printing processes. I know, I know,

everywhere I go. (Hmmm , does

to helping designers deliver their

column, it is not made of wood

holographic paper is not suitable

that mean I don't take enough

messages; it is a must have and a

pulp, it is synthetic and is instead

for every project (some people

vacations ?) In case you prefer

must read. Mohawk believes that

made of polyolefin resins and

could argue that it's not appropri-

the Web , FPG has a site at

"print is still the right answer for

inorganic fillers. So, according to

ate for most projects) but when it

the majority of designers ," but

a note in the new promo, it "has

is needed, Pennsylvania Pulp and

they also realize that the industry

the best characteristics of both

Paper Company is the company

Medium .. . is the fourth tide in

is changing and want designers

natural paper and plastic film,

to call. Not too long ago they

the "ReThinking Design" series

everywhere to know that they

namely great printability com-

created the holographic paper-

from Mohawk. Jointly edited and

have five lines of papers that work

bined with remarkably high dura-

board for the 27 million sleeves

produced by Michael Bierut of

equally well for digital or offset

bility. " The promo has samples

needed for the video release of

Pentagram and writer/design critic

printing. Introduced with a

of die-cutting, embossing, foil

Men in Black-more than 750

Janet Abrams, Medium revolves

friendly identity (born in the '6os

stamping and 4-color printing in

tons of it. Don't be put off by the

around the various definitions of

I'm a sucker for happy faces)

addition to paper samples in every

sheer size of that project, they also

design. Contributors include

created by Rigsby Design in

weight they make-it is only avail-

fill small orders. Contact them for

d esign ers , writers , artists , archi-

Houston , Texas, Mohawk has

able in white. If I were a designer I

a sample folder; it's impressive

tects , filmmakers, documentary

released their first Digital Papers

would figure out a way to use this

and enlightening. Their main

photographers and theorists.

swatchbook and an information

paper for every project I worked

office is in Glenside, Pennsylvania

Mohawk's objective, as they see it,

booklet tided Digital Basics which

on. It feels good, it looks good, it

(215) 572-86oo but they have

"was to create a dynamic interplay

includes case studies, a glossary

performs well, it doesn't use trees

sales offices in Toronto, Canada

of paper, including Ulrrafelt,

of terminology and printing tips.

and it's waterproof (I tested it).

(416) 259-7309 and Long Beach, Californi a (562) 432-1714; they

www.fpg.com

Superfine, Mohawk 50/wplus and

Inside the front cover of the

See for yourself how great it is; get

Options. " What they have helped

sample book is a digital printing

a copy of this promo. Call Yupo at

also have a Web site www. holoprism.com

(888) USE-YUPO.

to create (in addition to a paper

guide identifying the top six types

promo) is a 6o-page essay on the

of digital equipment, how each

continuous evolution of design.

works and how to determine

It includes articles about Kinko's

which technology suits which pro-

Paper Company .. . is a "small

and its around-the-dock-culture;

ject; remaining pages are devoted

company" according to their press

Michael Bloomberg and his "infor-

to showing the papers and provid-

release, but you wouldn't know it

mation service, news and media

ing stock information. The

by looking through their press

company" ; mini-articles about

papers are available in a wide

packet. This converter of paper

-SuE GARIBALDI Pennsylvania Pulp and

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

A R T S

221

Clubs, Conferences, Seminars The Colored Pencil Society of America (CPSA)

The Society for Environmental Graph ic Des ign

is holding the Sixth Annual International Exhibition in

(SEGD) announced new officers: president Hannah Jennings , manager of graphic arts at the Brookfield Zoo, Illinois; vice president Wayne Hunt, Hunt Design Associates, Pasadena, California; secretary Margaret Schwartz, Walt Disney lmagineering, Los Angeles; treasurer Bret Matthews, director of sales, Matthews Paint Company, Kenosha, Wisconsin.

Arlington, Virginia, at the Ellipse Arts Center & Gallery July 2I-August 20. In addition, the members will hold their convention at the Holiday Inn in Alexandria, Virginia, July 28-August I. Up-to-date information can be found on the Web site www. cpsa.org The Portland Advertising Federation again spon-

sors the Portland Creative Conference. The ninth annual conference is set for September q-I9 at the Portland Performing Arts Center in downtown Portland, Oregon. Hotels and restaurants for all budgets are a short walk away and the

Gretchen Coss will continue to advise the board of directors in her position as past president. As executive director, SEGD appointed Leslie Gallery Dilworth, architect and strategic planning consultant. SEGD , 401 F Street N.W., Suite 333, Washington, DC 2000I; phone (202) 638-5555; fax (202) 638-o89I; e-mail SEGDOffice@aol.com.

area is lively with activities day and night. Confirmed speakers are Saul Zaentz, Academy Award-winning producer of

The English Patient, Amadeus and One Flew Over The Cuckoos Nest, and Gus Van Sant, director of Good Will Hunting, To Die For and Drugstore Cowboy. A gala opens the conference on Thursday night. Friday starts with coffee and breakfast treats and features five speakers, two specialized panel discussions and a premiere film-screening. Saturday kicks off with more morning munchies, speakers, two panels

American Society of Media Photographers

Pittsburgh Chapter (ASMP) has elected officers. President Richard Kelly continues into the second year of his twoyear term; vice president/membership Jim Schafer; secretary Toby Seger; treasurer Paul Selvaggio; Jim Cunningham, Steve Mellon and Bill Susoeff will be serving as members-at-large. Write ASMP, I942 Fifth Avenue, 3rd Floor, Pittsburgh , Pennsylvania I52I9, call (4I2) 28I-I6I6 or visit the Web site www. pittsburghasmp.org

on the creative topics of the times and ends with a wrap party. A complete schedule with speakers, panel topics and presenters is listed on the Web site www.cre8 con.org or call (8oo) 597-0099.

Paul Davis, creator of magazine and book covers, theatrical posters and murals, will be honored by the School of Visual Arts in a Master Series Exhibition at the College's

Visual Arts Museum, 209 E. 23rd Street, New York, from The Industrial Designers Society of America

(IDSA) announces that Don Norman, author of The

Psychology ofEveryday Things, has agreed to provide the key-

October 5 through November II. An opening reception will be held on Monday, October 5, from 6 p.m.-8 p.m. Each

note presentation for the I998 national conference, "Why

year, an individual who has created and contributed a significant body of work within the field of visual arts is honored

Design?" September 23-26 at the Hotel Del Coronado in

with a one-person retrospective by SVA. For more informa-

San Diego, California. The question for the first day is

tion, contact Stuart Ginsberg at (2I2) 592-2010, fax (2I2) 59220!2. SVA, 209 E. 23rd Street, New York, New York IOOIO.

"Why do companies use design?" The second day will be devoted to why people want design and the third day will focus on why designers do what they do. Some of the key

The American Assoc iatio n of Advert ising

presenters addressing these questions are: Gerald Hirshberg,

Agencies elected a new leadership team at the annual meeting in Scottsdale, Arizona: president 0. Burtch Drake; secretary-treasurer Sally Minard; chairman Patrick Iv1cGrath;

president of Nissan Design International; Craig Vetter, designer and developer of the Wind Jammer Fairing for motorcycles; Wright Massey, vice president of design for Starbucks; Deborah Sussman, environmental and graphic designer; and Lori Weitzner, multidisciplinary designer. IDSA, II42 Walker Road, Great Falls, Virginia 22066; phone (703) 759-0100; fax (703) 759-7679; e-mail idsa@erols.com; or visit the Web site www.idsa.org The Mead Annual Report Conference is scheduled

for September 24-25 at the World Trade Center in New York City. For information, call (312) 664-0231. Mead World Headquarters, Courthouse Plaza Northeast, Dayton, Ohio 45463. 222

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

A N N U A L

9 9 8

and vice chairman Shelly Lazarus. The organization, which has served the industry since I9I7, comprises agencies representing approximately 75 percent of the total advertising volume placed by agencies in the United States. For details on becoming a member of AAAA, contact Bob Linden at AAAA Headquarters, 405 Lexington Avenue, New York, New York IOI74, call (2I2) 682-2500 or visit the Web site at www.aaaa.org -JEAN A. CoYNE

Copy must be received three months prior to the publication date. Please include a contact, phone number and address.

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Index to Illustrators

Billout, Guy 47 Phone (212) 431-6350 225 Lafayette Street, Suite 1008 New York, NY 10012

Alberg, Kari 88 Phone (507) 645-2272 11125 Kane Trail Northfield, MN 55057 Armstrong, Neal 133 Phone/Fax (61) 02-93653237 4/188 O'Donnell Street North Bondi , NSW 2026 Australia

Bandsuch, Matthew Phone (888) 330-7324 497 Prentis, #4 Detroit, Ml 48201

Bliss, Harry F 47, 77 Phone (914) 358-8690 45 Washington Street Nyack, NY 10960

Baseman, Gary 42, 55 Phone (213) 934-5567 404 N. Formosa Avenue Los Angeles, CA 90036 Beck, David M . 79 Phone (513) 741-1228 4042 Appletree Court Cincinnati , OH 45247 Behnke, Brian 123 Phone (415) 566-2097 1019 Ash bury Street, #4 San Francisco, CA 94117 Represented by Lisa Freeman Inc. Phone (317) 920-0068 740 E. 52nd Street, #8 Indianapolis, IN 46205 Beingessner, Laura 133 Phone (416) 536-5023 65 Jefferson Avenue , #206 Toronto, Ontario M6K 1Y3 Canada Benny, Mike 70, 126 Phone (512) 263-5490 3421 Re ims Court Austin , TX 78733 Berg, Jeanne 125 Phone re5m853-8418 220 Palo Alto Avenue, #202 Palo Alto, CA 94301

224

Butler, David 101 Phone (740) 397-1236 Art of the M idwest 29 Public Square Mount Vernon, OH 43050 Represented by Jane Jenni Phone (651) 224-6763

Blitt, Barry 85 Phone (203) 622-2988 34 Lincoln Avenue Greenwich, CT 06830

Cabry, Cyril 97 Represented by Marlena Torzecka Phone (609) 252-9405 278 Hamilton Avenue Princeton, NJ 08540

Boatwright, Phil 58 Phone (972) 222-7571 2342 Stillwater Drive Mesquite, TX 75181 Borda, Juliette 72, 77,82

61, 70,

Phone~12)441~188

Case, Robert 105 Phone (602) 855-1959 635 W . Desert Broom Drive Chandler, AZ 85248

114 Carnegie Place Pittsburgh, PA 15208

Borge, Rich

PhoneQ12)26~9823

Chan, Harvey 42 Phone (416) 429-1393 244 Donlea Drive Toronto, Ontario M4G 2N2 Canada

459 W . 49th Street, #4W New York, NY 10019

Bower, lim 48, 51, 62 PhoneD1m834-8974 61 Pearl Street, #306 Brooklyn, NY 11201

Chang, Michelle 118, 125 Phone (718) 797-4427 36 3rd Street. #4L Brooklyn , NY 11231

Burckhardt, Marc 85, 113 Phone (512) 458-1690 11 2 W. 41 st Street Austin, TX 78751

Chayka, Douglas 70 Phone ~1@ 753-4329 837 W. 39th Terrace Kansas City, MO 64111

Burnett, Lindy 16 Phone (770) 271-3474 476 Loridan's Drive Atlanta, GA 30342 Butler, Amy 8 Phone (7 40) 397-1236 Art of the M idwest 29 Publ ic Square Mount Vernon, OH 43050 Represented by Jane Jenni Phone (651) 224-6763

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

Cannon, Christopher 58 Phone (718) 875-7509 221 Sackett Street, #3R Brooklyn, NY 11231

A N N U A L

Choi, Jaeeun 103 Phone (82) 2-545-7060 Hyundai Apt. 114-901 Apgujung-dong, Kangnam-gu Seoul , Korea Ciardiello, Joe 58 Phone (718) 727-4757 2182 Clove Road Staten Island, NY 10305

9 9 8

Clarke, Greg

7, 41

Phone~Offi49~8823

214 Twin Falls Court Thousand Oaks, CA 91320

Clayton, Christian 20 Phone Q13) 936-8448 135 S. La Brea Avenue , #1 Los Angeles, CA 90036 Collier, John 51 Represented by Richard Solomon Phone (212) 683-1362 121 Madison Avenue , #5F New York, NY 10016 Craft, Kinuko Y. 16 Phone (860) 542-5018 83 Litchfield Road Norfolk, CT 06058 Craig, Daniel 66 Phone (612) 871-4539 Oasis Studio 118 E. 26th Street Minneapolis, MN 55404 Represented by Bernstein & Andriulli Phone (212) 682-1490 60 E. 42nd Street New York, NY 10165 Crawford, Robert 118, 141 Phone Q03) 266-0059 123 Minortown Road Woodbury, CT 06798 Crehore, Amy 128 Phone (541) 683-6278 272,/2 W. 11th Avenue Eugene, OR 97401 Cronin, Brian 45 Phone Q12) 254-6312 682 Broadway, #4A New York, NY 10012 Crowther, Catherine Rose 25 Phone (51 0) 704-8763 1732 Hearst Avenue, #3 Berkeley, CA 94703

Curry, Tom 72 Phone (915) 837-2311 Prickly Pear Studio 901 W. Sui Ross Alpine, TX 79830

Dain, Bonnie 8 Phone (206) 329-1786 Starbucks Design Group 2401 Utah Avenue S. Seattle, WA 98134 Day, Rob 133 Phone (317) 253-9000 6095 Ralston Avenue Indianapolis, IN 46220 Deas, Michael J. 26, 93, 97 Phone (504) 524-3957 708 Toulouse Street New Orleans, LA 70130 De Conno, Gianni 35, 42 Phone (39) 2-32-4263 32 Via Pogatschnig 20148 Milan Italy Decoster, Jeffrey 61 , 106, 126 Phone (415) 206-9430 3530A 22nd Street San Francisco, CA 94114 Represented by Sally Heflin & The Artworks Phone (212) 366-1893 Delton, Julie 130 Phone (651) 227-3848 Represented by Jane Jenni Phone (651) 224-6763 472 Portland Avenue St. Paul, MN 55102 DeVito, Grace 136 Phone (302) 322-1224 170 E. 4th Street New Castle, DE 19720

Index to Illustrators

Drawson, Blair 106 Phone (416) 693-777 4 14 Leuty Avenue Toronto, Ontario M4E 2R3 Canada

Gall, Chris A. 114, 125

DuBois, Gerard 7, 10, 35, 45,52, 103,114 Represented by Marlena Torzecka Phone (609) 252-9405 278 Hamilton Avenue Princeton, NJ 08540

Gannon, Ned 142 Phone (718) 447-9836 388 Richmond Terrace, #6L Staten Island, NY 10301

Dykes, JohnS. 120 Phone (203) 254-7180 515 Hill Farm Road Fairfield, CT 06430

Ersland, William 45 Phone (612)430-1878 220 W . Poplar Stillwater, MN 55082

Fisher, Jeffrey 69 Represented by Riley Illustration Phone (212) 989-8770 155 W . 15th Street, #4C New York, NY 10011 Flesher, Vivienne 7, 35 Phone (415) 921 -2440 71 Atwood Avenue Sausalito, CA 94965 Ford, John 130 Phone (626) 398-7 408 1790 Vistillas Road Altadena, CA 91001 Fraser, Douglas 70 Phone (403) 287-7337 3613-6th Street S.W . Calgary, Alberta T2S 2M6 Canada Fuchs, Bernie 99 Phone (203) 227-4644 3 Tanglewood Lane Westport, CT 06880

226

26, 113,

Phoneffi2m29~4454

4421 N. Camino del Santo Tucson, AZ 85718

Garro, Mark 128 Phone ~0~661-6922 20 Kent Place Cos Cob, CT 06807 Golden, Gary Wayne Phone (501) 376-4500 300 N. Schiller Street Little Rock, AR 72205

Hanson, Eric 128 Phone (612) 927-9054 4444 Upton Avenue S. Minneapolis, MN 55410

Jessell, Tim 13, 62, 113 Phone (405) 377-3619 7906 N. Perkins Road Stillwater, OK 74075

Hartland, Jessie 8 Phone (212) 233-1413 165 William Street New York, NY 10038

Johnson, Joel Peter 80 Phone (713) 223-0373 P.O. Box 3642 Houston, TX 77253

Hendler, Sandra 146 Phone (215) 735-7380 1823 Spruce Street Philadelphia , PA 191 03

Joudrey,Ken 75,80 Phone (619) 479-2622 5706 Sprinter Lane Bonita, CA 91902

Hewgill, Jody 30, 108 Phone (41m 924-4200 260 Brunswick Avenue Toronto, Ontario M5S 2M7 Canada

Holland, Brad 77

Gosfield, Josh 72 Phone ~1~645-8826 200 Varick Street, #508 New York, NY 10014

19, 25, 29,

Phone~12)226~675

96 Greene Street, 4th Floor New York, NY 10012

Greif, Gene 69 Phone ~12) 647-1286 114 W . 16th Street, Suite 6E New York, NY 10011

Howard, Dane M . 136 Phone (626) 441 -7730 1619 Monterey Road South Pasadena, CA 91030

Greteman, Sonia 19 Phone (316) 263-1 004 142 N. Mosley, 3rd Floor Wichita, KS 67202

Hussey, Tim 48 Phone (212) 535-0438 231 E. 76th Street, #50 New York, NY 10021

Gross, Alex 111 Phone (626) 799-4014 1708 La Senda Place South Pasadena, CA 91030 Guip, Amy 48 Phone (212) 67 4-8166 91 E. 4th Street, #6 New York, NY 10003

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

A N N U A L

9 9 8

128

Lazar, Zohar 61, 120 Represented by Kate Larkworthy Phone ~12) 633-1310 32 Downing Street, #40 New York, NY 10014 Leister, Bryan 69 Phone (703) 683-1544 202 E. Raymond Avenue Alexandria, VA 22301 Lesh, David E. 117 Phone (317) 253-3141 5693 N. Meridian Street Indianapolis, IN 46208 Levin, Steven J. 138 Phone (612) 827-7015 4242 Wentworth Ave nue S. M inneapolis, MN 55409 Lewis, H.B. 144 Phone (401) 455-3531 150 Chestnut Street, Su ite 4 Providence, Rl 02903

Phone~73)78~4967

159F Overmount Avenue West Paterson , NJ 07424

Krauss, Trisha 126 Phone ~12) 243-5975 277 W. 11th Street, #2C New York, NY 10014

52, 64 Phone ~12)481-9737 207 E. 32nd New York, NY 10016

Jarrie, Martin 37 Represented by Marlena Torzecka Phone (609) 252-9405 278 Hamilton Avenue Princeton, NJ 08540

Kelley, Gary 57, 82 Phone ~19) 277-2330 301 ,/2 Main Street Cedar Falls, lA 50613 Represented by Richard Solomon Phone (212) 683-1362 121 Madison Avenue, #5F New York, NY 10016 Kirore, Mwaura

llic, Mirko

lngemanson, Donna Phone (781) 848-2012 82 Central Avenue Braintree, MA 02184

Hajek, Olaf 80, 141 Represented by Kate Larkworthy Phone ~12) 633-1310 32 Downing Street, #40 New York, NY 10014

Keleny, Earl 26 Phone (608) 236-0022 4202 Bagley Parkway Madison, WI 53705

Lardy, Philippe 48, 103, 108,113 Phone (217) 473-3057 158 Mercer Street, #9M New York, NY 10012

Kunz, Anita 13 Phone (41m364-3846 230 Ontario Street Toronto, Ontario M5A 2V5 Canada

Lanting, Norm 130 Phone (905) 549-1929 36 Crosthwaite Avenue N. Ham ilton, Ontario LSH 4T9 Canada

Lo, Mi 136, 141 Phone (852) 2307-16 12 262 Lai King Hill Road La i King Terrace CS, N.T. Hong Kong Lofaro, Jerry 42 Phone (603) 428-6135 58 Gulf Road Henniker, NH 03242 Long, Loren 8, 16 Phone (513) 942-455 1 5839 Owl Nest Dri ve West Chester, OH 45069

Mabry, Michael

118

Phone~1~982~336

212 Sutter Street San Francisco, CA 94 108

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PRINTS

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Anderson Lithograph

HEADQUARTERS 32I7 SouTH GARFIELD AvENUE Los ANGELES, CA 90040 800-727-5846 I EXT.359 2 I 3 -7 2 2- 2 3 2 8 FAX BosToN/CoNNECTICUT 86o-767-3I58 860-767-3159 FAX

CHICAGO 847-9I3-9239 8 4 7- 9 I 3- 8 9 56 FAX

SAN FRANCISCO 650-348-0446 6 50-348-0459 FAX

DETROIT 248-646-2202 248-646-2986 FAX

NEw YoRK

SEATTLE 206-706-9797 206-706-9 8 50 FAX

2I2-880-6440 2I 2-8 8 0- 644I FAX

"W"WW". andli tho. co Ill

Index to Illustrators

MacDonald, Ross 62 Phone (203) 270-6438 56 Castle Meadow Road Newtown , CT 06470 Mclean, Scott D. 7 Phone/Fax (403) 277-2734 #6, 1612 Remington Road N.E. Calgary, Alberta T2E 5K7 Canada Manchess, Gregory 64, 82 Phone (503) 590-5447 13358 S.W. Gallop Court Portland, OR 97008 Represented by Richard Solomon Phone (212) 683-1362 121 Madison Avenue, #5F New York, NY 10016 Marsh, James 35 Phone (44) 171-622-9530 21 Elms Road London SW4 9ER United Kingdom Martin, Matthew 77 Phone (212) 431-5033 19 Prince Street, #4 New York, NY 10012

Melanson, Luc 38, 118 Phone (514) 384-1336 8173 St Dominique Montreal, Quebec H2P 2L2 Canada 118

Osborn, Kathy 30, 133 Represented by Riley Illustration Phone (212) 989-8770 155 W. 15th Street, #4C New York, NY 10011

Morse, Joe 23, 80 Phone (416) 516-2835 217 Indian Grove Toronto, Ontario M6P 2H4 Canada Represented by Sally Heflin The Artworks Phone (212) 366-1893

Pagowski, Filip 85 Phone (212) 665-7553 113 W. 106th Street, #4B New York, NY 10025

Murray, Mike 138 Phone re12)824-3539 3225E Calhoun Parkway Minneapolis, MN 55408

Palencar, John Jude Phone(44rn774-7312 249 Elm Street Oberlin, OH 44074

Passicot, Monique 141 Phone (415) 864-5772 4406 17th Street San Francisco, CA 94114

O'Brien, Tim 52, 77 Phone D18) 282-2821 310 Marlborough Road Brooklyn, NY 11226

A N N U A L

136

Parada, Roberto 64, 66 Represented by Levy Creative Phone (212) 687-6463 300 E. 46th Street, Suite 4G New York, NY 10017

Northeast, Christian 38, 79 Phone (416) 538-0400 336 Rusholme Road. Upper Floor Toronto. Ontario M6H 2Z5 Canada

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

Petrauskas, Kathy

Olbinski, Rafal 19, 120 Phone (212) 532-4328 142 E. 35th Street New York, NY 10016

Nelson, Joelle 117 Represented by Jane Jenni Phone (651) 224-6763 472 Portland Avenue St. Paul, MN 55102

Meganck, Robert 64 Phone (804) 644-9200 One N. 5th Street. Suite 500 Richmond, VA 23219

228

Ohlsson, Bridget 95 Phone (61) 8-855-77454 13 Port Road Port Willunga, 5173 South Australia

Nakamura, Joel 10, 19 Phone (505) 989-1404 72 Bobcat Trail Santa Fe, NM 87505

Meagher, Bob 8 Phone (804) 698-8763 The Martin Agency One Shockoe Plaza Richmond, VA 23219

Milbourn, Patrick D. Phone (212) 989-4594 327 W . 22nd Street New York, NY 10011

Milot, Rene 16, 23 Phone ~1m425-7726 49 Thorncliffe Park Drive, Suite 1604 Toronto. Ontario M4H 1J6 Canada Represented by Renard Represents Phone (212) 490-2450 501 5th Avenue New York, NY 10017

Payne, C.F. 62, 80 Phone (513) 769-1172 3600 Sherbrooke Drive Cincinnati, OH 45241 Represented by Richard Solomon Phone (212) 683-1362 121 Madison Avenue, #5F New York. NY 10016 Petit-Roulet, Philippe 88 Represented by Riley Illustration Phone ~1~ 989-8770 155 W . 15th Street, #4C New York, NY 10011

9 9 8

120

Rogers, Paul

138

Phone~1~64~4950

Phonere2m564~728

1660 N. Lasalle. #2001 Chicago, IL 60614

12 S. Fair Oaks Avenue , #208 Pasadena, CA 91105

Phillips, William 86, 101 Phone (541)482-8093 P.O. Box 667 Ashland, OR 97520 Pilon, Alain 51, 61, 69 Phone (514) 278-4090 6807 Drolet Montreal, Quebec H2S 2T1 Canada Pratt, Pierre 32 Phone (514) 277-0721 5976, Jeanne-Mance Street Montreal, Quebec H2V 4K8 Canada Pugh, Lorena 95 Phone (401) 885-9438 323 Harrison Street North Kingstown. Rl 02852

Rabinowicz, Vicky 113 Phone (212) 603-9900 493 9th Street, #3 Brooklyn, NY 11215 Rash, Andy 142 Phone (718) 486-7820 298 Metropolitan Avenue , #B4 Brooklyn, NY 11211 Rea , Brian 70 Phone (41 0) 889-2952 Bright Star Design 3600 Elm Avenue, Studio C Baltimore, MD 21211 Roberts, Michael 41 Phone (44) 171 -439-31 59 4 Meard Street London W1V 3HR United Kingdom Robinette, John 134 Phone (901) 681-9668 5889 Ewing Drive Memphis, TN 38119

Rosenthal , Marc 103 Phone (413) 637-1879 21 Church Street Lenox. MA 01240 Rubess, Balvis 64 Phone (416) 927-7071 260 Brunswick Avenue Toronto. Ontario M5S 2M7 Canada Rush , John 128 Phone (847) 869-2078 123 Kedzie Street Evanston, IL 60202

Salina, Joseph

Phone~1m6994859

2255B Queen Street E.. #321 Toronto, Ontario M4E 1G3 Canada

Savage, Stephen 55, 72 Phone (718) 624-5435 444 Sackett Street Brooklyn, NY 11231 Schattner, Gillie 14 Phone (914) 833-1785 10 South Drive Larchmont, NY 10538 Schwab, Michael 99, 103 Phone (415) 257-5792 108 Tamalpa is Avenue San Anselmo. CA 94960 Sealock, Rick

10, 85, 111

Phone~03)276-5428

P.O. Box 98 M ilo, Alberta TOL 1 LO Canada

Selfridge, M .C. 123 Phone (815) 436-7197 817 Desplaines Street Plainfield. IL 60544

Silverman, Burt 86 Phone (212) 799-3399 324 W . 71 st Street New York, NY 10023 Somers, Marti 90 Phone (650) 833-0130 324 High Street Palo Alto, CA 94301 Sorren, Joe 10, 45 Phone (520) 214-9980 P.O . Box 386 Lake Geneva, WI 53147 Spalenka, Greg 52 Phone (818) 992-5828 21303 San Miguel Street Woodland Hills, CA 91364 Steck, Tom 58 Phone (626) 797-5850 494 Alberta Street Altadena, CA 91001 Steinberg, James 108 Phone (413) 549-1932 11 5 Montague Road Amherst, MA 01002 Stermer, Dugald 79, 105 Phone (415) 777-0110 600 The Embarcadero San Francisco, CA 941 07 Strange, James 19 Phone (316) 263-1004 142 N. Mosley, 3rd Floor Wich ita, KS 67202

Venier, Jeff 86 Phone (978) 474-0456 89 N. Main Street Andover, MA 01810

Wells, Leigh 10, 93 Phone (212) 627-8518 250 W. 22nd Street. #4D New York, NY 10011 White, Eric 45 Phone (41 5) 821-3839 1142 Castro Street San Francisco, CA 94114

Toelke, Cathleen 37 Phone (914) 876-8776 P.O. Box 487 Rhinebeck, NY 12572

Ventura, Marco 62, 70, 141 Represented by Sally Heflin The Artworks Phone (212) 366-1893 455 W. 23rd Street, #BD New York, NY 10011

Tsinganos, Jim 114 Phone (61) 2-9438-3805 24 Taylor Street Darlinghurst NSW 2010 Sydney Australia

Vitali, Dominique 111 Represented by Kate Larkworthy Phone (212) 633-1310 32 Downing Street, #4D New York, NY 10014

Tucker, Greg 57 Phone (505) 873-3727 1915 Lakeview S.W . Albuquerque, NM 87105

von Buhler, Cynthia Phone (617) 783-2421 16 Ashford Street Boston, MA 02134

Ulriksen, Mark 62 Phone (415) 387-0170 841 Shrader Street San Francisco, CA 94117

Watkinson, Brent 66, 85 Phone (913) 677-0062 6849 Mastin Merriam, KS 66203

Unruh, Jack 75 Phone (214) 871-0187 2706 Fairmount Dallas. TX 75201

Weinman, Brad 26, 37 Phone (818) 342-9984 5268 Lindley Avenue Encino, CA 91316

Summers, Mark 82 Represented by Richard Solomon Phone (212) 683-1362 151 Madison Ave, #5F New York, NY 10016

Wilson, Russ 25 Phone (904) 249-0060 3811 S. 1st Street Jacksonville Beach, FL 32250 Wilson, Will 58 Phone (415) 447-8302 750 Post Street San Francisco, CA 941 09 Wilton, Nicholas 41 Phone (415) 488-4710 Studio Zocolo P.O. Box 292 220 Alta Avenue Lagunitas, CA 94938

Yang, James 14, 48, 72 Phone (212) 987-5917 225 E. 95th Street, #25J New York, NY 10128

Zernitsky, Leon 125 Phone (416) 638-9271 605 Finch Avenue W ., #716 North York, Ontario M2R 1P1 Canada

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 30 days and we will be able to issue corrected awa rd certificates .

Woolley, Janet 57 Represented by Alan Lynch Artists (908) 813-8718 11 Kings Ridge Road Long Val ley, NJ 07853 Wu, Leslie 35 Phone (716) 385-3722 36 Harwood Lane East Rochester, NY 14445

Index to Individuals and Firms Represented in the 39th Illustration Annual Ahlgrim, Dennis 70 Aldworth, Sue 35 Alexander, Julian 111 Amber-Allen Publishing 41 American Heart Association 8 American Spectator 47, 82

Anderson, Elaine 48 Anderson, Gail 51 Anderson, Jack 105 Primo Angeli, Inc. 25 Arisman, Marshall 142 Arizona Theatre Company 19, 23 Arkansas River Blues Festival 7

Armstrong, Joel 85 Armus, Jill 75 Arnott, Susan 58 Art Directors Club of Switzerland 29 Artefact Design 90 The Atlantic Monthly 47, 69, 77, 80 Atlantic Records 111

Avery, Alan

Barnett, Dirk 55, 61 Barrows, Annie 30 Baseman, Frank 47, 72 Bates, Richard 111

Beauchamp, Monte 38, 42 Becker, Philippe 25 Becker, Syndi 55 Bell, Kathleen 7 Ben Wear 14 Berg, Jeanne 125 Bernard, Galen 14 Berndt, Karen 79

C O MMUNICATI O N

A R TS

229

Index to Individuals and Firms Represented in the 39th Illustration Annual

Best Fight Story 7 Beyn, Bob 126 Blab! Fantagraphics Books 38, 42 Blue Shield of California 10 Bobco, Ann 41 A Bock Design 69 Bock, Amy 69 Bogdan, Mary 133 Borge, Rich 7 Boston Book Review 58 Boyd, John 93 Boyer, John 62, 72 Brale, Tinker 64 Bratter, Philip 72 Brecht, Betsy 47 Britton Advertising 113 Brooks, Sharrie 106 Brown, Tom 80 Budnick, Madel ine 35 Butler, Bonnie 10

Cabry, Cyril 97 Cahan & Associates 106 Cahan, Bill 106 Cahners Publishing 69 Callaway Editions, Inc. 41 Callaway, Nicholas 41 Campbell , Keith 55 Campisi, Ronn 108 Ronn Campisi Design 108 Capitos, Andrew 45 Capolillo, Antonella 13 Carlino, Angela 41 Carstensen, Paul 106, 113 Caruth, Kinsey 57 Caruth , Suzy 57 Chagnon , Marie-Josee 10 Chelsea House Publishers 26 Chow, Frances Soo Ping 97 Chronicle Books 30, 35 Chron icle Giftworks 93 Cideb Editrice 35, 42 Clark, Deborah 82 Clark Design 82 Clarke, Greg 7 Clarkson Potter/Publishers 25 Coastal Living 79 Cohen, Lori 42 Colorado Cyclist 108 Colton , Jay 52 Communication Design, Inc. 64

230

Conde Nast Corporate Creative 113 Cook's Illustrated 66, 85 Copeland, Cathy 85 Copeland Design 85 Cory, Michael 8 Crawford, Robert 118 Crayon Design & Communication, Inc. 133 Creative Services. Inc. 16 Cretarolo, Sue 90 Cunnell, Tracey 32 Currie, Cynth ia 64 Curry, Chris 61, 62, 85 Cycle World 48 Czeczko, Terri 75, 80

Dain, Bonnie 8 Dallas Opera Company 16 Davis, Sara 26 DDD Gallery 118 De Conno, Gianni 35 John Deere 105 Dell Magazines 75, 80 Delton, Julie 130 The Detroit News 61 De Vino, Frank 58, 80 Devlin, Jeanne 62 Dingman, Alan 26 Dinning, Brian 19 Doherty, Melanie 20 Melanie Doherty Design 20 Dolphens, Tom 70 Doubleday Books 113 Doubleugee 41, 93 DuBois. Gerard 35 Duncan, Virginia 35 Dunleavy, Christine 45, 51 Duplessis, Arem K. 85 Dykes, John S. 120

The Earth's Birthday Project 19 Einstein/Noah Bagel Corp . 7, 8 Ejima , Tamotsu 58 Elshlepp, Ellen 113 English, John 136 English, Mark 136 Entertainment Weekly 48, 55, 57, 61, 69 Envoy 57 Esquire 64, 66, 77

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

A N N U A L

Falcioni, Chrystal 82 Feldman, Kirsten 141 Festival Productions 103 Filippucci, Laura 141 Food Services of America 105 Fortunato, Brenda Brown 88 France Magazine 114 Free Associates 103 Freeman, Josh 103 Lisa Freeman Inc. 123 Friedman, Cynthia 103

Galison, Mia 88 Gallagher, Dennis 7 Gannon, Ned 142 Garlan, Judy 47, 77, 80 Garro, Mark 128 Gearon Hoffman Inc. 16 Generation Why 14 Gentlemen's Quarterly 62, 72 Geo Fonica Records 10 Gestion Son & Image 10 Gilmore-Barnes, Robin 69 Glenn, Ann 32 Godfrey, Kate 62 Golan, Marti 77 Goldberg, Cindy 55 Golden, Gary Wayne 7 The Golden Gate National Parks 99 Golan, Marti 52 Gottschalk & Ash 108 Gravity Workshop 7 Gregory, Lane 79 Greteman Group 19 Greteman, Sonia 19 Grignon, Thomas 19 Thomas Grignon Design 19 G'Rodroux. Bernard 37 Grolsch Beer 16 Groundwood Book/Douglas & Mcintyre 42 Group Magazine 85

Hamilton, John 58 Hamilton Stands 16 Hanson, Eric 128 Harper Collins 37 Hartman, Eve 111 Harwood, Rockwell 64, 66, 77

9 9 8

Healey, Bill 125 Health 45 Heller, Steve 64, 82 Hendler, Sandra 146 Hermes, Mary 105 Herrman, Carl 93 Hesen. Erik 23 Hibbs, Dr. Maria 128 High Museum of Atlanta 16 Hinrichs, Kit 79 Hippocrates 48 Hochstein, Arthur 52, 77 Hofbrau Brauerei 13 HOK 105 Hold, Robert 70 Holland, Brad 25, 29 Holt, Frankie 72 Hornall Anderson Design Works, Inc. 105 Howard, Dane M . 136 Huh, Euido 103 Hyperion Books for Children 41

IL-MIN Museum of Art 103 Imperial Oil Limited 111 lmpresa Software 103 Inqu irer 45, 51 Integrated Options 114 Ireland, James 111 James Ireland Design 111 Irvine, James 55 Irwin Publishing 26

Jane 70 Jazziz on Disc 7 Jensen, Hal 10 Jensen, Jon 10 Jett, Clare 103 Jeunesse, Nathan 37 Johnson, Amy 13 Johnson, Jay 108 Jones, Kandy 7 Jordan , Phil 86, 97, 101 Jorisch, Stephane 38 joyfunstudio 25 Jump 82 The Jupiter Drawing Room 13

Kanes, Robert 62 Kansas City Star 70 Kaplan, Deborah 26, 37 Keegan, Ju lie 105 Kelley, Gary 141 Kessels, Erik 23 KesselsKramer 23 Kingfisher Books, Larousse .PLC 35 Kinsey Advertis ing 57 Kipl inger's Personal Finance Magazine 64 Kirore, Mwaura 128 Klee, Amy 66 Klee Design 66 Klee, Greg 72 Kner, Andrew 51 , 57 Kolon , Janece 19 Korpics, John 55, 61 , 69 Krell Advertising Inc. 19 Krell , Robert 19 Kula, Anna 52, 79

Landry Design Associates 86 Landry, Lynn 86 Lang, Sol 133 Langholz, Susan 45 Lathan , Laura 114 Lauzon, Andree 38 Lawton. M ichael 85 Lee. Sheri G. 25 Lehman, Ellen 90 Les 400 Coups 38 Lesh , David E. 117 Lewis, Tom 16 Libre Expression Ed itor 35 Lo, M i 136, 141 Long , Loren 8 Long, Tracy 16 Long Wharf Theatre 25 Love, Sara 123 Love 's Country Store 13 Lowe, Deanna 72 Lowry-M iszkie l, Nina 11 3 Lunchbox Theatre 7

Mabry, M ichael 118 Michael Mabry Design 118 McCaffrey, Terry 86, 101 McCalman , George 48 McCann-Erickson 10, 14 McClellan, M ichae l 70 McConnell , Kate 30

McCu ne, Jim 25 McGonagle, Mary 113 McGovern , Patricia 45 Mclean , Scott D. 7 Macm illan Ch ildren 's Books 32 McMullen, Nancy 70 McNeil Group 19, 23 McNeil, Hilde 19, 23 Madcow Stud io 7 Maestri, Nadia 35, 42 Ma ilhot, Caroline 85 Ma li k, Robin 48 Mann , Catherine 55 Marsh , James 35 The Martin Agency 8 Masuda, Tosh iya 41 Matsu i, Keizo 118 Meagher, Bob 8 Meier, Cari e 10 Melanson, Luc 118 Men 's Fitness 72 Men 's Journal 80, 85 Merck 19 M ichealson , Mark 48 M il ler/Kadanoff/Huber Direct & Interactive, Inc. 103 Mi lot, Rene 23 Moca rski, David 130 Modern Maturity 103 Moffit, Roxy 19, 25 Moinot, Laurence 37 Money 55 Montebello, Joseph 37 Montoya, Leticia 57 Moria Design 8 Mouly, Fran<;oise 77 M urray, Pau la 90 M usician 48

Nakamura , Joel 10 Napa Valley Vintners Association 20 Nationa l Acade my of Record ing Arts & Sciences 111 National Arts Club 120 Natural Hea lth 72 Nature Conservancy 19 Navarro, Jonathan 19 Naylor, DeDonato & Wolf 125 Nelson, Joelle 117 Network Computing 52 New York Magazine 48 The New York Times Book Review 64, 82

The New Yorker 61, 62, 69, 77, 85 Newbaker, Ken 97 Nielson , Lucy 35 Nike Europe 23

Rasp, Markus 80 Ratcliff, Ken 14 Reay, Chip 105 Reid Ohlsson Pty. Ltd . 95 Request 64 Residence Inn by Marriott

8 Oh, Karen 45 Ohlsson, Bridget 95 Oklahoma Today 62 Olbinski, Rafal 19, 120 Olbinski Studio 120 Oliveira , Eri ka 61 Overstreet, Susan 23 The Oxford American 62

Paine, Howard 86 Palecek, Jane 45, 48 Palencar, John Jude 136 PC World 62 Peaceable Kingdom Press 99 Pentagram 79 Penthouse 58, 62, 70, 80 Perigee 108 Petrauskas, Kathy 120 Phelps, Lynn 66 Ph iladelphia 47, 72 Phil lips, Owen 61, 69 Picon, M ichael 55 Playboy 70, 82 Playboy Japan 58 Pope, Kerig 70, 82 Porter, Jay 58, 79 Poulos, Rikki 111 Ri kki Poulos Design 111 Powell, Brad 10 Powell, Steve 45 Prebys, Crispin 26 Priest, Robert 77 Prodor, Elaine 10 Profiles Magazine 108 Puffin Books 26, 37 Pugh , Lorena 95

Qu inn, Marysarah

Roberts, Alison 114 Robertson, Peggy 47 Robinette, John 134 Rodriguez, Elizabeth A. Rolling Stone 51 Running Press Book Publishers 97 Ryan, Kathleen 16

St. Martin 's Press 26 San Francisco Bay Area Book Council 7 Sandstrom Design 7, 8 Sandstrom , Steve 7, 8 Saturday Night 61 Saveur 75 Scenario 51 , 57 Schattner, Marc 14 Schwab, Michael 99, 103 Michael Schwab Studio 99, 103 Schwandner, Kris 8 Scotoni, Roland 29 Seattle Repertory Theatre 19 Seattle's Best Coffee 25 Seraphein Beyn 126 Shadow Design 113, 114 Shell Oil 113, 114 Silverstein, Rich 99 Simon & Schuster 35, 41 Simpson, David 64 Simpson, Karen 61 Sma rt Money 52, 79 Smirnoff, Marc 62 Smith, Kenneth 52 , 77 Snell, Ben 57 Soda, Jason 72 • Solomon , Michael 42 Somers, Marti 90 Spittler, Jami 99 Spontaneous Combustion 14 Staebler, Tom 70, 82 Stanczak, Ray 61 Stanford Magazine 106, 113 Starbucks Coffee Company 8 Starbucks Design Group 8

Starr, Stephen 113, 114 Stewart, Tabori & Chang 88 Stout, D.J. 70, 85 Strange, James 19 Levi Strauss & Co . 8, 103 Sublime Design 128 Suddeutsche Zeitung 80 Sugen, Inc. 106 Sullivan, John 7 The Swinging Bovines 10 Syrn ick, Susan 51

Tabacos Gran Colombia 19 Tait, Jamie 103 Tele .Com 70 Texas Monthly 70, 85 Thomas, Beth 16 Beth Thomas Graphics 16 3r1 Group 42 Ti me 45, 52, 77 Time Digital 52 Time Life Books 30, 42 Titolo, Carl 142 Tomson, Craig 19 Torello, Nicholas E. 58, 62, 80 Troupin, Cindy 7 Tyson, Sara 111

Unetic, Phil 42 United States Marine Corps Reserve, Toys for Tots Program 10 United States Postal Service 86, 93, 97, 101 Utne Reader 45, 66

Wagner, Lisa 57 Wal ker Creative 13, 62 Wal ker, Steven 13, 62 Washington Regional 113 The Washington Times 64 Waterline Publishing 86 Wells, Leigh 10 Westpac Bank 114 Wetherbee, Michele 41 , 93 Will iams, Angela 8 Wood, Heather 35 Worth 72

Yankee

58, 79

Zanders Paper 125 Z-D internet magazine Zeppetelli , Anita 108 Zernitsky, Leon 125

Editor's Note Every effort has been made to ensure that the credits comp ly with information supplied to us . If, for any reason, a misspelling, omission or other error has occured, notify us w ithin 30 days and we will be able to issue corrected award certificates .

Venier, Jeff 86 Virtue 58 Visual Strategies 7 Vo lunteers of America 113 Vorillas, Athena 52 VSA Partners, Inc. 30

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Hardware Apple Macintosh Power PC, Power Computing PowerWave and Umax SuperMac computers running on Ethernet network; Apple, Sony Trinitron and SuperMatch monitors; Agfa Arcus II, HP Scanjet 4C/T and Howtek Scanmaster scanners; Apple LaserWriter Pro 630 and HP LaserJet 4MV laser printers.

Software QuarkXPress for page layout, Microsoft Word for word processing and Adobe Photoshop for scanning and positioning images.

Typography Adobe Garamond Adobe Garamond Expert (Robert Slimbach) CA Garamond Regular/Old Style Figures Ita lic/Old Style Figures Univers (Linotype/Adobe) Din M ittleschrift (Linotype/Adobe)

Printer Anderson Lithograph 3217 S. Garfield Avenue Los Angeles, CA 90040 (213) 727-7767 (213) 722-2328 fax

Paper Potlatch, Northwest Gloss 80 lb. cover Champion Preference 80 lb. text

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Image Color and Filmwork Inc. 2161 O'Toole Avenue, Suite F San Jose, CA 95131 (408) 954-8580 (408) 954-14 77 fax Prepress Assembly, Inc. 80 Langton Street San Francisco, CA 94103 (415) 621-8970 (415) 621-3105 fax Prepress Graphics 2698 Marine Way Mountain View, CA 94043 (650) 967-5477 (650) 967-0234 fax

Index to Advertisers Adobe lmageReady 189 American Showcase 153 Anderson Lithograph 227 CaiComp 199 Champion Pageantry 193 Champion Kromekote 223 Clients & Profits 187 Consolidated Papers, Inc. 147 Digital Stock 158 Digital Think 195 Dynamic Graphics 213 Erickson Productions 233 Extensis Quark Suite 181 Georgia-Pacific Papers 201 Graphic Artists Guil d 197 Image Bank 179 lnfowave 191 Macromedia FreeHand 161 Mead Coated Papers 150 Miami Ad School 203 Mohawk 174 Neenah Paper 164 Palad in 180 Pantone ColorWeb 163 PhotoDisc 177 Portfolio 149 ReCou rs es 185 Ricoh 205 Sappi 207 Seybold 225 Stock Market 157 Strathmore Papers 155 Wausau Papers 183 Workbook 209